Working with Color

 

Powering Up with Adobe InDesign CS6

 

Lesson Info

Working with Color

We're going to talk about color, we're going actually put some color in this stuff, I know we've had a little, but we haven't talked about it, we've been like, don't mention the color writes, and I were going to mention the color put that in there, we'll look at some of the different, different things, so the first thing is strokes and fills, and I was kind of doing that made some squares, and I put a color in there and I said, don't worry about how he did that. Now we're going to worry about how I did that. So when come back in here, looks like a reset my tool bar, there we go and I'm just going to create fiddled square, and this is why I this is what I do when I'm trying to find a color mix of color, make a color, make a big square because we're going to see there's, these little icons that represent color, but they're teeny and every time we look at him somewhere else, they're a little smaller. So I like having a big shaped put color in so I could actually see what color I'm making ...

when I do that, so the first place we can see color is over here on the left hand side, in the toolbar. That's actually where you're toolbar is I have a phil and a stroke so the phil is what fills the shape and the stroke is the line around the shape if you're not familiar with that terminology you are now so I come here and click on the phil or I can click on the stroke and it brings the stroke to the front so I need to click on the one that I'm trying to effect so I'm notorious for having the wrong one selected and I fill it with a color I meant to put a stroke on and vice versa if there's a way to fix that so that's all right, so one click that phil and when I changed that it's also going to change in a couple other places I'm going to open up the color panel and also my swatches panel because they kind of have they kind of work together so we work with color panel first, but when I switched the stroger fillets switches in all those other places so I would get smaller, we start here, we get a little bit smaller and then we get really teeny tiny so it's just always making it smaller force so I'm going to look back on the film and because I have this image selected any time I worked with color it's going to fill in that shape that I actually have selected as well so I'm gonna go over to the color panel, and I want to start just mixing some colors now I may have a list of colors that I need to use. Maybe I've been given a list of rgb colors. I don't have hex colors in here, so if you're trying to match something from the web, you're gonna have to do the conversion elsewhere. One of the places I used to look at hoechst color star gb or vice versa is colors on the web dot com and I like that because it gives you all the equivalence, and it also has a nice mixing color so I can make something if I know it's going to the web, I can mix it in hex colors, which is the work of the web colors, and then I can grab that and get the rgb equivalent and work on that here and even get cm like a a crew equivalent. I want to talk about those terms as well, so because we set this up when we said this was for print way back in the morning, we said our intent was print. It assumes that you're going to work in c m y que that cyan, magenta yellow, and the case stands for black, of course, right? So see m y k and r g b are the two color mode that we're going to work in the most and the sand like a is what we print and what we're actually printing whether we're printing toe offset printing device or we're going to digital copiers anything like that those print in sam like a and without going into color and all that great stuff just remember that cm like I ke is for when you have actual physical media right? So we have something we're either gonna put toner down on paper with print on paper something like that we're gonna put I don't paint on the wall and there's something like that we're going to do that we're gonna work with some substrate like that if we're working with our g b we're working with light right so we're going to take all the colors is how we remember it I take all the colors of rgb if we mix all the colors of light together what do you get you get white but if you make all the colors of our ceo mike a together what do you get get black or a very dark brown actually but we'll call it black right so just know that if you're going to print in any format you're going to need to go to see in my case at some point that being said I tend to work a lot in rgb and at the last minute converted to see him like a the problem being that rgb has a wider color spectrum available so you can make some really cool colors and rgb on this screening of these bright oranges and yellows and if anybody's ever done that and then you print it and it looks dull there's a reason it has to convert it to seem like a sea monkey has a smaller color spectrum, and so it has to say, well, I don't came to this really bright one because, hey, you're mixing light together, you're going to get some bright colors, but we're going to do it in ink it's going toe shift. And so by working in the print mode, we said it was intent for print were already working in the smaller color spectrum so that's good. So any color that I create here, I can probably replicate pretty easily in rgb, so that's, why? If I know I'm going to print and digital, I start with print, and so then that way later I could say, hey, save this out is rgb or converted to rgb. All right? So that being said, I'm gonna pretend that we're printing here and we're gonna go with cia mike a, so I want to choose the color mode in my color panel, so I'm going to choose that color panel menu and I have a couple different options I'm only gonna always seem like a and r g b we're not gonna work with l a b right now, so I'm going to choose sam like a and I have these four frames that air here ready to put percentages in if I know a color, maybe I'm working on something for a corporation and they have their colors, their company colors and their colors, they actually have the value written out for you. And this happens a lot when you're printing is like, these are my colors, this one I have to have, you can type them in here, they want one hundred percent and fifty percent fifty, and then we'll do thirty percent get this nice aqua color here, so we could do that. We can put that color in, but what I tend to do because a lot of stuff I'm doing is for color, I'm not printing and four color on a printing press anymore. I'm going digital printing twins. I'm going to a color copier with a fancy front end attached to it. I'm going to send for my computer out to the color copier, which means I can wear with any color I want, so I'm just going to start mixing colors, whatever looks good I'm going to put in. Hundreds of colors in here so I'm just going to use the little color spectrum at the bottom and I'm just going to click and hold as I drag along the colors, the sliders air changing for me and I'm just going to go along till I find a color I like let's go look over in here in orange that's you know, my favorite color weird, we discussed that we'll let that go there's a bright orange, but because I'm working and seeing my k, I know it's perfectly fine, so I can choose that color and say, I really like that color I don't know if I'm going to use yet, but I like it so the first thing I usually do when I mixed a color down here go back up to the panel menu and choose add two swatches because I want to make sure if I like that color that I could get that exact color again and I didn't have to write down the values of that color so just added to the swatches and it threw it down here that's fine, we're gonna leave that down here and I'm going to come back up here and I'm going toe click this back to cia mike a and if I don't want to keep going to the menu instead of that, I could just hold on my shift key and click on the bottom and rotate through the color modules as well. So if I want to keep going back up here I can so again I'm just going to slide around till I find something I like that looks good let's add that to the swatches and will add one more and actually let's go into the rgb really quick so let's say we're in rgb and I decide I like this rgb color and someone says this air my colors amusing on my website, I'd like you to match that in print and they give me the value and instead I'm just going to actually select one well, I like that if you notice let's zoom in a little bit on that groups let's zoom in here if you notice there's a little exclamation point and it tells you that this is out of range it's actually going to tell you this out of gaman it's tell you that it's too wide for the same like a color, dammit. So what we want to do is we want to put that in there and it's very bright, but we would like it to be set in cia mike so I love it, but let's see what happens when I convert that to see him like a aside come up here and just tell it seemed like a you know it's it's shifted I'm going to undo that so you can see that again and redo that right? So it's rgb there and it seemed like a here it's not a huge difference but it's enough it might make a difference it's certainly not going to match the website but that's okay I mean we're talking about different websites look different on different, you know computers to vermonters two different people's eyes everything always looks different, right? But I know it's pretty close it snapped the closest equivalent of that rgb color, so I'm gonna go ahead and save that one as well and that to this watches are so that's how I mix color and I've done the fill right now let's actually play with the stroke really quick before we get into the swatches so I'm going to actually come over here and switch and just click the strokes of the stroke is at the front now I'm affecting the stroke color so we do the same thing let's actually hold on my shift key and click on the spectrum down below let's get back into the c m y que and I'm just gonna go ahead and give it a nice bright red they can't really see it that much and that's because my stroke is really thin it's a one point stroke so when open up the strokes panel and I'm just going to go ahead and bump up the weight of the stroke which is right here I'm going to bump that up just really fixed we can actually see it and of course I have these lines through it that is showing me the outline of the graphic that were in so I'm going to actually hit my w key so everything else goes away well, that doesn't make your eyes strobe I don't know what will all right, so I'm going to have this I think this looks like something I drew yesterday that was kind of giving me a migraine so there we go look at that s ok with this are stroke it's a very thick pink stroke but I bumped it up I can also do things like a line the center of the stroke to different parts of the image so for that I'm going to turn my my view back on and can you see this line that goes right down the middle? There is the outline of the frame that's the size of the frame and what's happening is right now the stroke is sixteen points eight points around the outside of that line and eight points on the inside so you want to keep that in mind when you're laying things out if I lay out a frame to size and then I give it this frame words half inside and half outside I've just sort of made that frame a little bit bigger because the size of the stroke has been pushed to the outside. I tend to keep it on this third option here or actually, I'm sort of second one where it actually puts the entire with of the stroke inside that frame, so if I've made it four by four and I gave it a sixteen point stroke, I would make sure all sixteen points of the stroke or inside that sixteen or that four by four inches, so I don't have the option shins there again if he set this with no document open, you come in and choose this there's no stroke, no document, open it all that will become your default behavior. Some of the things I could do on strokes that can choose the different types of stroke so I could do a wavy stroke if I want that's beautiful let's do something else, something like that. So I've got a few to choose from. You could also create your own. I'm not going to go into that right now, but you can do that from within this panel menu, stroke styles to go there, create your own nothing I could do with strokes, I don't necessarily have to have a closed frame like I have here earlier we did that the wavy one that we could put the type on it so I'm actually going to draw another wavy line with the pen tool a click and hold holding down my shift key and click and hold just make that same wavy line kind of that we made before and I'm gonna go ahead and make that really thick as well let's make that twelve points and maybe we give that a color as well let's just pick a cm like a color here that we can see and come back here and I can also change what the start and end of the stroke looks like so maybe at the start I have a circle and at the end I haven't arrowhead right so I can have this crazy little line that I have here but it has a little bit of a little character to it I use this a lot of times for boxes that I want text in or something like that I might draw let's use the same exact so exact thing that we just had I'm gonna come in here and I might draw holding down the shift key so I constrain those proportions and again I would probably use a guide but I might draw out like that do the same thing with that really thick line let's make it a twelve point line and I might at the end one an arrowhead so anyway I have that box and I can put text that in there if I want to I could even put a fill in their fill of nothing right now let's actually put a fill of yellow or something in there and it closes it off even though it's not a close shape it's still lets you do that so I could again take this frame and tell it that the content is text and now I can put some text in there as well obviously it's a little tight we can play with the margins will do that in a while one play with text but it was a quick way to make the take the strokes make some changes to the colors and to the shapes that are on there let's get back to the color's a little bit right? So I have these colors here beautiful and lovely let's actually close up our strokes panel and open up the swatches panel bring this to the top here so again I've used the color panel to create colors and throw them into the swatches now in the swatches penalty need to actually work with these now there's some that are already in here this is actually good I'm going to delete those those were here from probably last person to use the computer I've got a couple of here I'm just going to hold down the shift key and select some items that are in here, these were in here, I don't want them, I'm going to go ahead and just hit the trash can down here and delete those items. Now there may be something that is assigned to that because what happened was I had this circle or the square selected, and then I selected a color and it accidentally changed it to that color. That's one thing, we want to be careful of what we start selecting swatches over in this panel if we don't want to sign that colored anything, make sure nothing is selected in the document, but there was, but I could say, hey, yeah, we can send this over to some other color so let's send it to this green color so everything that had the color on it is going to be changed rights that's good and I got rid of those colors that I didn't need it all and that's something that I actually do it. My swatches panel is that, you know, it's one of things that we don't have, we don't have c m y que in here, which should be in here by default, but they were taken away from, well, whoever set this up and took them out, which is fine, I normally take those out because I never want to assign a sigh in color toe a frame sitting there or anything like that because what happens when you print it? You get the dots, right? You get the dots and because of the way screen printing is done, there's actual screens at different angles and it just creates you ever see a box that didn't look straight because it kind of dots on it that didn't line up exactly that's what happened, so I never assign it a color. The great thing is, if I put a color photo in here, sam wyche a photo and I printed it's going to automatically print separations for me, it's totally fine, but the other three that are in here by default when you open up the document, our rgb. So you've got the red, green and blue swatches, which I also never use. So what I do is I opened up a dot, open up no document, open up my swatches panel and delete all the ones I don't want to see all the time like red, green and blue, so I get rid of those and that's fine, and then if I know I'm doing something safe for in house corporate, maybe work in house somewhere and you're going to use the same ten colors all the time put them in your swatches panel with no document open than every time you open a new document those swatches are already in there so that's a good way to do that as well we're going talk about sharing swatches in a minute but you're using the same ones all the time you might as well put those in your swatches panel and get rid of the ones you're never going to use so I have these three here in this particular document and I could do a couple of things like first thing I want to do is I don't like the way this name got named because it just took the values that we put in there sam like a values and named it like that and that's pretty awful so I'm just going to grab one of those and double click and again because I haven't selected every time I select something over here in my swatches panel I'm assigning that color because I still have that square selected so at some point you probably want to de select that stop doing that but name with color value is on by default so it's going to go ahead and put the color values in there I don't want that I'm going to be select that and I might call this you know bright orange all right so I can come in here I'm going to leave everything else the same it's a process color because I created it seemed like a that's fine and all the values air there and that's totally fine and I'll say ok, so now I have an actual color that makes sense to me it's bright orange I will call us quote that's not aqua let's just call it blue periwinkle or something I will come in here and we'll call this bright green lights I just name them so that they make a little bit more since and again I might not end up using any of these I'm I just decided I like him but later on I might not use them and that's something that I do at the end before I'm ready to send off especially if I'm sending it to a printer like a print shop I'm sending it out for someone else to output I don't want to have all these colors in here that aren't being used it all I want to make sure that they are in there, they're being used I want to keep my swatches panel very clean so at the end of the day or when I'm ready to send this off, I might decide I'm never going to use this orange and this green so I might select both of those I'm going to do command, select or control select on a pc and then hit the trash just like we did before and if any of them are signed, this bright green is assigned it's going to say, what color would you like that bright green to be shifted to not actually going to delete them. The other thing I can do is come up here and choose under the panel menu choose select all unused, and it will grab all the ones that aren't being used, and I can delete those as well. So that's something else they do before I send it off to an output provider is I get rid of all the ones that aren't being used that makes sense, everybody all right? Cool. All right, so let's, get let's see we've got although I want to add unnamed as well. If I've created some in the color panel, I've created some colors and I've used them, but I haven't named them. I can add them to the swatch. So let me actually come down here and we'll just add a new color and it's there. But I haven't actually added to yet, so I come in here and I want to tell it out all unnamed colors. So it's going to add those two colors that I made it, the one with the swat, the stroke and this phil, neither one of those have been added to the swatches and again, that's a really good idea you don't want unnamed swatches floating around because those air invariably the ones you're going to want to use and they're not named and you have a friend on the values and then you're just going to be trying to match it, so you definitely want to do that? Are you able to use the eyedropper tool like if you opened up something that you didn't say it against you that you can use the eyedropper tool absolutely let's cancel out believe those in there all right? So let's close this up it's a little bit and I'm just going to tell it none that's the other choice that we have it we have none so I could come in, they're selected down here or appear wherever none just means that there's absolutely no phil it's not the same as white none means if I put something back behind it, we're definitely going to see it showing through. So say I have that let's send that to the back all right? So I can actually see that through if I select that same item and I fill it with paper now I can't see behind it if you know his paper is white right now we can change the color of paper papers kind of special it's in this brackets and it says that's not really a color that's ever going to be printed so paper just means the paper will show through or the digital file or whatever is going to show through. So the paper just says at this moment it's white but if I were printing this on a different color paper, I can change the color of paper to something that matches closely to give myself an idea of what it will look like when it shows through it's not gonna be accurate, but if I double click on the paper, I can come here and let's say I had a blue piece of paper and this is how I figure out the color I hold it up next to my screen like this and go that looks a about like that color blue and that's the best I could do, so what it does is it makes my whole pace board blue but it's nice because if you notice it's kind of interacting with this green a little bit, we're going to look at some output stuff tomorrow and how to get a better idea of what things will look like on paper. But in this case so my paper is blue but it's showing me that if I do that the paper color is going to show through that makes sense somebody it's different than none it's the paper color, right? So I'm gonna come back here I'll just make that white because that assumes that your paper is white you're probably never going to his registration so just don't use it don't look at it don't think about it just don't worry about it you may or may not if you're printing but even in printing I don't use it anymore so but registration shows up on every plate when you output color separations so we're not gonna we're not going to get into that today at all let's play with tense a little bit so I come in here and I have this item we have this lovely bright green I love it it's great green and it seemed like a it actually is fine it just seems like it's awfully bright for cia mike all right, so I'm going to come in here I'm going to tell it a tent so up here in the tinderbox I might put fifty percent now this is fifty percent of a tent this is not transparent I still can't see through anything that's behind it it's a tent so I'm putting fifty percent of that but what I usually want to do is I want to create another swatch that is fifty percent of that green right now so as soon as I put in fifty percent hit return I can come down here to them new swatches icon down here the little piece of paper thing and just click new and it creates a bright green fifty percent swatch and I'm going to move this. I'm actually going to grab this. You can rearrange where your swatches sit, I'm just grabbing it and drag it up under a bright green and drop it there. So now I have fifty percent. I may come in here and also do a seventy five percent sometimes they do every ten percent just so I have them. So I have all these great colors door with, but they're all the same in the same color and I click knew and dragged that oppa's well, but here's the cool thing I can take a lesson, they actually delete this and make this one hundred percent bright green. I can tell it I don't want the fifty percent swatch here anymore, I can grab that hit delete and it will go away and that's fine, but if I delete the bright green, the main one and hit delete, all my other ones will go away as well. So I'm actually not going to do that because these are all based on that one, but here's the cool thing if I go into bright green and double click on that and let's actually make it a darker green, and I say, ok, all my tints changes well. And that's why I do that because of eighteen, fifty percent fifty percent and don't save it and then I come back and want to change the color I've got to go and change all those ones that I've assigned attempt to so if I have them here and I've based him on here they're really locked into that particular one so if I change that color all the tints changes well and anything it had that assigned to it will also change so it's I have fifty percent green and then I go in and change the green to something entirely not green make it bright red everything changes as does the fifty percent tent of that particular one that makes sense yeah go ahead what happens if you change one of the tents? If I change one of the things I can change the tent and change the percentage and it's fine no, not the percentage like can you accidentally go into the tension actually change the color just sit or yeah, only be done in the meantime you can come down here and change that ten and everything changes because it's all linked together that it's all drawing from the same felt exactly exactly cool all right, so it makes sense somebody the tints in there all right, good morning, internet uh sorry about that look, technical difficulties there all right, so I'm going to leave this. We're going to go on from solids, and we're going to go into going to go into the some grady ints. So I'm going to come in here to grady in't that's this little button down here that these little buttons here, you've got all your colors, solids, ingredients, he's you're just you're solids and these air just rig radiance, having ingredients yet so it's kind of empty. So let's create a new grady in't instead of a new or nuke us solid color that we have. We have come here and say new grady ints watch I know there's some questions about grady ints earlier. So hopefully this will help that person with a great in question that we had. So what we could do with a great and we have two types of radiance. We have linear grady ints and we have radio radiance and a linear grady in is just going to go along a line and it's going to change transition from one color to another color. A radio one is going to do the same thing, but out in a circle so we'll start with with a linear one right now. So we come in here and I'm going to call it new grading swatch I'm actually gonna name in a minute once I know what colors were actually going to do right now we have black to white let's just do that we'll do black to white or white to black depending on how it is s o I'm going to go ahead and just say and it's going to go ahead and add it to their and of course because I had that square selected it's going to actually change that as well it is going to change that I'm going to create a new one and what I want to do is I want to click on one of the color stops down here so I don't want to go white to black I've got new colors I'm going to work with click on the white and suddenly I see my color sliders so I can start making a color from here or I can choose swatches so I've already got the swatches like mice will use those so I say great I would like it to go from the bright green which is now yellow and then click over here on this color stop and I would like it to go to the blue all right so now it's going from the yellow to the blue so I'll probably call it yellow to blue just so I know what it is and I don't want to add it yet, so I want to make a couple of changes to it. The other things I want to do is I maybe wanna have it so that it's a little more yellow than blue, so by default, the transition always happens at fifty percent second dragged this little slider, you can see that there's more yellow than blue or vice versa, so I could move that around and put this at whatever location I want someone say, and and then when I do that it on my places copy, because this is so you might want to make some changes to that. Well, actually, I do. I'm going to actually dragged this back down to the mid point, and I'm going to click down below, and that adds a whole nother color stop, so I keep adding more colors. You don't have to have just two colors, as I do that it automatically wants the transition to happen at fifty percent, so I need to add another color in here gonna grab swatches and we'll grab a let's do the orange I said now it's yellow to orange to blow, and again, it can change where the transition happens, all right, so let's to yellow to orange to blue, all right, we're going to add that as well and we saved done we've got three of those the's air three different radiance that we have. So when I play with this I'm actually going to go with the black white it's pretty pretty simple to see. So when I do that I can decide where this angle happened so I can see where the grady and happens I can have it work at an angle and I can have it transition and different spots right now it's taking up the whole entire length or with of this this item that's here but I can play with the grady and tool which is over here. I could click on that and I can double if I double click on it. It brings up the grady in panel and this is where I can choose here's, the radiant that I have, but I could make some tweaks to it and it will affect this occurrence of it on ly not changing it in the color swatches panel so I can come in and say, oh, actually I'd like it to happen at a forty five degree angle. So now my grady it happens at a forty five degree angle I can also reverse the colors so it's going to go black twice to white black and again I can play with this maybe I wanted to be a little bit more white than black I spoken change where that transition happens the other thing I can use do is use the grady and tool and come over here and if I decide I wanted to go in an angle but I don't know what the percentages I can just drag across and make it happen at that angle if I go from corner to corner I'm going to get the whole transition that nice smooth radiant but let's say I started in the middle and only come to the corner it's going to make that transition happen in half of that so you know this is a very it's brightstar quite all the way across the beginning and then suddenly the transition happens here so again using the grady and tool I could just sit and play with this until I get the grady in't that I'm hoping for I can also decide that instead of this being a linear radiant it's a radio radiant so now I've got that happening from the center outwards so one of things I like to do is take that radio grady int change my object let's convert that shape to a circle right let's actually make it a nice even circle is well so let's make it five by five writes we have a nice circle and I can grab that grady and tool let's actually grab it from the corner outwards we'll get a nice almost three dimensional look to that particular item and so have a nice three dimensional objects so you could get some nice kind of effects going there without using the bevel effect or anything like that. We just play with the grady ints and get it that way. You can also put a grady in't on a stroke, which is kind of an interesting thing to do, so I'm going to actually draw a square and we'll do the nice yellow phil, but on the stroke instead is well where we'll do the black to white radiant and then I'm gonna open up my strokes panel I'm going to make that stroke kind of kind of fats we can actually see it, so we actually can do that and kind of gives an interesting effect as well so we can play with that so you could put a stroke or a radiant on a stroke as well as on a film, so that's kind of radiance nice thing is we can see all of our colors together like I said here's all are solid colors, here's all argh radiance or we can break them out this way we can move them around and group them where we need them to be we can also open up other colors other libraries that we might have of color so under the panel menu will come in here and create new color swatch and color mode I have the rgb in the sand like a like I expect, but I also have pantone colors so if you're working with pantone's you're working and you're gonna print to color three colors something like that if you're printing in that that realm who have all of the pantone and these air the pantone plus which are actually the newer colors they keep changing their colors every year or two and then they don't tell us and then we find out later we've been using the wrong colors and it's kind of important at times and so the pantone solid coded let's say we're going coded I can choose that if I know what the color is says to sixty six I could type in the color or the number and add that as well. So now I have what's called a spot color, so I have that as well not going to go into what the difference between spotting process is if you know it cool if you don't you probably don't need to know it. I don't know it's another class, but I can show you that it she shows me that this is a build color it seemed like a but I have this little dot or a spot right? So it tells me that is a spot color so I can least visually see that that set up a spot color that's what all mixes of colors and then I can have rgb colors in there as well I have a new color swatch let's come in here and let's create an rgb color and will this choose one that looks great and now we have that and now that's what an rgb color looks like and so you argue be spot and ceo mike so can visually see the different types of colors all right, so let's add some color to something besides just a big square we're going to actually add color to an image so I'm going to take ah gray scale image and add color to it now it has to actually be gray scale so it has to have been set as gray scale or gray in whatever imaging software you have so and the case of this one is this photo shop I made sure that I made it a grayscale image it's not color is not saying my k not rgb so sometimes what happens is we'll put this in there and it looks gray scale looks totally black and white to me I bring it in and I can't change the color and I wonder why well the color has been taken out of it but the mode in photo shop is still set to be rgb so that sometimes an issue so what I want to do first is I'm gonna pull down this frame I need to remember that I turned on auto fit. This is why I don't normally turn it on. Turn on the frame just you can see the frame behind it and show you the difference between colorizing the frame and colorizing the image. So if I have the frame selected and I come over here and let's grab ourselves this nice green and of course I did the wrong thing. I did stroke, I wanted phil. So here's, what I do, this little teeny tiny arrow on the side here by click that it's swaps the two and that's what I'm infamous for doing so what I had did is I filled the frame with that green, and that looks all right, it's an interesting concept to do what it did is everything. Any time there was color showing through, there was a pixel of none showing through it's actually bleeding that green color through that's not exactly what I was trying to do. I'm going to undo that I wanted to colorize the frame, so I need to actually grab the image I'm sorry wanted colorized the image, obviously, so I select the image with the direct selection tool or just by clicking on it, hitting that translucent bagel that shows up here, and I want to look at the phil and when I do that my colors air here sometimes you might see them great out that would mean that this is not actually a grayscale file but it is it's gray scale and I wouldn't change that that color someone click and now it looks completely different us I should make a darker colors we can see it that actually looks really nice I kind of like the way that looks so what it did is if I have one hundred percent black it just changes to one hundred percent of this color so it's just taking anywhere that's the black and then shades of gray it's making it the shades of this blue I can also do some really odd things I could grab the frame as well and still at the color back behind. Now we get an interesting look a swell so I could actually merge the two together. I like to call that a poor man's do a tone that's not really a dual tone but, you know, looks kind of nice but so we could do some interesting combinations by colorizing the image versus the frame you can't colorize let's say a pdf or a gps because that color is already in there so anything that's already in there with the color locked inside you can't do anything to it has to be a grayscale going to take this out let's bring back in we'll bring in the same one but in color this time really color not poor man's color bring that in there and I want to actually use the eyedropper tool which was one of the questions so when we use the eyedropper tool yes we can so I'm gonna go ahead and let's bring this in and we'll call this will say lighthouse we'll do just kind of what we did before when we had the image down below and let's make that a lot bigger, I guess let's try eighty four let's see that's pretty good not as big as I wanted, but that's all right, we'll zoom in a little and I'm going to get rid of some of these panels by resetting my work space it's a nice way of throw everything off to the side there and I'm going to go ahead and choose excuse me I mean she's the eyedropper tool I'm gonna take a sip of water all right? So I'm going to choose the eyedrops. Michael and I want to pick a color out of the image to apply to my particular text that's down here and one thing I need to make sure when I'm applying color to text whether or not amusing the eyedropper tool or just choosing color, I want to make sure that I have the right things selected, so right now I have the frame selected and let's say click this little yellow that's the last color that I used by select that I've just colorized the frame that's not what I wanted to do. I wanted to make sure I'm colorizing the text so right here in this teeny tiny little icons here this says affects the container or the text itself so I can click text now I get a t in there so now you know I'm actually going to be colorizing the text, the fill of the text or the stroke of the text remember there's both most text is already just a solid film, but aiken select just the frame and it will affect all the text that's in there so I have that selected now I'm going to choose the eyedropper tool and I'm going to hold down the option key or the all key and what that's going to do is it's going to continually pick up something if I don't, who picks it up and then wants to drop that color everywhere, but by holding the option key, I'm going to continually pick up a color until I get it the way I want it, but because I have this text selected already now anything I pick up here will automatically be fed into that text some holding on the option here the all key and I'm going to click somewhere in that picture and that didn't show a lot it's a darker green let's try a light blue so I'm just gonna click around until I find a color that I like now keep in mind I'm hitting one pixel so I might think I'm going to hit something brown and ends up looking a little greener than I thought because I'm just clicking on one little pixel so I'm just going to do this and when I find one that I kind of like even if it's not the one I want I'm going to make sure I open up that color panel and hit add two swatches same thing hold on the option key and just keep holding that option key until I find another one that I like let's do that and add two swatches and then maybe the green and add two swatches now what it's doing when I add those swatches if you notice this is an rgb the color and that's because that image is rgb so it's going to pick it up in whatever color mode your image is actually in so probably not a big deal again I work a lot in rgb the images I get I'm not going to go into photo shop and change them to see him like a just myself just because I'm not going to do that most of the time you know as long as my skies are blue my apples air you know red or whatever you know, I don't worry about it so much because when I export to pdf, I'm going to convert it to see him like a at that point, so I really don't worry so much anymore about whether or not my images are argue beer, cia mike so any but when I do this I have to know that I'm creating rgb colors I may at the end come back into my swatches and actually convert those to see him like a just so I make sure I don't have anything that are really going to shift on me and find a surprise later on, so I'm double clicking on my rgb ones and I'm just going to change it to see him like a that's all I need to do is change those and I want to make sure I'm not going to get these big color ships and I might actually throw some big squares of color on there and start shifting the colors just to see how how off they're going to be but that's how we use the eyedropper tool to pick up color from other images that make sense to anybody color I think we're on let's do some questions on color really quick when you're exporting can you also export srg? Can I export srg? Yes, one of the options we have all the different color modes that are in there and my one other question was when I'm using the eyedropper tool, one of the warnings that I get is that the images of vector based or is a vector graphic and that the values air based on a low resolution rgb proxy how can I get past that? You are going to get that when you get the art when you use the vector just yet. So if you're not using raster images it's going to say that for you, ok? Most likely yes. So it's again, it's, just giving you the warning that it's going to pick up in whatever color motive was in so on with the vector when it's creating it. If it's a illustrator file, this should have been a higher resolution one if it's a u p s it is no is a native illustrator file. Okay, so it's, whatever the preview is that set up for that it's grabbing the preview, which is all that you're putting in in design, it can only grab whatever is in there. So it's grabbing the low resolution. Gotcha. Thanks. Sure do we have color questions from the internet? You have a ton of questions during the internet and I need to keep them simple color cause I want to let you know that as soon as you started talking about the pantone colors, about ten questions or not yeah excellent like okay, we're caught up on cushions yeah, ok, but luna star luna star from vancouver, washington is asking you can you adjust the opacity of color in the grady int can you just thehe pass it? You know you would need to create a black ashleigh that you would create let me ask you that you have to the opacity is going to be across the entire object so if you have a great aunt from the yellow to orange when you do that you would have a capacity to the whole object but as far as an opacity to just that color no, but you could probably combine it with the grady in't blur the radiant feather that we had and have it fade out to that so that would give you your opacity but as far as controlling the capacity of that one color in the grady and not that I'm aware of, I don't I don't think natively you could do that I think is a good I never thought of that I like this question this comes from trish two nine seven q and she asked, how much does the color change when your image changed when you converted it to see why am I ok? Ok, so when I converted to that my image, this image didn't change or you mean when I explore whatever well, let me rephrase that because of that a little wonky at first how much does the color of your image change when you convert to see why I'm case so it starts off in rgb for instance it depends it depends on the colors there they're like that bright color that I did was a huge difference some of them won't have any difference at all so it doesn't give you a warning if you're just working on swatches but if you take an image that has a lot of bright areas and it seemed like a photo I mean an rgb photo and converted you could see a huge shift and again that's one reason why you might want to work and seeing like images but because most people I know are not using a color managed workflow it really doesn't matter because just because it looks good or weird and shifted online does not mean is actually going to happen on the other ankle so yeah color is ah whole beast of itself all right, I'm going to bring up that question I asked earlier okay, you asked me to bring up you and you're talking about color can you apply and effect to an empty frame say a color to a grey scale radiant then have it be applied to a photo that is placed into the frame later? Yes, yes so yes shorter answer yes let's actually make you know phil and no stroke but what I'm going to do is apply something like let's just do a feather we'll do the basic feather that we have before we'll do happen inch and here so that image is there that we can't see it but it's there and as soon as I place a graphic inside of it let's drop that actually inside that image is actually already there actually to make him bigger so you can actually see that so yeah it's actually already there we could do the same thing with a great if you could have a great and applied to it or the grady int well the grady you can't because the grady is going to put a solid piece of color across it, of course, but you could do the grady int film that we are a great and feather that we had and have that sitting there as well and when you plop in an image so I think they're probably thinking of to have the frames already set up to but to put drop different pictures and there you absolutely can their thing you could do is also create an object style and we may hit objects styles I sometimes grab those and stick does and when I'm talking about paragraph in character styles where we set it up as a style so every time we create a frame already has this built into it so every new frame I have, my feather is already there, so when I drop in an image it's already being built for me, I don't even have to have the frame sitting there it's just already there to create, so hopefully, that answers their questions. So yes, thank you. Sure, kind of a follow up question that term, I think it's related in a follow up question from sig photo if you condemn mr right, how to do a great into an image so that all around the edges fade to a black background, so that would be like the actual, like a frame. Oh, yeah, similar to you just did. You would probably have to build two frames on top of each other because it wants to fade out to nothing that's, what the feather does is that it fades from the image out to nothing. I don't think the way to invert it all. I see what they're saying so that the image is solid on the outside and fades in, I think that's going to be an effect that you could probably could build it by tony, putting two frames on top of each other, one that's, a solid black frame, and one with a feathered edge on it on top of it, but they also have to have your picture image. On top of that is what they were with the blonde mode. You know what that means to me that, says goto, photoshopped work that sounds like fun. Things didn't work out that that was the other day, right, exactly. Just some of the some of the times when you start laying that, layering the images on the effects on top of each other, the way it blends with each other. Not so good, not like you would get a photo shop.

Class Description

Go in-depth into Adobe InDesign CS6 with Erica Gamet! This class takes you from the basics, getting familiar with the Adobe workspace, color basics, and working with pages and layers, to advanced type, graphics and table manipulation and working with long documents! It goes all the way from creation through output, whether print or digital. This class is designed for those with a firm knowledge of page layout, such as those migrating from QuarkXPress, PageMaker, or Word, and those who want to get past the basics of InDesign. Though taught on version CS6, the core information also pertains to versions CS4 and up.


Software Used: Adobe InDesign CS6

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