CorelDRAW X5 The Official Guide part 55 pptx

FIGURE 17-3 The Color docker is your one-stop shop for choosing by component values, by using a color model, and for choosing from custom predefined colors on the Palettes area.. ● Color

X-Rite has emerged as the color industry’s heavy-hitter after adding Pantone (the color-matching people) and Gretag Macbeth (proofing systems, monitor calibration hardware/software) to Munsell and other acquisitions in recent years If you have any questions about printing, packaging, paints, plastics, or just color in general, Xrite.com is the place to visit Their website contains not only catalog areas, but also many areas with seminar listings and free downloads of collateral material— all about color.

LAB Color

LAB is both a color space and a color model CorelDRAW offers LAB as a color model;

however, LAB—the color space—is device independent, and therefore it can be used to describe colors you see in the drawing window, on a physical plastic bottle of soda, and even

on a basketball Almost 100 years ago (this was before PCs) the Commission Internationale

de l’Eclairage (the CIE, the International Commission on Illumination) was established as a worldwide organ for standardizing and exchanging color specifications They are responsible for creating the LAB color model It successfully replicates the spectrum of human vision, and this is why there is a disproportionately large area of green in LAB color space This is because the human eye responds to this region of the visible spectrum more strongly than to

other hues LAB is modeled after one channel of Luminance, one color channel (named A) that runs from magenta to green, and another channel (named B) from blue to yellow When

you use LAB to describe a color, you’re (theoretically) assured color consistency LAB, the color space, is frequently used by software engineers as a conversion space When you want, for example, to convert an RGB bitmap to CMYK, the LAB color space is larger than both, and as a consequence, colors are not driven out of gamut when the pixels in such a bitmap are reassigned new component values

YIQ

The YIQ color model is similar in its components to LAB color; however, its purpose is for working with designs and text that are video-legal, as defined by the National Television Standards Committee (NTSC) YIQ’s components are one channel of luminosity, and two of chromacity (color) Standard definition TV is brighter than PC monitors, the color range is smaller, and if you get an assignment to draw a logo for a commercial, you’d use this color model HD television changes a lot of the broadcast rules concerning video-legal colors; check with your client before choosing YIQ as a color space for designing titles or anything for a TV assignment

Grayscale

You’d use the Grayscale color model (which actually has no hue) if you’re designing for one-color commercial printing and for laser print output You might find that a color design you’ve drawn doesn’t look right if printed to a laser printer: blue areas seem too faint, and reds look much too dark By using Grayscale, you take the influence of hue out of the color equation, and what you see onscreen is what you get on paper

You do not design with this color model; it’s only one color Registration is used for an object

when you want that object to be printed on all commercial press plates, including spot color

plates As the name suggests, registration applied, for example, to hairline paths around the

border of a design helps commercial press operators to see and keep all the printing plates in

registration when they review progressive proofs of the plates Also, if your design calls for

spot-color inks, you can use an object with registration color to manually knock out (remove)

areas on all other plates For example, if you want a headline printed using a spot color on top

of a photograph, a registration-colored object can be used to knock out the exact area on the

C, M, Y, and K plates where printed areas of the underlying photograph would obscure the

overprinted spot color

The following sections bring relevance to all of these explanations of color; you want to

put color to use in CorelDRAW, so it’s only fitting to move into where the palettes and other

features are located!

Using Color-Related Dockers

If you’ve been doing some independent exploring, you’ve certainly discovered the Uniform

fill option on the toolbox, but you’ve also noticed that it doesn’t dock; it is not a persistent

part of the interface The good news is that it’s not supposed to be Two dockers—covered

next—are used to handle almost all commands that define and edit color These are the

Color docker and the Color Palette Manager docker Let’s examine these features

Using the Color Docker

The Color docker, shown in Figure 17-3, is extremely convenient to work with and,

essentially, it’s the Uniform Fill dialog—smaller, dockable, and persistent in the workspace

When an object is selected, you can specify whether the color applies to the outline or fill

color of the object, and any changes to colors are immediately applied To open the Color

docker, click-hold on the Fill tool on the toolbox to reveal the flyout group of tools—Color

is at the bottom It’s also available when you choose Window | Dockers | Color Unlike with

Uniform Fill, you don’t need to have an object selected to call it

The Color docker is organized into three areas: color viewers and color sliders—as

discussed earlier on the Uniform Fill dialog—and fixed palettes (actually, they were never

broken…) You can display each area by clicking one of three buttons at the top of the

docker Each area is geared toward specifying a color using its unique parameters, and to

then applying that color to the fill and/or outline of a selected object Here’s how each of the

three areas is used for specifying color:

● Color sliders You can mix the components of any color model you choose from

the drop-down selector at top by dragging the sliders or entering percentages in the

number fields Notice that the sliders are in color and change dynamically, instantly

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updating to show you how much of a component affects the overall color, and the relationship between one component and the others

FIGURE 17-3 The Color docker is your one-stop shop for choosing by component values, by

using a color model, and for choosing from custom predefined colors on the Palettes area

Apply lock

Color sliders Color viewers Flyout menu options

Fixed palettes

Click to apply fill. Click to apply outline.

● Color viewers The color viewers (occasionally called color pickers in other

programs) on the Color docker basically offer the same options as the color viewers

on the Uniform Fill dialog; the Options button is simply located in a different place

so the palette is more compact onscreen

● Fixed palettes Use this area to choose a color from a swatch collection from vendors

such as Pantone, Trumatch, Focoltone, and others from the palette selector Use the flyout options menu to display a color by name; if you have tooltips turned on (Tools | Options | Workspace | Display), the names of the swatches appear when you hover your cursor, as shown in this illustration The slider at the bottom of this docker is dimmed if you’ve loaded Uniform Colors or any user or custom palette This slider is for creating

a mathematically precise color tint of an industry-standard solid color, such as any swatches in the Pantone Fashion + Home Cotton collection Solid colors can take tints, thus producing pastels, because the printer or a vendor of paints can mix white into this real-world, solid color according to numerical values Therefore, you can use this tint

slider with solid predefined colors, but not with process colors; process colors are created

in the physical world through separate passes of C, M, Y, and K pigments, and as

a consequence it’s impractical to tint the four components However, CorelDRAW professionals make spot colors for designs by applying a tint to a solid The technique works because a spot color always requires a separate printing plate

Ill 17-4

Solids colors can be turned into a tint when you print by assigning an object a percentage of the solid For example, if you want a tint of PANTONE 357 green, fill an object with 50% of the solid swatch When making the separations for your design, solids and percentages of color solids will print to the same plate Effectively, the white

of the paper becomes the “white paint” you mix with the solid to produce the tint.

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Tint slider

Solid Colors and Swatches

To quickly set up a tint of a solid CMYK or RGB color, you can click-hold on a swatch, release the mouse button after the flyout appears, and then choose from increments within the pop-up selector from solid at bottom right to white at top left You click the tint on the flyout, and then click Fill or Outline to apply the tint When you try this with a spot color, you’ll see one horizontal strip with solid at the left, and 0% at the right Also, if you choose a color from any of the spot color collections, you can use the Tint slider to create a percentage of the color, because spot colors are considered to be solids, while process colors use a combination of pigments

Swatches on the Color docker are “drag and drop”; alternatively, you can click the Fill, Outline, or both buttons in succession for “no miss” object coloring You can click-drag a color onto an object, selected or unselected, to instantly fill it If you have good skills with your mouse or other input device, you can set an outline color for an object by dragging and then dropping a color swatch on the edge of an object; even if the object has no outline attributes, the action of drag-dropping a color forces the object to take on a 0.5-point outline If you miss the edge and the object itself while attempting to apply a color, CorelDRAW lets you know this by changing the cursor’s appearance If you release the mouse button over an empty area, this is the same action

as redefining all object fill and/or outline properties, and you’ll get an onscreen confirmation box about this action You probably want to Cancel such an action—you might grow bored with having every new object you create filled with Pale Avocado

Click-hold to choose.

Drag and drop swatch.

Using the Color Palette Manager Docker

The Color Palette Manager docker, shown in Figure 17-4, gives you the option to manage

multiple palettes and palette colors To open the Color Palette Manager docker, choose

Window | Dockers | Color Palette Manager The docker is structured as a tree directory so

you can view palettes by folder as you browse, and it includes handy palette command

buttons

To make your own palettes and to work with this docker, which you’ll use frequently in

your work, follow these example steps

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FIGURE 17-4 Choose from a wide selection of palettes with the Color Palette Manager

docker

Open palette New from selection

New palette

Fixed spot

and CMYK

color palettes

User palettes

New from document

Open Palette Editor

Custom palettes

Accessing Color Palettes

1. Open the Color Palette Manager docker by choosing Window | Dockers | Color Palette Manager To open a palette—which docks to the left of the default color palette in the workspace—click the eye icon from its closed appearance to an open eye To close an open palette, click the eye from open to closed You can float an open palette by dragging the top of the color palette strip into the workspace

2. Create several objects (seven rectangles are fine), and then fill them with different colors using the (default) Color Palette wells Just select an object with the Pick tool, and then left-click a color well on the Color Palette

3. PressCTRL+Ato select all, and then click the Creates A New Palette From Selected Objects button on the top of the docker CorelDRAW prompts you for a new palette name and a location in the Save Palette As dialog Fill in the required information and then click Save As a result, all seven colors (plus black, derived from the object outline) now appear on a color palette to the left of the default in the workspace This is an invaluable method for saving colors you’ve spent a lot of time defining, and the palette can now be used on a new or existing document anytime If two objects share an identical color, the color is not duplicated on your palette

4. To open a saved palette, click the Opens A Palette folder icon on the top of the Color Palette Manager

Using the Color Styles Docker

Color Styles is the route to follow in CorelDRAW to create, name, and apply colors and

color relationships to objects.

Because all styles are associated with individual documents, you must have at least one document open to use the color tools available in the Color Styles docker.

Color styles are managed completely from within the Color Styles docker, shown in Figure 17-5, which is opened by choosing Tools | Color Styles The docker features command buttons for creating new styles, child colors, and shades

Follow these steps for an introduction to working with color styles.

Saving a Color as a Style

1. Open the Color Styles docker by choosing Tools | Color Styles

2. Click the New Color Style button in the docker The New Color Style dialog opens

Select a color and then click OK to create the style

3. To name your new style, select and then click the default color component label

field, enter a new name, and then click outside of the style text field to complete the

naming By default, each style you create is named by its color values For example,

a typical CMYK color would be labeled “C:18 M:45 Y:9 K:0.”

4. To edit a selected style’s color, click the Edit Color Style button to open the Select

Color dialog Click OK to complete the editing operation and close the dialog

To apply a master or child color from the Color Styles docker, drag the color directly

onto an object in the drawing window To add an object’s current color as a style,

drag the object into the docker window’s field area below the document folder icon.

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FIGURE 17-5 The Color Styles docker has commands for creating new styles and tints of

master colors

New Child Color(s)

New Color Style

Document Name

Edit Color Style

Auto-Create Color Styles

Convert Selected Color To Spot Color

Current Master Styles

Creating Child Colors

Child colors have a dynamic relationship with a defined master color style The child colors remain the same hue as the master color, but their brightness and/or saturation can be different Any hue changes made to the master color are automatically updated in the child colors, which is the real power of setting up a drawing using master color—in less than 30 seconds you can recolor a drawing so it’s significantly different from your original

To explore the master/child color relationship controlled using the Color Styles docker, run through these tutorial steps

Building a Parent-Child Relationship

1. Open the Color Styles docker by choosing Tools | Color Styles

2. Click the New Color Style button to open the New Color Style dialog Pick a color for your new style, and then click OK to create the style Select and click the style name, and then enter a unique name of your own for the color

3. With your style selected in the list, click the New Child Color(s) button in the docker

to open the Create A New Child Color dialog, shown in Figure 17-6

FIGURE 17-6 Control the number of child colors, the diversity of shades, brightness, and

saturation through this dialog

Click-drag to set

saturation and

brightness.

Number of child

shades added to

document color

styles

Lighter/darker

shades generated

Variety

4. By default, the child color is based on the Hue component of the master You can

change the Saturation and Brightness of the child colors by dragging their sliders or

by typing a value in their numeric fields

5. Enter a name for the new style or accept its default name, and click OK to close the

dialog The new child color appears in the Color Styles docker

6. Select the master once again, and click the Edit Color Style button in the docker to

open the Select Color dialog Change the style’s color to any other color, and click

OK to close the dialog Notice the style’s color is updated, and so is the hue of all

the child colors This same effect applies to any of the objects that feature either the

master color style or its associated child color

As an alternative to using the docker buttons, you can right-click a color style in the

docker, and then select commands from the pop-up menu.

A practical example of the usefulness of master and child colors is in a situation when

you know in advance that a client will want to see several different color schemes for an

illustration of a product, logo, or package label You begin with a set of parent colors, create

children for these “master” colors, design your design, and then when your client asks for a

revision (or several), changing the parent colors automatically changes the child colors This

is a very powerful feature, and for this reason color styles are local to a document—you can

edit a parent color in a file without worrying that you’re messing up a color in a different file

you also have open

You can create up to 20 shades of a master color in the Create A New Child Color

dialog If you need more, try creating a child of a child color The result is that all

the shades appear below the master color, so you could have, hypothetically, scores

of child colors based on one master.

Creating Styles from Selections

The Auto-Create Color Styles command button in the Color Styles docker lets you create a

collection of related color styles based on a selection in your document Clicking the

Auto-Create Color Styles command button opens the Automatically Auto-Create Color Styles dialog,

shown next

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