- [Voiceover] Alright, now as promised
I'm gonna be walking you through every single one
of the 23 harmony rules
available from the color guide panel.
And I'm gonna do so visually
by actually showing you how the rules work,
but in order to fully understand things
I need to introduce you to a little bit
of general color theory,
which probably sounds a little bit dull,
but is in fact fancinating
and ultimately essential to understanding color
inside Illustrator.
However, as apposed to showing you how things work
inside Illustrator I'm gonna show you in Photoshop,
and that's because Photoshop offers layer comps,
making it easier to present you with a slideshow.
And so notice that I've listed every single one
of the 23 harmony rules,
starting with complementary at the top
and ending with pentagram at the bottom.
Now let's start things off by taking a look
at the three color models
offered both by Illustrator and by Photoshop.
Starting with RGB.
Now RGB, of course, stands for red, green, and blue
and the colors are ultimately arranged around a wheel.
Starting with red at zero degrees
and then we move a sixth of the way around the circle,
so 360 divided by six is 60 degrees,
at which point we come across yellow,
another 60 degrees at 120 we come across green,
and then at 180 degrees we come to cyan.
Now I want you to notice something
about red versus cyan right here.
As you can see the most saturated version
of all the colors are arranged around
the perimeter of the circle,
then what happens is that red gets less and less saturated
going toward the center.
What's really occurring is that
we're incrementally adding cyan to the red
in order to leech out its saturation
and then as we move to the other side of the circle
we're incrementally removing red
in order to brighten up the cyan.
And as a result red and cyan
are complementary colors.
Another 60 degrees around the circle
we come to blue,
which is the color complement for yellow,
and then finally we come to magenta,
which is the color complement for green.
And so RGB is the color model
that's used to display and capture light,
so it's used by your computer screen for example,
as well as your digital camera.
The next color model is CMYK.
The C, M, and Y stand for cyan, magenta, and yellow,
and the K stands for the key color black,
which is used to darken up shadows.
Now generally speaking the color wheel
looks more or less the same.
We have red going to yellow going to green and so forth.
There's cyan, which is the cyan ink,
this guy right here is magenta,
which is the M in CMYK,
and then we have yellow up at 60 degrees.
So in other words, the purpose of cyan ink
is to absorb red light.
The purpose of magenta ink
is to absorb green light,
and then purpose of yellow is to absorb blue light.
Once again, we're not seeing black on this chart,
because black is that key ink
that is designed to introduce darkness.
Now generally speaking the difference between CMYK
and RGB is that RGB is much brighter
and that's because your computer screen
is projecting light at you
and as a result it can create brighter colors.
Whereas the brightest color in the world of CMYK
is the paper.
The inks uniformally darken the colors
and so they end up appearing a little bit murkier as well.
Next we have the most challenging of the color models,
but the one that makes the most sense to our eyes.
And that is the Lab color wheel.
L by the way stands for luminance,
so more or less brightness.
We'll come to that in a moment.
And A and B stand for opposing color axes.
So the A axis runs horizontally through this wheel
from red to more or less turquoise on the opposite side.
B is vertical, so it goes from yellow at the top
down to blue here at the bottom.
And as a result we get a different arrangement of colors.
Notice that instead of appearing at 60 degrees
yellow appears up here around 100 degrees,
so in other words we have this rich world of warm tones,
including some great oranges,
which only makes sense,
because that's where all of our skin tones reside.
The area from green to cyan,
which we can't distinguish nearly as well
as the RGB wheel would imply,
ends up getting compressed as you can see.
We've got blue down here at the bottom
and we've got this rich array of violets and purples.
Magenta plays a minor part some place around here.
And then notice instead of grey at the center
we have white.
And that's because we're currently
not seeing one of the ingredients,
which is L for luminance.
And that's because you can't represent color
in a two dimensional chart,
such as a circle, you need three dimensions.
And that's why we have red, green,
and blue for one color model,
cyan, magenta, and yellow for another,
again, K the black ink isn't a true color,
and luminance as well as the axes A and B for Lab.
To really see what's going on we need to project this circle
in a 3-D space
and essentially in this case represented
as a bunch of planes,
starting with the brightest circle at the top
and the darkest circle down here at the bottom.
Which is why this particular Lab circle
is actually the top slice.
With white at the center
and the very brightest colors around the perimeter.
Now the reason I'm focusing so much attention
on the Lab color wheel
is because, once again, it best represents
how we perceive color
and it also happens to be the color model
that Illustrator uses to calculate its 23 harmony rules
and I'll show you exactly how those rules work
in the next movie.