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- [Voiceover] Alright, now as promised



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I'm gonna be walking you

through every single one



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of the 23 harmony rules



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available from the color guide panel.



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And I'm gonna do so visually



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by actually showing

you how the rules work,



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but in order to fully understand things



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I need to introduce you to a little bit



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of general color theory,



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which probably sounds a little bit dull,



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but is in fact fancinating



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and ultimately essential

to understanding color



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inside Illustrator.



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However, as apposed to

showing you how things work



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inside Illustrator I'm

gonna show you in Photoshop,



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and that's because Photoshop

offers layer comps,



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making it easier to present

you with a slideshow.



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And so notice that I've

listed every single one



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of the 23 harmony rules,



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starting with complementary at the top



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and ending with pentagram at the bottom.



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Now let's start things

off by taking a look



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at the three color models



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offered both by Illustrator

and by Photoshop.



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Starting with RGB.



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Now RGB, of course, stands

for red, green, and blue



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and the colors are ultimately

arranged around a wheel.



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Starting with red at zero degrees



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and then we move a sixth of

the way around the circle,



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so 360 divided by six is 60 degrees,



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at which point we come across yellow,



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another 60 degrees at

120 we come across green,



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and then at 180 degrees we come to cyan.



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Now I want you to notice something



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about red versus cyan right here.



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As you can see the most saturated version



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of all the colors are arranged around



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the perimeter of the circle,



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then what happens is that red

gets less and less saturated



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going toward the center.



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What's really occurring is that



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we're incrementally adding cyan to the red



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in order to leech out its saturation



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and then as we move to the

other side of the circle



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we're incrementally removing red



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in order to brighten up the cyan.



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And as a result red and cyan



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are complementary colors.



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Another 60 degrees around the circle



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we come to blue,



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which is the color complement for yellow,



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and then finally we come to magenta,



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which is the color complement for green.



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And so RGB is the color model



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that's used to display and capture light,



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so it's used by your

computer screen for example,



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as well as your digital camera.



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The next color model is CMYK.



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The C, M, and Y stand for

cyan, magenta, and yellow,



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and the K stands for the key color black,



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which is used to darken up shadows.



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Now generally speaking the color wheel



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looks more or less the same.



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We have red going to yellow

going to green and so forth.



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There's cyan, which is the cyan ink,



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this guy right here is magenta,



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which is the M in CMYK,



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and then we have yellow up at 60 degrees.



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So in other words, the purpose of cyan ink



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is to absorb red light.



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The purpose of magenta ink



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is to absorb green light,



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and then purpose of yellow

is to absorb blue light.



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Once again, we're not

seeing black on this chart,



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because black is that key ink



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that is designed to introduce darkness.



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Now generally speaking the

difference between CMYK



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and RGB is that RGB is much brighter



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and that's because your computer screen



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is projecting light at you



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and as a result it can

create brighter colors.



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Whereas the brightest

color in the world of CMYK



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is the paper.



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The inks uniformally darken the colors



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and so they end up appearing

a little bit murkier as well.



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Next we have the most

challenging of the color models,



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but the one that makes the

most sense to our eyes.



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And that is the Lab color wheel.



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L by the way stands for luminance,



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so more or less brightness.



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We'll come to that in a moment.



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And A and B stand for opposing color axes.



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So the A axis runs

horizontally through this wheel



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from red to more or less

turquoise on the opposite side.



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B is vertical, so it goes

from yellow at the top



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down to blue here at the bottom.



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And as a result we get a

different arrangement of colors.



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Notice that instead of

appearing at 60 degrees



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yellow appears up here around 100 degrees,



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so in other words we have

this rich world of warm tones,



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including some great oranges,



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which only makes sense,



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because that's where all

of our skin tones reside.



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The area from green to cyan,



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which we can't distinguish nearly as well



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as the RGB wheel would imply,



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ends up getting compressed as you can see.



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We've got blue down here at the bottom



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and we've got this rich

array of violets and purples.



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Magenta plays a minor part

some place around here.



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And then notice instead

of grey at the center



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we have white.



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And that's because we're currently



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not seeing one of the ingredients,



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which is L for luminance.



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And that's because you

can't represent color



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in a two dimensional chart,



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such as a circle, you

need three dimensions.



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And that's why we have red, green,



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and blue for one color model,



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cyan, magenta, and yellow for another,



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again, K the black ink isn't a true color,



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and luminance as well as

the axes A and B for Lab.



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To really see what's going on

we need to project this circle



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in a 3-D space



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and essentially in this case represented



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as a bunch of planes,



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starting with the

brightest circle at the top



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and the darkest circle

down here at the bottom.



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Which is why this particular Lab circle



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is actually the top slice.



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With white at the center



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and the very brightest

colors around the perimeter.



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Now the reason I'm

focusing so much attention



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on the Lab color wheel



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is because, once again, it best represents



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how we perceive color



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and it also happens to be the color model



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that Illustrator uses to

calculate its 23 harmony rules



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and I'll show you exactly

how those rules work



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in the next movie.