فيلم آموزش اينديزاين cc به زبان فارسي و مثال محور ، آموزش InDesign 2017 نرم افزار کتاب نشر روميزي ، صفحه آرايي ، طراحي و چاپ ، آموزش اين ديزاين از مقدماتي تا پيشرفته
صفر تا صد آموزش اينديزاين Adobe InDesign

صفر تا صد آموزش ایندیزاین Adobe InDesign Typography

صفر تا صد آموزش ایندیزاین Adobe InDesign Typography

خرید آموزش  ایندیزاین


اکنون وقت آن است که با Adobe Illustrator شروع به کار کنید. و در این فیلم آموزشی  به زبان فارسی Adobe InDesign Typography - Getting Started with Illustrator ، من قصد دارم شما را از طریق برخی از اصول برنامه استفاده کنید. قبل از اینکه ما شروع کنیم، بیایید یک تور کوتاه از رابط را بیابیم. بالا در اینجا ما نوار استاندارد منوی استاندارد Adobe را داریم. بنابراین وقتی می شنوید که می گوئید، به چیزهایی مانند منوی فایل بروید، این چیزی است که من درباره آن صحبت می کنم. انتخاب، همان، و غیره. این همان پارامتر ناوبری پایه است که شما در کل Adobe Creative Cloud Suite دارید. در زیر نوار منو، این آیکون های کوچک را در اینجا مشاهده می کنید که به شما اجازه می دهد چیزهای مختلفی مانند رفتن به Adobe Bridge، باز کردن چیزها در Adobe Stock، ترتیب اسناد مختلف به روش های خاص، الگوهای مختلف و غیره. شما می توانید چیزی به نام عملکرد GPU را روشن کنید اگر میخواهید در مورد آن بیشتر بدانید، دوره های به روز رسانی Illustrator CC را بررسی کنید. به طور مستقیم زیر این کنترل پنل است. پانل کنترل دارای گزینه های مختلفی است که بر اساس ابزار انتخاب شده شما در هر زمان خاص تغییر می کنند. به عنوان مثال، در حال حاضر من انتخاب ابزار انتخاب شده است. بنابراین بسیاری از اینها به من مربوط است که چیزی بر روی صفحه انتخاب کرده است. بنابراین شما چیزهایی مثل رنگ پر رنگ، رنگ سکته را خواهید دید. به هر حال، که هر کدام به شیء پر شده است. رنگی که با آن پر شده است خارج، مرز، اساسا. شما همچنین قادر به کنترل چیزهایی مانند متن از اینجا هستید. وقتی کلیک بر روی ابزار Type کلیک می کنید، به طور خودکار گزینه های کاراکتر و پاراگراف را می دهد. در حال حاضر آنچه که در اینجا مشاهده می کنید هنگام انتخاب یک ابزار ممکن است کمی متفاوت از من باشد. چون من روی یک صفحه کوچکتر ضبط میکنم همانطور که اندازه صفحه را درون Illustrator تغییر می دهید، گزینه های بیشتری نمایش داده می شوند یا پنهان می شوند بسته به اینکه آیا شما کوچکتر یا بزرگتر می شوید. بنابراین برای مثال بر روی یک صفحه بزرگتر، پانل شخصیت و پاراگراف ممکن است در واقع یک منوی کشویی مانند این باشد، نه مجموعه ای از لینکهایی که روی آن کلیک میکنید. این همه کار برای صرفه جویی در فضا انجام شده است. اگر احساس میکنید که باید این را سفارشی کنید تا زمانی که چیزهای خاصی را مشاهده کنید، این آیکون کوچک در اینجا پایین میآید و همه چیز را که در حال حاضر درون کنترل پنل نمایش داده میشود نشان میدهد. شما می توانید همه چیز را روشن و خاموش کنید و مطمئن شوید که علامت چک در کنار آن وجود دارد اگر شما آن را می خواهید یا آن را با کلیک کردن بر روی آن و علامت چک کردن آن را خاموش کنید. Over here on the left we have the tools panel. Which includes selection tools at the top. We also have text and vector shape options here. So we have the type tool, rectangle tool which holds things like the rounded rectangle, ellipse, polygon, star and flare. We've also got and you can see here when I click on this new tool inside of Illustrator, it's called the Shaper tool. The first time you click on this, it's going to launch this, it's sort of like a little tutorial on how to use the Shaper tool. This is a new tool that as introduced in CC 2015. The release that happened around the time of the Adobe Mac's Conference. This is, of course, a brand new tool but you can see more of it in action inside of my Illustrator Essential Training course and also my Creative Cloud Updates course. I'm gonna close this now and you can see here we also have the eraser tool, a brush and a line segment tool. Underneath there we have things like rotate, which also houses things like reflect. We have a scale, shear and reshape tool. Anytime you wanna see all of the tools. Find the tool with a little triangle on the bottom-right corner. Click and hold. It'll show you all of those tools. So, the tools here also when you hover over them have a keyboard shortcut associated with them And it would be a good idea to start committing some of the more common ones to memory. Like "T" for type or "V" for selection or "P" for pen tool. All of those make it easier for you to switch tools on the fly without having to look for them over there in the tools panel. It also ensure that as they update the interface for Adobe Illustrator, even if they moved your favorite tool inside of another tool box or further down in the tools panel then you still know how to access it via the keyboard and you don't have to go hunting for it other here. At the bottom of the tools panel, you'll see things like your fill color and your stroke color. To target the fill or the stroke, click on it. So when I click the stroke, see how it comes in the foreground there? When I click on the fill, it puts the stroke in the background. You can choose to fill it with a solid color, a gradient color or no color. Down here are the drawing modes. Draw normal, draw behind and draw inside, all those are covered in depth in my Illustrator CC Essential Training Course. Alright, out here, this is knows as the Art Board. And the art board is actually what we're gonna use to navigate our way through this document. Over here are all the panels in the Illustrator by default they're collapsed into icon form. You could expand those with this little arrow right here. And that's gonna bring up all the panels for you. Anytime you hear me say, let's go to the blank panel. I'm just saying find that word. So let's say it's the brushes panel. Find brushes, click on it. It activates that panel. Down towards the bottom of this is where you'll see the art boards. I'll move these out so you could see them. Anytime you move panels around or you just wanna get back to where you came from, go up to this little jump menu and hit Reset Essentials or whatever the workspace is called at the time. And that will put everything back in it's place as it should be. Now I'm gonna go right here and open up the art boards panel again. Drag it out so you can see it. In the art boards panel we have several things that we wanna get to. Let's go right here, let's double-click on drawing shapes. Double-click right out to the right hand side of it. That's gonna take you to a blank canvas. But this is where we're gonna learn how to draw shapes in Illustrator. Go over to the left, select the rectangle tool and then just come out on your art board here. And right here at this drop down, click and just pick a color. Doesn't matter what color it is. And then just start drawing by clicking and dragging your mouse. That's as simple as it gets. If you wanna draw a perfect square, hold down the shift key while you're drawing. If you would like to draw out from the center point, go right to the center point you're trying to meet. Hold down the option key on the Mac, the alt key on the PC and click and drag out. And it will draw from the center point. Holding down shift and the option or alt key will constrain the proportions and draw directly from the center. Once you've draw something out, if you wanna remove it, hit the delete key and it will be removed. If you wanna draw another kind of shape, play around with something like the ellipse tool. Here we go. Just draw as many as those as you want. Now, if you want to modify the shapes after the fact, you can do so by grabbing the selection tool. Notice that on the circle, you get this little bar. When you hover over this dot on the side, It looks almost like a retro gaming character appears. You might know exactly who know I'm talking about, you might not. And when you grab this, you can actually turn this into like a pie graph. Making it super simple for you to create things like info graphics and stuff like that in Illustrator. The rectangles that you draw on Illustrator automatically have these little dots in each corner, indicating that you can grab them and click and drag to round off the corners. You can also, just double click one of those things and it will open up with the transform panel and you can change the exact dimensions of the corners from down here as well. Pretty cool. If you don't want the transform panel on your screen just the little "x" and it will go away. And there we go. Alright, let's go to the adding color section. Inside of the adding color section, what we're gonna do is target specific things and then give them a color. Right now, all you're seeing is a transparent object with a black stroke applied to it. So here's what we're gonna do. Target this little mustache down here. Hold down the shift key to select both pieces. And then the first thing we're gonna do is come over here and we're gonna hit the flip flop icon. When we do that, the mustache turns to a solid color. So we took the color off of the stroke and applied it directly to the fill. Now let's do the same thing up here. Let's grab the other portion of the hat. And if we flip flop again, what happens? Oh, it turns into that. So here's what we're gonna do, we're gonna undo that. And we're gonna give it a color. So how do we give it a color? We target the fill first then go over here to the swatches panel and in the swatches panel we can find a color something kinda like that, there you go. You get the idea. And now, let's just go through and make some changes to these. So we're gonna put these as a fill color. Make them white, there we go, just some accents there. And you'll notice also that this actually has like a border around the outside of it. But it's grouped together. Which makes a little bit difficult to see. So here's what we're gonna do here. We're going to double-click and that's going to enter us into what is called, Isolation Mode. In this isolation mode, what we're able to do is flip flop those, take that off. So it looks a little bit more, natural. Now how did I do that? Let's go back. I selected this object all together, double clicking it always be to go inside of group. So there's two things that are grouped in here. Clicking that allows me to select it. Flip flopping the colors. Selecting the stroke and applying none. Allows me to do that right there. Now this down here, flip flopping that... Now it's looking a little better. Now the Parmigianos text down here. That's all one thing. But we're gonna change the colors. There we go. Pizzeria and Deli. Just remove that stroke and add a little green. Here we go. The best thing about Illustrator, is if you make a mistake, command, control, Z usually will get you back out of it without any trouble. If you don't wanna do the trouble of double-clicking, things like that to get a hold of something. Press the letter "A" on your keyboard that switches you to something called the Direct Selection Tool. Which enable you to make a selection directly within, even a group. So here for instance, click here. That's gonna select that object, that I wanted. And I can change the color of it too. Let's say white. There we go. And then these little highlights here, we can change those to something kinda like an off-white color. There we go. And there we go. So there is applying color. Let's go to setting type. We have two types of text in Illustrator. We have what's called, Point Text and what's called Area Text. Point text is actually pretty simple, you grab the type tool, you point your mouse, you click and you type. That's point text. Once you've made your text out on the screen. You can choose the options up here, so you can increase the size. You can change the font. You can change the style and you can also set paragraph and character options as well. If you wanna commit to the text you've been typing, press the command or control key and the enter key. And that will automatically commit. You can also just grab the selection tool and click away from it, it will do the same thing. If you want to do area text, you click and drag a box. The size that you want it to be. Then you type. Something like that and as you can see, it automatically wraps to the next line. The main difference between point type and area type is that when your area type, the text will automatically flow based on the box that you've created. When you have point type, it's going to continue to go and go and go until you press the return key making it very hard for you to get really, nice even lines. So my recommendation is, if you're just doing one line, like a headline, use point text. If it needs to be anything like a paragraph, you need to use area text. You can also convert after the fact. So, right there, if I wanted this to be point text. I can go to type, convert to point type. And it's gonna convert that for me. If I want this to be area type, I go to type, convert to area type. Now I can increase the size of the box and I could continue typing or if I want to make it back again type, convert to point type. Very simple. So you can go back and forth between those two things. Let's double-click right here on Importing Graphics. So we need a graphic right here on the side. Let's go to the file menu and chose place. This is how you bring in graphics. So Chapter five, let's go down and let's bring in the pizza. We're gonna make sure "link" is checked down here at the bottom. Because we want to link to that object rather than embedding it into the Illustrator file. Linking to it makes sure that that file, displays in the Illustrator file but also doesn't bulk up the Illustrators file size. Let's go ahead and hit place. I'll get what's called a Loaded Cursor and I have two options here. I can just click to place it or I can come up here to this intersection and click to draw out a box. Something like that. Now I can also resize this of course. Holding down my shift key, constrains a porportions and then once you get that in there. What I'm gonna do is line it up with the edges of this art board. So we'll do this right here. A line horizontal right, there we go. Now, it overlaps so we're going to have do something called Changing the Stacking Order. Very issue to do. Right click on the object. Choose a range and either bring to front, bring forward, center backward or send to back. Bring to front means bringing it all the way to the front. Bring forward means step it forward one place in the stacking order. Send backward means sends it back one place in the stacking order. Sent to back, go to the very back. We want this, in the very back. So there we go. And now we have our image inside of there. Looks really good. Now a couple of courses you might want to check out to further your Illustrator knowledge. Number one, Introducting Illustrator by Deke McClenland. This is a great, get yourself started Illustrator course. It's gonna take you very quickly through the basis of illustrator, just enough to get you started. If you want the bigger Illustrator training, check out my Illustrator CC Essential Training course which takes you through most of the heavy hitting features of Illustrator and teaches you how to use in a practical way If you want the Spencer (mumbles) Illustrator course, check out Deke McClenland's Illustrator CC one-on-one series this goes all the way to fundamentals to advanced. Cover several hours of material and this is pretty much the go-to resource for everything Illustrator. Alright that's gonna wrap up our Getting Started with Illustrator section. Hopefully now we're ready to start tackling a project of our own.

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آموزش جامع Adobe InDesign Typography Planning Project

آموزش جامع Adobe InDesign Typography Planning Project

خرید آموزش  ایندیزاین

 

 

Adobe InDesign Typography - پروژه برنامه ریزی برای بازنویسی خلاصه Parmigianos خلاقانه به ویدئو راه حل می پردازد. امیدوارم از آن رضایت داشته باشید و شما مجموعه ای از طرح ها را برای لوگو و طراحی منو ایجاد کرده اید و همچنین در پالت رنگی و پالت رنگی برای این پروژه کار کرده اید که ما در سراسر آن قرار داریم بقیه این دوره. در حال حاضر، در این فیلم، من قصد دارم تا دقیقا همانطور که من در مورد تمام این تصمیمات مختلف که من در اینجا ساخته شده است. اول از همه، بیایید نگاه دقیقی به آنچه که من برای این انتخاب کرده ام، نگاه کنم. اگر در این پنجره کوچکی حرکت می کنم، می بینید که من یک پالت فرم بسیار ساده دارم، همه چیز بسیار تمیز و آسان است. من یک عنوان، یک زیرمجموعه و یک بدن دارم و بنابراین در این مورد، این چه چیزی است که به آن خدمت می شود، به عنوان بخش اصلی لوگوی خدمت می کند. این به عنوان بخشی از لوگو خدمت می کند. من قصد ندارم از آرم در تمام بدن استفاده کنم، اما این فونت کپی بدن است که من برای منو استفاده می کنم، و سپس از انواع این دو در تمام منو نیز استفاده خواهم کرد تا آن را به هم بزنم همه با هم. و بنابراین من واقعا دقیقا آنچه که من می خواهم آن را به مانند پایین در اینجا پایین، بنابراین من همیشه، شما می دانید، من می خواهم این بزرگ و جسور و قرمز است. من می خواهم این فقط نوعی رنگ لهجه باشد، و پس از آن، این را می خواهم که در انتها، یک شعار یا چیزی شبیه آن باشد که در آن مورد استفاده شود. بیایید به طرح های واقعی من حرکت کنیم. بنابراین طرح ریزه کاری من اینجاست، و اجازه دهید من روی صفحه کامل با این کار بنشینم تا بتوانید آن را ببینید. و من بزرگ می شوم. در اینجا طرح های کوچک من برای لوگوی Parmigianos وجود دارد. و بنابراین من شروع به پایین در اینجا در بالای صفحه و به یاد داشته باشید، پاپا Parmigianos می خواستم به بخشی از لوگو به نوعی، و بنابراین من سعی کردم او را به روش های مختلف ترکیب شده است. و در اینجا، شماره یک، او را که سبیل واقعا مشخص است. بنابراین من فکر کردم، شاید، شاید یک اسکریپت P با نوعی از بازی در p تبدیل به سبیل، و یا چیزی شبیه به آن. و سپس در اینجا من در مورد شاید مانند یک قطعه پیتزا با یک قاشق و چنگال فکر می کنم و آن را تشکیل یک P، چیزی شبیه به آن. پس فقط یک استاندارد، شما می دانید، نوع آرم سپر، Parmagianos پیتزا در بالا و پایین. در اینجا من در مورد اینکه چرا کاراکتر Papa Parmagiano را نگه ندارید، پیتزا را با Parmagianos بیرون بکشید، شاید. پایین در اینجا، یک سنتی تقریبا مانند نشانه مانند نشانه، و شما می توانید ببینید این بسیار وفاداری، هیچ جزئیات. من فقط می دانم که آنها بر اساس روند فکر من هستند. این تنها راهی است که می توانید این را بدانید. و بنابراین در اینجا یک مثال دیگر است، تقریبا مانند یک پیتزا است که نوع تاشو و بخار افزایش آن. Parmigianos ممکن است در جایی در پایین، و یا شاید در کنار لبه آن جریان می شود، نوع سرد است. Parmigianos Pizza، فقط استاندارد شده، شاید شما می دانید، بزرگ P، بزرگ S. من حتی می تواند قرار داده است، شما می دانید، مانند یک قاشق چوبی یا یک تکه پیتزا در بین آن، شاید. این یکی، درست مثل یک مثلث است. در اینجا، این به معنای بودن بود، و من نوعی از پایین در اینجا در پایین و خارج از اتاق مسدود شده بود. این یکی به نظر می رسید مانند خط آسمان شهر نیویورک در سراسر ماه بزرگ است که یک پیتزا با پارمیجیانوس در پایین است. و این یکی، تقریبا مثل یک گوجه فرنگی خوش شانس بود که می توانست سبیل را به آن اضافه کند، بنابراین جالب است. این مرد در اینجا تقریبا شبیه شخصیت شناخته شده Muppet، سرآشپز سوئدی است. و بنابراین، این مرد کوچک اینجا، شما می دانید، می تواند Papa Parmigiano باشد. می دانید، ابروهای بزرگ، سبیل های بزرگ، همه چیزهایی که از این نوع هستند.  Then we've got here, I thought maybe of a rendering of the Brooklyn Bridge since it's in Brooklyn. Parmigianos Pizza, that's a possibility. Here's a just like a little rendering of maybe their oven that they cook pizzas in, a big coal-fired oven. Then I thought, oh, maybe a pizza peel would be interesting with Parmigianos around the outside of it, big pizza in the middle. Right here, maybe this is just like a badge logo with a ribbon across the middle, with Papa Parmigiano holding a pizza. Something like that. Then we've got down here, just a standard ribbon with a pizza instead of having Popa Parmigiano. Then I've got just a regular, almost like a vector drawing of his face maybe, with him speaking the name, Parmigianos. I thought that was interesting. Then I thought about maybe a front door, rendering of their front door if it's interesting, but then after looking at the photo, I was kind of like eh, probably not. This one, almost like a modern geometric shape, but I thought this might be too modern and almost would look sort of retro 80s at the same time, not really. And then maybe a play on the Italian flag. Those are all of my ideas that I had, that came to mind and that's, you know, quite a bit of them. And, down here at the bottom, I chose to explore the following numbers: four, 11, and 14. So, number four, that's Parmigiano holding the pizza. I thought that was interesting because it featured Papa Parmigiano. And then, number 11 was another one that I wanted to look at, this one right here. And then, number 14 was this one right here with the pizza peel. And so, when I went in and actually started thinking about it, I thought, you know what? Yes, a play on Pop Parmigiano in some way, but only the main characteristics that set him apart from somebody else. So that would be the hat and a moustache, I don't need a mouth and eyes or anything like that. I don't need him holding a pizza, people know it's a pizza place. But I just want that big, like stylized, look to that. The pizza peel. I thought the pizza peel could come into play moreso on the menu design for this. And so I saved that idea in my idea vault and I decided, okay, I'm going to play on that a little bit when we get to designing the cover of the menu, but for now I'm not going to leave that in the logo. As for the menu itself, here's the basic layout of what I chose for this. And you can see I didn't fill up the sheet, because there's not that many ways to design a menu. But in this thing I chose okay maybe a one page trifold, I had just a single one page maybe set on like a wooden background or something like that. I thought about hey, wouldn't it be cool if we did something dye cut, where it looked like it was just a slice of pizza. And then I thought, okay, maybe tabloid sized, poster sized, with all of the ingredients listed with the logo big and bold in the middle and then some information down at the bottom. I thought about turning that on it's side, having all the ingredients laid out where you could like, pick one, pick two, pick three and then that equals your pizza, or something like that. Then I thought, eh, wouldn't it be cool if we used InDesign to create an interactive tablet menu, but that was quickly axed by the client as you'll see in my notes here in just a second. And I thought, okay, traditional take out, like bifold, menu, but I didn't think that that one would have enough room to accommodate all the information I would need to convey. And then, finally, a quad fold with all this information, just line by line, and then finally, a traditional just eight and a half by 11 cover inside and back cover. And so down here at the bottom I wrote some notes down here. It says to explore four and six. So I like the tabloid version of this, and I like number six, the traditional layout. Right down here it has a little star, and it says the client hates the tablet idea, so we automatically ax that one out. Always listen to your client's feedback. What I decided on going with here was just the standard eight and a half by 11. I thought the poster size would be too big for small kids to hold in their hand. And since this place is sort of representative of families, and they have low prices which means big groups of people are going to come here probably with kids, these need to be very easily held even by small hands. So I think the traditional size works out well. So let's get out of there, and now let's take a look at how I actually went about creating the typography and also the colors. So here I am on typekit.com, and I'm going to use type kit to sync all the fonts that I want to use for this. So, I wanted a big, bold sans serif font for the heading, so I started off automatically with sans serif. I want it on the desktop. And then I also wanted to make sure that it had a bold weight. So, I started looking in here. And first thing I did was choose Headings to make sure that I found exactly what I wanted. And when I was looking through it, the thing that caught my eye first was the a and the g, right here in Adelle Sans. And the reason it caught my eye was the ear on the g. I just thought that was kind of cool, I like the way that the bottom of the g is adjoined to this, and so I just like the overall stylings here. The counters are really nice, and so I went ahead and I added this to my fonts that I have on my computer. So I just click Use Fonts, made sure that I included the bold, because I want it to be bold, and I synched it over. And if you don't know how to do that go back to the typography chapter, and it'll show you how to do that. Next, I needed the accent piece, so I just turned off sans-serif, and went with a Serif font. But I wanted to make sure that this was a little thinner. So, I chose a thinner weight. And once I chose the thinner weight, I also turned off headings, because I want this to be not necessarily a heading, it could work as one, but also doesn't have to be one. And immediately the first one that showed up was Clavo. It matches the style with this little ear coming off the g and then it also matches this down at the bottom with the styling at the bottom. And so I thought you know what, that's going to work really nicely with that other typeface. And so I clicked Use. I made sure that I synced all of the smaller versions of this. I also included a bold in case I needed it. But I just went with mainly the thin and the light, because I wanted to experiment with those. So I chose that, and then finally I needed to find a good body font. I switched back to sans-serif. And when I switch back to sans-serif, I went ahead and chose a light weight, and I said, okay, make it good for paragraphs. That's what I said there. And started looking through. I use Proxima Nova all the time. I hate to get locked into that. These look too thick for me, because it's going to distract away from the headings and the subheadings. So I came to Museo Sans. And I wanted to take a look at it. And when I clicked on it, I started looking at it. The x-height is relatively tall for me. But I thought, it's going to work pretty well. It's kind of a thinner typeface with a higher x-height. Looks pretty good. I don't necessarily care about the bold stylings. I'm only interested in the 100 weight, which is where we're looking, right up here at the top. And so I went to the type tester, and I switched to the 100 weight, and I just typed out something like welcome to Parmigianos. And I got to looking at it, and I use this little slider all the time, I play with it to see exactly what it's going to look like at all different sizes. And it was quite readable. And I liked it. So I went ahead and I synced that one over as well. So I just clicked Use Fonts, made sure that the 100 weight was selected and synced it on over. And that's pretty much all of the process for developing the typeface palette for this design. The colors were a different story. We already went through and developed some colors for Parmigianos earlier in the course, if you remember. If I go to My Themes right here, you can actually see the Parmigianos that we did before, it's right here. And it's more of a traditional look, it's kind of muted compared to this new one. So how did I come to this conclusion right here. Let me click on the Info, and we'll go to the Edit screen and I'll just kind of walk you through what I did. So I started with my base color being red. And I wanted it to be bright, bright, bright red. So what did I do here? Well I took the CMYK values. So this is cyan, magenta, yellow, and black. That's what these four little things stand for. So what I did here was I made sure that the yellow and the magenta were both at 100%. That's going to give me bright, bright red. From there, I turned on the Complementary rule. And when I did that, I got this green right here. And so with this green, I then use that as a basis, and I thought, you know what, this one could use just a little bit more yellow in it. So, I just punched it up a little bit to 75, something like that. And when I did that, it made a change to my previous swatch. So I went back and I turned on Custom rules for this. And from there, I went back and I edited my base color. I said, you know what, I want that back to 100. I'm going to keep this at 175. And then I just started mixing all the rest of them. I knew I needed a black and a white, so I went ahead and just mixed up black. And then I went here, and I mixed up a white color, because I knew I needed them. And so I went, and I just switched those over. And this is the basic process for how I set this up. And finally, this one right here, I went and chose just a dark color for this, a darker red color. And when I got to the color that I wanted, I was happy with it. I thought, you know what, that's going to set off a good background contrast, because maybe I'll have a gradient in the background that goes from one to the other, something like that. Gives me a great contrast between the two, and also helps set apart from the rest of these as well. So I've got primary colors. I've got accent colors. I've got shadow colors. I've got good text colors. I'm good to go. And so, from there, I saved it. And so, let's go back to My Themes. And so, you can see, right here, that I've saved that as Parmigianos_V2 and as I save it, it synced itself to my Creative Cloud account. But I also went in here and downloaded it as an .ase file. That way, even the applications that don't sync with Cooler right out of the box, I can load this up in there and use those swatches any time I want. And the fact that I use CMYK values to develop these colors makes it even better, because then I know that they're going to look good in CMYK color. So, that's the breakdown of what I went through to develop all of the different things that we're going to need to build out this Parmigianos brand and menu design. So hopefully that makes a lot more sense to you now that you've gone through all of this stuff. I hope that you were able to come up with some great ideas all on your own. And I encourage you to work alongside me on my Parmigianos project as well as your own and continue to refine it until we get all the way to the very end, and you have an amazing finished product.

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