September 1, 2019 0

Illustrator: Loading the CS4 color settings in Illustrator | lynda.com


All right, now that you’ve gone ahead and
installed this Best Workflow CS4.csf file to the proper location, as documented
in the previous exercise, I want you to switch over to Illustrator and we are now
going to switch Illustrator to that Color Settings file. Now you can do this in one or two ways, you
can either establish a color settings directly inside of Illustrator or
if you own any skew of the full Creative Suite, multiple application Creative
Suite, then you can establish Color Settings from the Bridge if you like. All right, so I’ll show you how to do both. So let’s say you are working just in Illustrator;
you don’t have any of the other Creative Suite applications. Then you go up to the Edit menu and
you choose the Color Settings command or you can press Ctrl+Shift+K. That’s going
to be Command+Shift+K on the Mac. And that will bring up this Color Settings
dialog box right here. Now you’ll see that your color settings are
synchronized most likely, which might give you hope that everything is good,
because what that means is the color settings are synchronized across all
of the Creative Suite for applications, which is theoretically a great
thing except for the default settings or North American General Purpose
2, which means that your RGB working space is sRGB blah, blah, blah. Now the problem with sRGB is it’s a consumer
space. It’s a worse case scenario
RGB monitor color space is the idea, and it’s great for consumers. It’s really
awesome. It means that your monitor is getting along
with your scanner, which is getting along with your digital camera,
all of which you bought for a hundred bucks or something along those lines. But you are not a consumer. See, that’s the problem. You are a high end, discriminating, creative
professional and you need something better than rotten old
sRGB. And the only reason you can stick with sRGB
is if you are exclusively creating artwork for the web and nothing else. It’s a great web space but if you are
using the Save for Web and Devices command that I recommend in the fundamentals
portion of the series, then you are going to sRGB anyway. So you’re better off if you are doing any
printing whatsoever, if just once a year you print to your Inkjet printer, that’s all
the printing you do, you are still better off switching out this
sRGB space and switching out some other settings as well. So I’ll tell you what we are going to do. We are going to turn on the Advanced Mode
checkbox which is going to force a redisplay of the dialog box that’s much taller
as we can see right here. And then you are going to go up to the Settings
pop-up menu right there. You are
going to click on it and you are going to choose Best Workflow CS4. Now by the way North American General Purpose
2, that’s in North America. If you are in some other country, you may
see some other default setting. But if
it shows sRGB as your RGB space, you want to get away from it. So we are going
to go with Best Workflow CS4, you should see it if you installed the Best
Workflow CS4 settings in the previous exercise. If you don’t see it, you may
need to restart the Illustrator but that should not be necessary. Anyway, we’ll go ahead and choose Best Workflow
CS4 and you can see that that’s gone ahead and switch the RGB space over to
Adobe RGB (1998), which is a great general purpose, high end professional space
to be working in, across Illustrator, Photoshop, and other applications
that use RGB. Also by the way, you should see that all the
checkboxes are turned off right here and if you’ve selected Advanced Mode, you’ll
see that we’ve got Use Black Point Compensation turned on and Intent set
to Perceptual. Now this is a little
bit controversial right there, having the Intent set to Perceptual. The idea is
you’re working with either continuous tone images or lots of gradients,
gradient meshes, that kind of thing and what you care about is not exactly the
specific colors inside of those RGB images, for example, when you convert them
over to CMYK for prepress. But you are more concerned with the transitions
between colors. You want your
gradients to look nice and even without a lot of banding for example. Or you
want your continuous tone images to look nice and even, your photographs,
that kind of thing. That’s where perceptual comes in handy. Now if you care more about the exact specific
colors and you’re less concerned about banding and stair stepping and that
kind of thing inside gradients, those sorts of artifacts. Then you would switch from Perceptual over
to Relative Colorimetric, so you could do that as well. You don’t want Absolute
Colorimetric and you definitely do not want Saturation unless you are creating
a bunch of pie charts. Relative Colorimetric is your better way of
working and if you want to find out more, by the way, you can select one of these
options and then you are going to see a description down here at the bottom
of the dialog box. When you hover
over that option as you are seeing me do right now. All right, anyway, I’m
going to switch back to Perceptual because that’s what I’m recommending,
especially if you are doing any Photoshop work whatsoever. You might also by the way, you want to change
CMYK from Preserve Numbers (Ignore Linked Profiles) to Preserve Embedded
Profiles. That’s the way I’m
working and then you won’t see that little weird icon right next to CMYK there. You will, however, see this Unsynchronized. Your color settings are now
unsynchronized across the various Creative Suite applications. You are not
concerned about that if you’re only working with Illustrator, but if you do
have other Creative Suite applications and you have the full Creative Suite
installed, very important. Then you can synchronize the Color Settings
inside the Bridge and we are going to do that in
just a moment. First though, I want to note CMYK is set to
U.S. Web Coated (SWOP) v2, according to my best workflow settings. You may want to change it to something
else depending on if you are working in a different country and you don’t want
to work with U.S. Web Coated (SWOP) or you may have some custom settings that
were provided to you by your commercial printer, in which case you would go
ahead and load those instead. But I’m going to go ahead and stick with U.S.
Web Coated (SWOP) v2. All right, anyway, so we have now have Illustrator
setup the way we need it to be. Click OK in order to accept those settings. If you have the entire Creative Suite,
then what you do is just switch over to the Bridge and I’m going to show
you how that works in the next exercise.

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