Some object properties are reflected in the panel Attributes(attributes), we displayed it on the screen and saved it in the desktop settings (see lesson 1). If the panel is closed, you can bring it up on the screen by restarting the workspace, or through the menu Window or the key combination Ctrl+F11 (Fig. 6.16).
Rice. 6.16 – Panel Attributes(attributes)
Overprint This is a mode in which one element is superimposed on another without reverse. If you need to overlay black text or other elements on a colored plate, set the mode Overprint, otherwise, when printing, at the slightest misregistration of paints, image defects will be noticeable at the border of the elements (Fig. 6.17).
Rice. 6.17 – Image defects due to misregistration of paints ( Overprint Fill disabled)
When activated Overprint Fill the color of the die will not stand out when overlaying letters, and even if the inks are mismatched in printing, edge effects will not be observed (Fig. 6.18).
Rice. 6.18 – Mode Overprint Fill
In a similar way, you can set the mode Overprint Stroke for images that have an outline.
!!! To see the result of color overlay, you must constantly work in screen mode Overprint Preview, which is set in the menu View or the keyboard shortcut Alt+Shift+Ctrl+Y.
!!! It should be remembered that the mode Overprint cannot be set for shapes or text white on a colored background. When printing on paper, the role of white ink is the white color of the paper, so this mode will lead to the fact that the text will disappear in printing (the color of the solid will not stand out from under the figures). Make sure of this by constructing a square of any color (background), a shape on top of this square - the fill and outline are white - and checking the boxes Overprint Fill And Overprint Stroke.
Color overlay mode Overprint happens according to the scheme CMY (subtractive overlay - fig. 6.2, 6.19).
Rice. 6.19 – Color overlay in mode Overprint
Obviously, in this case, in the mode Overprint there should be a figure on top.
Construct the figures according to scheme 6.19, set the top mode Overprint and see the result of color overlay.
Transparency And blending mode coloring of objects is set in the panel Transparency(transparency) (Fig. 6.20). We displayed it on the screen and saved it in the desktop settings - in the same block with the panels Stroke And Gradient.
Rice. 6.20 – Panel Transparency
Blending modes are set in the window on the left; the default is Normal(normal). The remaining modes are borrowed from the program Adobe Photoshop , and will be studied by us as we get acquainted with this program. Transparency is set in the right window - as a percentage - from 0 to 100%. At zero transparency, the object becomes invisible.
In the advanced settings (opened by clicking the arrow in the upper right corner) you can set transparency settings for groups of objects.
To print, all effects must be removed, in particular in the case of transparency through the menu Object - Flatten Transparency(object – glue transparency).
Closely related to the theme of color are gradient and texture fills, which we’ll talk about later.
Exercise 6. Working with color
1. Open the file D:\Student\1st course\Illustrator\Color.ai and save it under your last name: D:\Student\1st course\Illustrator\Exercises\Last name_6.ai.
2. Color the three circles at the top of the exercise with the colors that make up the color model CMY. Turn on viewing mode Overprint Preview on the menu View and set the blending mode for all shapes Overprint Fill(panel Attributes). Make contour lines invisible.
3. Color the areas on the map next to each other with the colors of the circles and their pairwise intersections in any way except using an eyedropper, leaving the color and thickness of the contours unchanged. Recolor the fill of the areas, weakening the color by half (setting the color by numbers in CMYK rather than using transparency!).
4. Unlock the layer with the captions (“Text”) and set their blending mode Overprint Fill, and to the punches - Overprint Stroke. Lock the layer.
5. Paint the bottom part:
- first row of squares– set color characteristics in the color model H.S.B.(set the color by clicking on the “fill” square at the bottom of the toolbar): No. 1 – 360-88-81; No. 2 – 163-41-81; No. 3 – 50-100-100.
For square 2, adjust the color so that it appears without distortion in Web, for square 3 – so that it begins to play in CMYK(Fig. 6.8).
For the first square, turn off the visibility of the outline. Color the outline of the second square with the color 100-0-100-0 and swap the fill and outline colors. Make the third square 50% transparent. Note that the opacity changes simultaneously for the fill and the outline. If you need to get different values, you will have to make two objects - one with a fill without an outline, the second with an outline without a fill.
- second and third rows of squares: Transfer color to the squares using the eyedropper tool from the map at the top of the exercise. To do this, first select the square using the black arrow, then click on the “eyedropper” icon on the tool palette and then click on the outline on the map. Please note that not only the fill color is copied, but also the color and thickness of the outline.
Save the stroke color as a global color in the palette Swatches, calling it “Borders”, and one of the fill colors in any square is there as a spot color (pantone):
To save the outline color as a global color, select the shape with the desired outline, place the square with the outline color in the foreground in the toolbar by clicking on it. Next, go to the panel Swatches, click on the arrow in the upper right corner and select the first line in the menu that appears - New Swatch. In the dialog box that appears, specify the name of the color – Borders – and check the box Global.
To save a color as a pantone, do the same as saving a global color (with the difference that the fill color is saved, not the outline color) and then in the dialog box in the window Color Type select " Spot Color».
Check the appearance of saved colors on the panel Swatches. The square with the global color at the bottom right has a white corner, and the one with the pantone has the same corner with a dot inside (Fig. 6.9).
6. Sign the work, save it on disk and send it to your email.
Reversal is a technique in which elements are obtained by sealing the space surrounding them, for example, white text on a black or colored background.
Using color overlay or overprint, you can create interesting effects, a unique print, or simply get rid of artifacts.
By default, the image editing program sets the lower layers to ignore mode; if this does not happen, then the print will turn out to be a mess. But sometimes, the overprint mode can be useful.
For example, this mode can be used to eliminate ghosting around text that occurs when one color layer is slightly offset from another. If you turn on the blend mode for text over other colors, this will not happen.
Overprint can be used to mix colors when two different colors when superimposed on each other they give a third color. Recently, such prints have become popular.
Overlay, Darken or Multiply
An overprint is a set of instructions in a file that tells you how to mix ink in the printer. In turn, darkening (darken) and multiplication (multiply) are just transparency settings in your editor that simulate the overlay effect. The difference between these modes is that overprint will not be visible until you enable Overprint Preview in your document, because it is not a design element, but a print setting.
If you layer a magenta square on top of a cyan one and set the blend mode to Multiply or Burn, you'll get the same results. Illustrator and InDesign use the same rules for blending settings to export these effects to a print file. However, you need to remember that these are different effects and understand how these modes differ.
Replace the purple square with a cyan one and reduce the fill percentage by 50%. The fade and overlay effects will be the same, but the multiply effect will be different. Reduce the fill percentage of the top squares to 25 percent and you will see that all three effects are different from each other.
Create interesting effects with overlay
We've already seen how overlay can be used to mix two colors to create a third. This technique can be used to create interesting effects when two works are mixed. This can be especially useful if you are working within a limited Pantone palette.
To assign a blending mode to an object, select it in the Attributes panel. Don't forget to turn on Overprint Preview in the View menu for the effect to show up, otherwise it will look like nothing has changed.
Potential problems may arise when exporting an image for printing. By default, when printing to PDF or Postscript, the options are set to retain the Overprint setting, but they do not display this effect when you view the file in PDF.
In the Advanced Options Settings in Print Settings, change the Overprint and Transparency Flattener options to “Simulate” so that the overlay effect appears in the PDF file.
You can see an example of an interesting print using the blend mode below.
If you do not print your work yourself, then do not forget to warn that you are using the overprint effect in order to get exactly what you want in the output.
Color overlay is the basis of a method that has established itself as a classic English style watercolor painting, which is still very popular today.
When working with this method, a little pigment is mixed with a large amount of water, applied to paper and left to dry completely. Only after this the next layer is applied. The lightest colors and tones come first. Because they are illuminated by the whiteness of the paper, subtle and unexpected tones are created that differ from those applied in a single layer.
This exercise gives you an idea of the colors and tones that can be created by applying a series of uniform and gradated fills. Use this method to create a drawing, such as an imaginary landscape.
If each of your paints is transparent and only slightly darker in tone than the previous one, you can easily apply ten or more colors in certain areas and end up with a layer of paint that is not too dark and not too dense. Use your free time to practice layering transparent colors while the stretched paper or paints are drying, for example, or use it as a warm-up exercise before each painting session.
Materials:
- Non-hot pressed watercolor cardboard
- Watercolors: cobalt blue, indigo, ultramarine blue, phthalocyanine blue, bluish green, natural sienna, phthalocyanine green, cadmium yellow, cadmium orange, gum
- Brushes: wide watercolor, medium round
1
Using a wide brush, apply a pale layer of cobalt blue with a smooth transition of shades, diluting the paint with water so that in the lower part it is almost transparent. Let dry. Add some pale indigo to the cobalt blue and outline an imaginary range of hills. Tilt the tablet so that the water flows up to the tops of the hills, giving them a darker hue. Let the paint dry.
2
Mix ultramarine blue with slightly less indigo and mark another outline just below the first, hinting at the presence of closer hills and again tilting the tablet so that the paint flows towards the tops. Apply the resulting mixture as a fill with a smooth transition of shades, finishing at the bottom of the sheet with almost clear water. Let the paint dry.
3
Mix blue phthalocyanine pigment with a small amount of bluish green and apply the mixture as in step 2, going down to about the middle of the hilly landscape. If necessary, remove excess paint with a paper towel to prevent the greenery from dripping down and creating a clear border. Wait a bit. As layers of paint are applied, they become darker.
When working with drawing and correcting tools, the one selected from the list is important Mode(Mode) color blending mode.
Normal(Ordinary). In this mode it happens complete replacement the original color to the added color, taking into account transparency.
Dissolve(Dissolution). The original color is replaced with the added color with a random distribution and taking into account transparency.
Behind(Substrate). The mode is available only when working with layers containing transparent areas. For them, transparent pixels are painted over with the working color, and the button must be unlocked Lock Transparency in the palette Layers.
Clear(Cleaning). The mode is similar to the previous one in inverse version. Areas of the image that have the same color as the working color become transparent.
Darken(Replacement with dark). If the image color is lighter than the tool color, it is darkened.
If the image is darker, the color does not change. Multiply
(Multiplication). The resulting color is always darker than the original. If black is added, the resulting color also becomes black. White color does not affect the original color.Color Burn
(Darkening the base). Dimming with partial color replacement, carried out mainly in the dark shades of the image. The lighter the colors of the image and the instrument, the weaker the effect, and vice versa, the effect is strongest in dark tones. Color Linear
(Linear dimming). Decreases the brightness of image pixels according to the brightness of the working color. Lighten Darken.
(Replacement with light) The opposite effect of the mode Screen If the image is darker, the color does not change. (Lightening). The mode is the inverse of the mode and is used to create a glow effect.
(Multiplication). The resulting color is always darker than the original. If black is added, the resulting color also becomes black. White color does not affect the original color.The resulting color is always lighter than the original color. If white is added, the resulting color becomes white. Black color does not affect the original color. Dodge (Replacement with light) The opposite effect of the mode(Brightening the base). This is the mode
with partial replacement of the image color with the color of the instrument. The lighter the color of the image, the stronger the lightening. In the same direction, the color of the instrument also influences the strength of the effect. (Replacement with light) The opposite effect of the mode, Overlay (Overlap). Colors that are lighter than the tool color are converted in more If the image is darker, the color does not change. dark colors
– in mode. The brightness of colors and shadows does not change. All tones, except highlights and shadows, take on shades of the color of the instrument. Overlaying black and white does not affect the background.
Soft.(Hard light).
The same algorithm as the previous mode, but a stronger color shift is generated.. Vivid
(Living light). . Increases or decreases the contrast of the original image depending on the color contrast of the tool. If the injected color has more contrast than 50% gray, the image pixels are brightened by reducing the contrast. Otherwise, they are darkened by increasing their contrast.
Soft Pin (Scattered light). If the added color has a brightness of more than 50% gray, then the image pixels that are darker than the added pixels are replaced with them. If the working color has a lower brightness compared to 50% gray, then the image pixels that are lighter in comparison with them are replaced by the introduced ones. Otherwise, there are no changes to the original image. If the image is darker, the color does not change. Mix
(Hard mixing). Operates similarly to the mode, but a stronger color shift is generated. There is no change to the blacks and whites of the original image.
Difference (Difference). The resulting color is determined by the difference in the numerical characteristics of the original and added colors. (Hard mixing). Operates similarly to the mode Exclusion (Exception). Reminds me of mode, but only affects light and
dark colors and leaves the mids virtually untouched. When white is added, the color is inverted. Black color has no effect on the original color.
Hue (Color tone). The resulting color is shaded from the input color, but retains its saturation and vibrancy.
(Multiplication). The resulting color is always darker than the original. If black is added, the resulting color also becomes black. White color does not affect the original color. Saturation
(Saturation). The resulting color receives the saturation of the introduced color, while maintaining the hue and brightness of the original. (Color). The resulting color has the brightness of the original color, but with the hue and saturation of the added color. The mode is used to add a color tone to a monochrome image.
Luminosity (Brightness). The resulting color has the color and saturation of the original color, but with the brightness of the added color. Tool Mode eraser (Eraser) changes the color of all pixels to the background color if you are working with the main image or with a layer with fixed transparency, or makes all pixels transparent. On the list(Mode) The options bar shows the eraser operating modes: Paintbrush(Brush), Pencil(Pencils Pencil Block
(Square). When you select one of the shapes, the work is carried out in the background color in full accordance with the tool settings (visible tool size retains dimensions at any image scale). (Brightness). The resulting color has the color and saturation of the original color, but with the brightness of the added color. (Magic Eraser) acts like a magic wand, replacing image fragments with the background based on the color proximity of the pixels. The toolbar contains an option Tolerance(Tolerance), which determines the degree of proximity of the colors to be removed, the opacity parameter ( Opacity), as well as the smoothing flag fields ( Anti- aliased), pixel adjacency ( Contiguous) and removing pixels on all visible layers ( Use All Layers).
Tool Background (Brightness). The resulting color has the color and saturation of the original color, but with the brightness of the added color. (Background eraser) resembles a mixture of tools (Brightness). The resulting color has the color and saturation of the original color, but with the brightness of the added color.(Eraser) and retains dimensions at any image scale).(Brightness). The resulting color has the color and saturation of the original color, but with the brightness of the added color.(Magic eraser). The options panel reveals a list of three operating modes.
Discontiguous(Noncontiguous) removes the pixels of the color captured by the cross at the moment the mouse button is clicked, wherever they are in the image.
Contiguous(Contiguous) to remove pixels of the selected color (within a specified tolerance) only in areas adjacent to the tool's range of action.
Find EdgesContiguous, but with better edge retention.
Checkbox Protect Foreground (Multiplication). The resulting color is always darker than the original. If black is added, the resulting color also becomes black. White color does not affect the original color.(Main Color Preservation) preserves the pixels of the drawing color. List Sampling(Color Swatch) contains the following options: Contiguous– a color sample is selected at each point over which the tool pointer passes and is used to remove adjacent areas with different colors; Once(One time) – the color swatch is selected at the point of the first mouse click and is convenient when removing solid fills; BackgroundSwatch(Background Color) Selects the background color as the color swatch.
Luminosity Paint Bucket (Fill) is used to fill an area with a base color that is close (within tolerance) to the color of the clicked pixel. On the list Fill(Fill) of the options bar, you can select a fill with the primary color ( Foreground) or according to the sample ( Pattern). When you select the last option, a list with samples becomes available ( Pattern) decorative fills. To create a decorative fill pattern, you should create rectangular selecting a fragment of an image (with a zero feather value ( Feather)) and run the command DefinePattern(Define pattern) menu Edit.
Luminosity Gradient (Gradient) is used to create a fill with a smooth transition from one color to another. The options bar offers gradient options - linear ( (Darkening the base). Dimming with partial color replacement, carried out mainly in the dark shades of the image. The lighter the colors of the image and the instrument, the weaker the effect, and vice versa, the effect is strongest in dark tones.), radial ( Radial), conical ( Angle), reflected ( Reflected), diamond-shaped ( Diamond). In the list of gradients, you can select an existing sample, adjust the parameters and drag a line over the selection with the cursor (if there is no selection, the stretch will be applied to the entire image). The length of the line corresponds to the entire range of the stretch and, if the line is shorter than the selected area, the edges of the stretch are filled with pure boundary colors, and if it is longer, then only part of the stretch will fall into the area. Checkbox Inverse(Inversion) is used to reverse the order of colors in the stretch, checkbox Dither(Imitation) serves to simulate a color that is missing in a given palette using a combination of smaller dots from existing colors. There is a checkbox to use a transparency mask Transparency(Transparency). To create or edit a gradient, click in the stretch pattern window to open the window GradientEditor(Gradient Editor). On the list GradientType(Gradient type) option should be selected Solid(Solid). The markers below the preview bar define the colors in the gradient, clicking on the marker makes the fields available (Multiplication). The resulting color is always darker than the original. If black is added, the resulting color also becomes black. White color does not affect the original color.(Color) and Location(Position). Click on the field (Multiplication). The resulting color is always darker than the original. If black is added, the resulting color also becomes black. White color does not affect the original color. or double-click on the marker to open a dialog box color palette ((Multiplication). The resulting color is always darker than the original. If black is added, the resulting color also becomes black. White color does not affect the original color.Picker), where the color is selected. You can also assign a color using the tool Eyedropper(Pipette), which the cursor on the stretch bar turns into. Between the colors of the gradient there are midpoints marked with diamonds, the movement of which adjusts the smoothness of the flow. A new marker can be placed by clicking below the preview bar. Right of field (Multiplication). The resulting color is always darker than the original. If black is added, the resulting color also becomes black. White color does not affect the original color. There is a button with a triangle, clicking on which opens a menu of three items: Foreground/Background(Foreground/background color) assigns the current drawing/background color to the marker, User(Multiplication). The resulting color is always darker than the original. If black is added, the resulting color also becomes black. White color does not affect the original color.(User Color) assigns the selected color.
There are opacity markers above the preview bar. Once the marker is selected, the fields become available Opacity(Opacity) and Location(Position). Editing opacity is similar to editing colors.
After setting up the gradient by clicking the button New(New) You can save it in the samples window.
On the list GradientType(Gradient Type) There is another type of gradient - Noise(Random), colors in which are selected randomly by the program. The user can define the color range in one of the models − RGB,H.S.B.,Lab– list (Multiplication). The resulting color is always darker than the original. If black is added, the resulting color also becomes black. White color does not affect the original color.Model(Color model). The checkbox introduces some limitation on the composition of colors RestrictColors(Color Limit), checkbox AddTransparency(Add Transparency) randomly adds transparent areas. A new gradient set is created with the button Randomize(Random sampling). In field Roughness(Sharpness) determines the density and sharpness of color transitions (0-100%).
Luminosity Clone
Stamp
(Stamp) is used to copy an arbitrary area interactively. To copy an image, turn on the tool and hold down the key
Luminosity Healing Brush (Adjustment brush) is similar in principle to the tool CloneStamp, but unlike it, in the process of transferring pixels, the editor adapts the cloned fragment taking into account the texture, lighting and shading of the corrected area.
Luminosity Patch (Patch) like HealingBrush, takes into account the lighting, color, and texture of an area when cloning, but uses a selection instead of a brush. To work, you need to select an area that becomes either a recipient or a donor depending on the position of the switch Source/Destination on the toolbar. Having placed the cursor at the inner point of the area, you should simply drag it to a new location. When you click the button UsePattern the selected area is filled with the selected pattern, taking into account the same characteristics.
Luminosity (Multiplication). The resulting color is always darker than the original. If black is added, the resulting color also becomes black. White color does not affect the original color. replacement (Color Replacement) is a cross between the tool Brush(in mode (Multiplication). The resulting color is always darker than the original. If black is added, the resulting color also becomes black. White color does not affect the original color.) and instrument Background (Brightness). The resulting color has the color and saturation of the original color, but with the brightness of the added color.. List Sampling(Sample) contains a number of options. If Contiguous, then the color is replaced at each point over which the tool pointer passes, when Once(One time) - a sample of the color to be replaced is selected at the point of the first mouse click, when BackgroundSwatch(Background Color) Selects the background color as the color to replace.
Parameter Tolerance(Tolerance) determines the degree of similarity between the colors being replaced. List Limits, consisting of three operating modes, determines how the color will be replaced in the area of effect of the tool.
Discontiguous(Non-adjacent) replaces pixels of color within the range of the brush diameter.
Contiguous(Adjacent) replaces, within the range of the brush diameter, pixels of color adjacent in color to pixels located under the brush crosshair.
Find Edges(Edge selection) same as Contiguous, but with better edge retention. Anti- aliased Checkbox
Luminosity sets the smoothing of boundaries. Smudge (Finger) simulates the effect of smearing wet paint - the color is captured by the cursor at the beginning of the stroke and mixed with surrounding colors as it moves. CheckboxFinger Painting
Luminosity (Finger painting) allows you to add a base color to the shading. Blur (Blur) reduces and the tool Sharpen
(Square). When you select one of the shapes, the work is carried out in the background color in full accordance with the tool settings (visible tool size The resulting color is always lighter than the original color. If white is added, the resulting color becomes white. Black color does not affect the original color. (Sharpness) increases the color contrast of adjacent pixels in an image. Color (Dodge) weakens the tone level of the image. Tool
Luminosity (Dimmer) increases the tonal level of the image. Sponge The resulting color is always lighter than the original color. If white is added, the resulting color becomes white. Black color does not affect the original color.(Sponge) changes the saturation of tone and color. For tools Color And a list of tone levels is provided ( Range ) for selective influence: Midtones (Mid tones), Shadows (Shadows) Highlights Mode(Bright hues). For a tool in the list There are two modes: Desaturate (Decolorize) Saturate
(Saturate). You can assign a hue directly in the color palette by selecting the hue value of a given color from the drop-down list in 5% increments, or in the dialog box Fill and Stoke (Background and line). A hue can also be defined as a separate element of the palette associated with the base color. It is written about how this is done in ch. 19
. Finally, you can define a color hue as a separate color that is not associated with any other color. This is acceptable if you often edit the palette, removing unnecessary colors from it. When a base color is removed, all shades associated with it turn black. If the hue is defined as a separate color, these changes will not affect it. Lists Tint (Hue) in the dialog box Fill and Stroke Colors(Background and line) and in the palette Fill(Colors) are independent. If you assign an object's background a color that is a 60% shade of some base color, and then use the command
(Background) or color palette locally define a hue of 50%, then the base color will be “diluted” twice and the final hue will be only 30%. At the end of this chapter are some design tips regarding assigning shades of color.
Conditional "colors" In addition to the user-defined publication colors, the palette must contain four primary colors that cannot be deleted or edited. These are standard colors ([No color]), ([Paper]), ([Black]) and
-
([No color]). Overrides any color assignments PageMaker has made to the selected object. Setting this attribute to a PageMaker object will make it transparent. For imported objects, the attribute
unassigns colors to an object using PageMaker and returns the image to its original state.
You can use the lack of fill if you incorrectly assign a color to an imported object. To do this, you just need to apply the palette item ([No Color]) to the desired object, and the original colors of the object will be restored.
If the EPS file was imported and you were set to replace the image's named colors with those from the PageMaker palette, assigning no fill will return the image to its original appearance while overriding the PageMaker colors assigned during the import process.
You can also return the original colors to the EPS file by checking the Preserve EPS Colors(Save EPS Colors) in the sub-dialog box Print Color(Print, Color).
- ([Paper]) is also a “fake” color. It is used to set the mode of behavior of an object when it overlaps with other objects. Any object that has a color assigned to it ([Paper]), suppresses the colors of all underlying objects. The area of the page occupied by an object assigned a paper color is protected from ink, even to the extent that the object overlaps an object of a different color. If your publication is to be printed on colored paper, it may be advisable to edit the color definition ([Paper]) so that the image on the monitor more closely matches appearance pages after printing. But don't forget that this color simply means the absence of paint.
- ([Combination]). Assigned to an object, after which it is printed on all divided strips and photo plates. To achieve this effect, color defined as 100% coverage of all printing inks. You can edit this color by changing its hue (and only). Used to format crop markers, registration marks, photo plate markings, etc.
- ([Black]). The object is always printed with 100% black ink. This color can also be tinted.
Color overlay
Color overlay means that both overlapping objects are printed and their corresponding inks can be mixed on a sheet of paper. This opportunity is sometimes very convenient, but it should be used with extreme caution - when mixing paints, a third color may appear and the paint consumption rate per unit area of a sheet of paper may be exceeded (overmoistening). There is one exception - by default, black text in font size smaller than 24 points is always printed with an overlay. However, you can get the most qualified advice on specific issues at the printing house where your publication will be printed. PageMaker offers two ways to set the mode for printing objects with an overlay, that is, on top of other objects. If you want to set the blending mode only for selected objects, select the checkbox Overprint(Overlay) in the dialog box (Hue) in the dialog box(Background and line). If all elements of a given color should be printed with an overlay, the checkbox Overprint(Overlay) should be set in the dialog box Color Options(Color Options).
Note
If you want some objects of a given color to be printed as an overlay and others as suppressed, you can define both versions of the color in the Color Picker. However, they must be printed using the same printing plate. This effect can be achieved by defining one of the colors as 100% of the other and setting different blending modes for them. Base color You can print with overlay, shade - without overlay, or vice versa.
