Warning: Starting with version 3.3, Theme Editor is no longer included with Android Studio.
Android Studio includes a visual assistant called Theme Editor that helps you:
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- Create and modifythemes for your app.
- Adjust themes for different resource classifiers.
- Visualize the effect of color changes on common UI elements.
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This page introduces the fundamental tasks that you can perform with the ThemeEditor, and explains how to do so.
Theme Editor basics
This section describes how to access the Theme Editor, and how it is laid out.
Accessing the Theme Editor
There are two ways to open the Theme Editor:
- From an open styles XML file, such as
styles.xml
, clickOpen editor near the top-right of the file window. - From the Tools menu, choose Theme Editor.
Navigating the Theme Editor
The Theme Editor's main screen is divided into two sections. The left side of the editorshows what specific UI elements, such as the app bar or a raised button, look likewhen you apply the current theme to them. The right side of the editor displaysthe name of the current theme being previewed, the module where the theme is defined,and the settings for theme resources, such as Theme parent andcolorPrimary. You can modify design themes by changing these resourcesettings.
Themes and colors
The Theme Editor allows you to create new themes, modify existing ones, and manage thecolors that make up the themes.
Creating new themes
To create a theme, follow these steps:
- Open the Theme dropdown menu near the top of the rightside of the Theme Editor.
- Click Create New Theme.
- In the New Theme dialog, enter a name for the new theme.
- In the Parent theme name list, click on the parent from which the theme inherits initial resources.
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Renaming themes
To rename a theme, perform the following steps:
- Open the Theme dropdown menu near the top of the rightside of the Theme Editor.
- Click Rename theme-name.
- In the Rename dialog, enter a new name for the theme.
- (optional) To see how the changes will look, click Preview.
- To apply the changes, click Refactor.
Changing color resources
To change an existing color resource, such as colorPrimary,follow these steps:
- In the Theme Editor, click the colored square next to the name of the resource you want to change. The Resources dialog appears, which displays a list of color groups on the left side, and settings and information for the currently selected resource color on the right.
- Set a color for the theme resource by either selecting a color from the left panel, or by defining a new color, as described below.
Select a color

The colors are listed in the left column of the Resources dialog and arranged into the following groups.
- Project: These are colors inside your project. Some can be edited because they are part of your project sources, and some cannot be edited because they are part of the libraries you have included in your project.
- android: These are color resources that belong to the android namespace. They are part of the Android framework and cannot be edited.
- Theme Attributes: These are attributes of the currently selected theme. They are referenced by the theme and can change depending on what theme you have selected. Theme attributes are never editable from inside the Resources dialog.
Define a new color
- From the drop-down menu in the top-right of the Resources dialog, click Add new resource > New color Value. The Resources dialog displays an editable right pane with a blank Name field so you can enter a name for your custom color.
- Create the custom color as follows. The steps correspond to the callouts in figure 1.
- Type a name for your new color value in the empty Name field. No spaces or special characters allowed in the name. Underscores and numbers are okay.
- Color scale, Custom color field, and dropper:
- On the color scale, click the color you want. The color displays in the Custom color field.
- You can use the dropper to the left of the Custom color field to select a color. Click the dropper , and then click something visible anywhere on your computer screen. The color in the Custom color field changes to the color you selected.
- Just below the Custom color field, use the editable fields and drop-down menu on the left to specify an
RGB
,HSB
, orARGB
color by numeric values. The HEX equivalent of your color displays in the editable field to the far right. - To set the color opacity and hue, move the sliders below the color scale.
- Select one of the available predefined color squares. The color displays in the Custom Color field and the name changes to the name of the color you selected.
- Click OK to save your settings. The Resources dialog closes and returns you to the Theme Editor.
Modify a color
You can modify any editable color. If a color is editable, you see editable color, hue, opacity, name field, and device configuration fields. See Select Color if you want to know why some fields are editable and others are not.
- Adjust the settings.
- Click OK.
Match material color
If you have defined or modified a custom project color, you canensure that the color matches the closest material palette color by clicking CLOSEST MATERIALCOLOR, located next to Custom color. Android Studio changes the color and opacity valuesof the color you picked to the material color most like it, and replaces Custom color withthe name of the color from the material palette.
Note: The CLOSEST MATERIAL COLOR feature is visible only when the color is not already a material color.
Viewing state lists and colors
The Theme Editor allows you to previewcolors associated with different states. To do so, open the Resources dialog byclicking on the color set square next to the name of an editable state list resource. TheResources dialog displays a list of states, such as Selected, and thecolor value associated with the state. Click the color for a state to choose a differentcolor value.
To more fully control the states themselves, you can directly view and edit theirproperties in the XML file that defines them. For more information, see thedocumentation for theColorStateList
class.
Device-specific configurations
When a color is editable, you can choosedevice-specific configurations for your app to support. Performthe following steps to do so:
- Open the Resources dialog. For information about how to open the Resources dialog, see Changing color resources.
- Select a Project color, and then in the bottom of the right pane, click to expand Device Configuration, revealingthe source set and name of the XML file containing theresource, and a list of configuration-specific directories in which toplace that file.
- If necessary, change the XML file name.
- Check the boxes next to the directories corresponding to thedevice-specific configurations you wish to support. Any configurationfor which you do not specify a directory defaults to using the
values
directory.
For more information about the relationshipbetween directory names and configurations, seeSupporting Multiple Screens. For more information aboutsupported directory names, seeProviding Resources.
Picture the quick-cut transitions and comedic editing style of any Edgar Wright movie (the work of editor Chris Dickens, usually), the flash-bulb cuts and freeze frames of Martin Scorcese films (editor Thelma Schoonmaker) or the frantic and fabulous opening scene in City of God (editor Daniel Rezende). These are all different types of edits and cuts that one can make when putting together a story.
Once you master the edit types and learn why each one is important in different circumstances, you can make your projects more entertaining and your editing more efficient, and you can create a whole editing style of your own that reflects your creative side. But first, you have to learn them. Here are the different types of cuts (and a couple of transitions) you should know.
Standard Cut
This is the basic cut (also known as a hard cut) that puts two clips together, connecting the last frame of one and the beginning frame of the next. This is the most common cut, and doesn’t really invoke any meaning or feelings, as others do.
Jump Cut
This is a cut that pushes forward in time. It’s normally done within the same frame or composition, and many times it’s used within montages (see below). Here’s an example of jump cuts in the Pond5 “Create with Us” spot, at :13 and :20 seconds in:
Montage
A montage is an editing technique that, again, signifies the passage of time or helps to give an overall context to the story with quick cuts. You will often see athletes training or preparing for a big match in montages (Rocky IV has EIGHT!), but it can really be used for almost any transformation by any character(s), and is normally underscored by music.
Cross Dissolve
A cross dissolve can serve several purposes and motivations within the story. It can signify a passage of time or it can use the overlapping “layers” or dissolves to show multiple stories or scenes happening at once, but shot at different times. The most famous example of this is probably Apocalypse Now, but my favorite is from Spaceballs.
*Tip: don’t use cross dissolves for standard editing. There needs to be motivation behind the dissolve.
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Wipe
A wipe is a transition that uses an animation (mostly digital these days) that “wipes” the first scene away into the next scene. There are basic wipes (Star Wars), and there are more complex ones (The 90s TV show Home Improvement is coming to mind), but they can be seen as corny or cheesy, depending on whether you’re a snob or not. I’ve used star wipes, but only as a joke. Take these ridiculous wipes from Tim and Eric Awesome Show, Great Job. They work as a funny transition:
Fade In/Out
Pretty self-explanatory. You fade out one clip and fade in the other. This implies a passage of time most often, like a night-to-day switch or someone falling asleep, but can be a bit jarring if not used properly. You don’t really want to use this type of cut for standard applications.
J or L Cut
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J and L cuts are incredibly common. They get their names from how the clips line up in the editing software. An L cut is used when you want to have audio from clip A continue when clip B comes in. The J cut is the opposite, where the audio from clip B comes in when we’re still seeing clip A. Pretty much every documentary interview you’ve ever seen uses J and L cuts throughout. This video on Brooklyn Brewery is pretty much all J and L cuts.
Cutting on Action
This is what it sounds like. You cut at the point of action, because that’s what our eyes and brains are naturally expecting. When someone kicks open a door, we expect to see the change in angle when the door is kicked, not after it’s flown open and swaying for a moment. The bathroom scene from Pulp Fiction is an example of pretty much every cut being on the action (other than the cutaways, but more on that next).
Cutaway Shots
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Cutaways are shots that take viewers away from the main characters or action. They give extra context to the scene, and can create more tension and foreshadowing.
If you watch that scene from the last step again, you’ll see the cutaway shots that bring the whole thing together, and the most important cutaway at the end (which is only a couple of frames), which is the pop tarts popping out of the toaster. Tarantino cuts away to the cabinet to show the pop tarts, then to the gun, then to the bathroom door, all to give us the context and tell us that ‘there’s a dude in there!’ Then we forget about the pop tarts until BAM — they pop out and the shots are fired.
Cross Cut, aka Parallel Editing

This type of editing is when you cut between two different scenes that are happening at the same time in different places. It can be great for adding tension (heist movies use a lot of parallel editing, like showing someone breaking into a safe while a security guard walks toward their location). The quintessential cross-cut example these days is Inception, since there are four levels of (un)consciousness all happening at once — but this scene from Lord of the Rings is a good example as well.
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Match Cut
A match cut is an edit that gives a context and continuity to the scene and pushes it in a certain direction, without disorienting the viewer. You use it to either move between scenes or move around a space, while keeping everything coherent. A very basic version is shooting someone opening a door from behind, and then cutting to the opposite side as they walk through it. The most famous examples of match cuts are 2001: A Space Odyssey and Lawrence of Arabia (coincidentally when he blows out a match), but Tree of Life also contains match cuts (and many other types described previously) in the eternity scene.
Smash Cut
If you’ve got a loud scene that immediately goes to a quiet scene or vice versa, this is where you’d use the smash cut. You want to use it when you’re transitioning between two completely different scenes, emotions, or narratives and you need to make an abrupt transition. This is used a ton when people wake up from dreams, and it’s also used quite often in comedy — it’s also referred to as a “Gilligan Cut,” because the television show Gilligan’s Island often employed this edit. It’s when a character vehemently disagrees or is 100% confident about their stance, and then you cut to them doing exactly the opposite.
Invisible Cut
You can really prove just how creative you are as an editor (or how organized you are in pre-production) by adding some invisible cuts in your video or film. The goal of these types of cuts is to keep the shot looking like one continuous take. Invisible cuts were used to nab Oscar Gold in Gravity, and are the main reason Birdman appears to be seamless. You can replicate this by filling the end of one frame entirely with something black or low-lit (or of a similar color in general) and blending it with the beginning of the next clip, or doing something like a whip pan (a staple of Paul Thomas Anderson’s films).
Another way to create invisible cuts is by using something like a light leak or lens flare, or by using a foreground object to fill the frame and transition to the next clip or scene. Here’s a quick example I did using a couple of Pond5 clips:
Eiffel Tower and Sacre Coeur clips by fuzzfocus
The last thing I’ll say about types of edits is that you can experiment by using multiple cuts at the same time. You can use a match dissolve (someone turning into a monster or creature), a matching cross cut (twins experiencing a feeling at the same time in different places), smash cut j cut (someone wakes up from a dream and their partner off camera asks them if they’re okay), etc., etc. A good example of all kinds of cutting techniques is in the film Spring Breakers:
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If you want one last example of all the types of cuts, let our friends at Rocket Jump Film School help you out.
Now get to cutting, and don’t be afraid to experiment!
Top image: Vintage 8mm Movie Editing Desktop with Reels and Clapper by fabiopagani
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