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Illustrator CS4 Beyond the Basics
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Considering three types of color swatches


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Illustrator CS4 Beyond the Basics

with Mordy Golding

Video: Considering three types of color swatches

There are two basic ways to apply color to your artwork inside of Illustrator. One way is what I would like to refer to as the Bob Ross method. You use the Color panel here to custom mix primary colors. So as you need a color, you simply mix what you need and then you apply it to your artwork. However, when you do so, it can be quite tedious if you want to repeat and use the color in multiple areas of your document. So that's why there is a second method of applying colors inside of Illustrator and that's what I would call the Crayola method or working with swatches. If you think about that big box of crayons, like 64 or 128 crayons, you already have all these predefined colors. Whenever you want to use, you just pick up that color crayon and you go to town.
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  1. 2m 4s
    1. Welcome
      1m 41s
    2. Using the exercise files
      23s
  2. 33m 20s
    1. Introducing Live Paint
      38s
    2. Drawing in Illustrator
      4m 21s
    3. Creating a Live Paint group
      2m 54s
    4. Using the Live Paint Bucket tool
      3m 17s
    5. Using Live Paint with open paths
      2m 29s
    6. Detecting gaps in Live Paint groups
      4m 17s
    7. Adding paths to a Live Paint group
      3m 41s
    8. Using the Live Paint Selection tool
      5m 44s
    9. Releasing and expanding Live Paint groups
      2m 55s
    10. Understanding how Live Paint groups work
      3m 4s
  3. 49m 36s
    1. Introducing the trace options
      39s
    2. Setting expectations: Live Trace
      2m 26s
    3. Using the Live Trace feature
      1m 51s
    4. Understanding how Live Trace works
      5m 41s
    5. Making raster-based adjustments
      5m 52s
    6. Tracing with fills, strokes, or both
      2m 55s
    7. Making vector-based adjustments
      6m 12s
    8. Adjusting colors in Live Trace
      4m 39s
    9. Using Photoshop with Live Trace
      5m 22s
    10. Releasing and expanding Live Trace artwork
      2m 58s
    11. Saving and exporting Live Trace presets
      2m 36s
    12. Tracing in Batch mode with Adobe Bridge
      1m 35s
    13. Turning an image into mosaic tiles
      2m 28s
    14. Tracing an image manually
      4m 22s
  4. 1h 24m
    1. Introducing 3D
      33s
    2. Setting expectations: 3D in Illustrator
      2m 53s
    3. How fills and strokes affect 3D artwork
      4m 43s
    4. Applying the 3D Extrude & Bevel effect
      6m 25s
    5. Applying a bevel
      5m 40s
    6. Showing the hidden faces of a 3D object
      4m 49s
    7. Applying the 3D Revolve effect
      5m 22s
    8. Visualizing the revolve axis
      3m 5s
    9. Applying the 3D Rotate effect
      1m 35s
    10. Adjusting surface settings
      9m 33s
    11. Understanding the importance of 3D and groups
      3m 24s
    12. Preparing art for mapping
      10m 19s
    13. Mapping artwork to a 3D surface
      14m 21s
    14. Hiding geometry with 3D artwork mapping
      4m 0s
    15. Extending the use of 3D in Illustrator
      8m 7s
  5. 44m 37s
    1. Introducing transformations and effects
      32s
    2. Using the Transform panel
      12m 37s
    3. Repeating transformations
      5m 23s
    4. Using the Transform Each function
      3m 48s
    5. Using the Convert to Shape effects
      5m 49s
    6. Using the Distort & Transform effects
      5m 12s
    7. Using the Path effects
      6m 58s
    8. Using the Pathfinder effects
      4m 18s
  6. 28m 23s
    1. Introducing graphic styles
      33s
    2. Applying graphic styles
      10m 8s
    3. Defining graphic styles
      8m 46s
    4. Previewing graphic styles
      2m 10s
    5. Modifying graphic styles
      3m 30s
    6. Understanding graphic styles for text
      3m 16s
  7. 22m 49s
    1. Introducing advanced masking techniques
      32s
    2. Understanding clipping masks
      7m 15s
    3. Using layer clipping masks
      6m 30s
    4. Creating opacity masks
      8m 32s
  8. 1h 6m
    1. Introducing color
      40s
    2. Considering three types of color swatches
      7m 7s
    3. Managing color groups
      2m 58s
    4. Understanding the HSB color wheel
      3m 57s
    5. Understanding color harmonies
      2m 57s
    6. Using the color guide
      3m 54s
    7. Limiting the color guide
      3m 17s
    8. Modifying color with the Recolor Artwork feature
      6m 25s
    9. Using the Edit tab to adjust color
      5m 44s
    10. Using the Assign tab to replace colors
      8m 37s
    11. Making global color adjustments
      2m 17s
    12. Using Recolor options
      7m 3s
    13. Converting artwork to grayscale
      3m 23s
    14. Simulating artwork on different devices
      3m 18s
    15. Accessing Kuler directly from Illustrator
      2m 7s
    16. Ensuring high contrast for color-blind people
      2m 42s
  9. 53m 19s
    1. Introducing transparency
      40s
    2. Understanding transparency flattening
      2m 31s
    3. Exercising the two rules of transparency flattening
      10m 53s
    4. Understanding complex regions in transparency flattening
      4m 50s
    5. Exploring the transparency flattener settings
      8m 37s
    6. Using transparency flattening and object stacking order
      6m 39s
    7. Using the Flattener Preview panel
      6m 31s
    8. Creating and sharing Transparency Flattener presets
      2m 25s
    9. Working within an EPS workflow
      5m 3s
    10. Understanding the Illustrator and InDesign workflow
      5m 10s
  10. 50m 1s
    1. Introducing prepress and output
      23s
    2. Understanding resolutions
      8m 27s
    3. Discovering RGB and CMYK "gotchas"
      5m 42s
    4. Using Overprints and Overprint Preview
      7m 43s
    5. Understanding "book color" and proofing spot colors
      8m 1s
    6. Collecting vital information with Document Info
      2m 28s
    7. Previewing color separations onscreen
      1m 12s
    8. Making 3D artwork look good
      2m 16s
    9. Seeing white lines and knowing what to do about them
      2m 41s
    10. Creating "bulletproof" press-ready PDF files
      3m 45s
    11. Protecting content with secure PDFs
      2m 48s
    12. Using PDF presets
      2m 47s
    13. Moving forward: The Adobe PDF Print Engine
      1m 48s
  11. 35m 43s
    1. Introducing distortions
      27s
    2. Using the Warp effect
      4m 20s
    3. The Warp effect vs. envelope distortion
      3m 48s
    4. Applying the Make with Warp envelope distortion
      2m 45s
    5. Applying the Make with Mesh envelope distortion
      2m 41s
    6. Applying the Make with Top Object envelope distortion
      3m 45s
    7. Editing envelopes
      5m 0s
    8. Adjusting envelope settings
      4m 2s
    9. Releasing and expanding envelope distortions
      1m 44s
    10. Applying envelope distortions to text
      1m 27s
    11. Using the liquify distortion tools
      3m 5s
    12. Customizing the liquify tools
      2m 39s
  12. 28m 56s
    1. Introducing blends
      32s
    2. Blending two objects
      6m 18s
    3. Adjusting blend options
      5m 47s
    4. Blending anchor points
      5m 36s
    5. Blending three or more objects
      2m 9s
    6. Replacing the spine of a blend
      4m 32s
    7. Reversing the direction of a blend
      2m 15s
    8. Releasing and expanding a blend
      1m 47s
  13. 46m 54s
    1. Introducing charts and graphs
      35s
    2. Setting expectations: Graphs in Illustrator
      3m 19s
    3. Creating a chart
      8m 2s
    4. Importing data
      3m 34s
    5. Formatting data
      5m 1s
    6. Customizing a chart
      10m 21s
    7. Combining chart types
      2m 40s
    8. Creating graph designs
      6m 0s
    9. Styling and updating graphs
      5m 33s
    10. Ungrouping graphs
      1m 49s
  14. 26m 36s
    1. Introducing Gradient Mesh
      23s
    2. Understanding the Gradient Mesh feature
      9m 34s
    3. Using Gradient Mesh to add contoured shading
      6m 14s
    4. Using Gradient Mesh to create photorealistic effects
      10m 25s
  15. 8m 18s
    1. Introducing flare effects
      25s
    2. Drawing a lens flare
      3m 28s
    3. Modifying a lens flare
      1m 27s
    4. Using a mask with lens flares
      2m 58s
  16. 29s
    1. Goodbye
      29s

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Illustrator CS4 Beyond the Basics
9h 42m Intermediate Apr 03, 2009

Viewers: in countries Watching now:

Covering a wide range of topics, from advanced masking to chart creation, Illustrator CS4 Beyond the Basics reveals a whole new level of power, creativity, and efficiency with Illustrator. Instructor Mordy Golding explores how to work with Live Paint groups, get the most out of the Live Trace feature, and take advantage of Illustrator’s wide range of effects. He also discusses advanced transformation techniques, powerful 3D functionality, and important color concepts. Exercise files accompany the course.

Topics include:
  • Tracing artwork both automatically and manually
  • Mapping artwork to complex 3D surfaces
  • Using pressure-sensitive distortion tools
  • Recoloring artwork across a document
  • Using Excel data to create charts and graphs
  • Understanding how transparency really works
  • Creating high-quality, press-ready PDFs
  • Building efficient files with graphic styles
Subject:
Design
Software:
Illustrator
Author:
Mordy Golding

Considering three types of color swatches

There are two basic ways to apply color to your artwork inside of Illustrator. One way is what I would like to refer to as the Bob Ross method. You use the Color panel here to custom mix primary colors. So as you need a color, you simply mix what you need and then you apply it to your artwork. However, when you do so, it can be quite tedious if you want to repeat and use the color in multiple areas of your document. So that's why there is a second method of applying colors inside of Illustrator and that's what I would call the Crayola method or working with swatches. If you think about that big box of crayons, like 64 or 128 crayons, you already have all these predefined colors. Whenever you want to use, you just pick up that color crayon and you go to town.

Now in the world of Illustrator, you actually have three different types of swatches that you can use. First, I'll show you how to create a swatch and then we'll identify the three different types that you can create. Using the Color panel, you can mix your own particular flavor of color. When you have the color, simply take that color and drag it into your Swatches panel. For now, I'm going to delete this actual swatch. I'm going to work with the ones that already exist in this document. Now the first type of swatch that you can create is what's called a process color swatch. When I say process, it doesn't mean print. It just means that the colors that are used to define that swatch are made up of a combination or mixture of primary colors.

If you are in RGB document, that means that color is made up of different values of Red, Green and Blue. If you are working in a print document, you might use CMYK or Cyan, Magenta, Yellow, and Black. You can easily see the values of any color swatch by just double-clicking on it. Notice over here, the Swatch Options dialog box opens up. By default, Illustrator always gives the actual values of the color as its name, but you can change that if you would like to. Notice over here that Color Type is set to Process Color. I'll go ahead and I'll click OK and let's see exactly how we actually apply these colors. It's simple as selecting artwork on your artboard and just clicking on the swatch.

I'll select a few more flowers here. We'll apply this color here because I want to talk about an important aspect of process color swatches in Illustrator. Once you have applied the color to the artwork on your page, there is no longer any connection between the artwork itself and the swatch that resides in the Swatches panel. As an analogy, let's think about this in the real world. Let's say the Swatches panel here was actually a real can of paint. What I'm seeing here is some graphics that are being painted on to the wall. Now, I can actually mix the color of yellow and my can of paint here and I could dip my brush in that particular can of paint and paint it on the wall, but if I then come back to my can of paint and I add a whole much of blue to it to make it, let's say for example, more of a green color, that doesn't change the paint that I have already put on to the wall itself. In other words, I have no artwork selected now in my document, but I can come over here to the swatch itself and double-click on it and I can change its value.

I will add more cyan to this to give it to a green hue. When I click OK, you can see that the swatch itself is updated but any of the artwork that already had that particular yellow color applied to it, doesn't change to green. So a regular process color swatch in Illustrator is great for applying color but it really has no way to manage that color once you have already applied it. So I'll press Undo to return our swatch back to the yellow color. That takes us to the next type of color that we can create inside of Illustrator, which is what we refer to as a global process swatch. For example, let's take a look at this color right here. I'm going to double-click on this color and I'm now going to simply go over here where it says Color Type. Notice I'm still leaving it set to Process Color, but I'm going to check this box here called Global.

So now I'm defining the second type of a swatch. Before it was simply a Process Color, now it's a Global Process Color. A global process color is a managed swatch. It basically retains the connection between the swatch itself and any artwork that you applied that color to. To demonstrate that, I'll click OK. Notice that over here if I look at the swatch itself, it has a little white triangle in the lower right-hand corner. That right away identifies that particular color swatch as a global process swatch. So now I'll go ahead and I'll select these particular flowers in my document right here and I'll color them all with this swatch. I'll de-select the artwork. If I decide now at any point that I actually want to adjust that particular color, I can double-click on the swatch to bring up the Swatch Options dialog box. I can adjust the values. So for example, let me pull out some of the cyan. When I click OK, you can see that all the artwork that was on the artboard, even though it wasn't selected, has now been updated.

So when you are working with colors, you can see how much more powerful a global process swatch is over a regular process swatch. In fact, taking a closer look at the Color panel will reveal an additional benefit to working with global process colors. Notice if I click on this yellow swatch right over here, I have the regular sliders here for C, M, Y, and K. If I want to, let's say, apply a particular value over here of color, that I want just a little bit of a lighter shade of this color, I don't have to figure out what that particular breakdown might be. However, if I click on one of these colors right over here, I can see that I now have an actual tint slider instead of a CMYK breakdown. So if I wanted a lighter tint of the color applied in this particular case, I might choose to adjust that slider. I still have the same exact CMYK breakdown defined as my swatch here, but I have now calculated a tint value for that color here on my artboard.

Finally, there is a third type of swatch inside of Illustrator, which is called a spot color swatch. For example, I have this background here, which uses this swatch right here. I'm going to double -click on it and I'm going to choose instead of Process Color for the type, I'll choose Spot Color. Spot colors are automatically global in nature and spot colors simply refers to the way that the color are actually being processed upon print time. Now as you may know on a printing press, colors are broken down into their primary colors, for example, C, M, Y, and K. However, a spot color is a custom mixed ink. In fact, the most common type of spot color you might use are Pantone colors. Those are predefined colors that are both a designer and a printer can choose by number. In doing so, they can ensure that they will get the same exact color. Spot colors are also used for special print processes. For example, metallic inks, magnetic inks that are used on checks or to indicate things like varnishes and die cuts.

I will click OK here and you can see that spot colors are identified by a white triangle with a little dot inside of it. Now as I mentioned before, the most common type of spot color that's probably used is Pantone colors. You can actually load a Pantone color by going over here to the Swatches panel, to the Swatch Libraries menu, choosing Color Books and then loading one of the Pantone libraries, one of the most common and probably the Solid Coated library. Now there is a whole bunch of colors inside of the Pantone library. So that may be very difficult to actually kind of scroll through these and find something this way. So I actually changed the view of what I'm looking at here.

I'll click on the little panel menu here and I'll choose to view this in a Small List View. If I want to find a specific color, I'll actually come here and choose to also Show the Find Field. For example, I may want to find Pantone 185, which is a red. So I'll type in over here 185 and that brings up the Pantone 185 color, which I can then add to my document by dragging it into my Swatches panel. Now there happens to be one annoying thing about the actual find field here in the Pantone Solid Coded library and that's it doesn't always find the color that you are looking for. For example, if I type in 485 right here, you can see that Pantone 1485 actually comes up. That's simply a way that Illustrator actually goes ahead and searches for the colors. It searches for a string of the numbers 485 and sometimes the 1485 comes up first. The way to get around that is if you want a specific number type in space 485, and in that case there you can avoid those kinds of issues.

So there you have the three types of swatches inside of Illustrator; process swatches, global process swatches, and spot color swatches.

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