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Creating and saving color swatches

From: Illustrator CS3 One-on-One: The Essentials

Video: Creating and saving color swatches

Now let's say I like this terra-cotta clay color that I've created so much that I want to go ahead and save it out as a swatch and use it over and over again. So I'd go ahead and select the object that contains the color that I want to go ahead and save which happens to be cyan, magenta, yellow and black values of 0, 10, 25 and 25 respectively. Then I would go up to my Fill icon and click on it. Don't Shift -click on it this time cause we want to bring up the swatches. And I would save a new swatch by clicking on the new swatch icon right there and then I'd go ahead and name my swatch Medium Clay in this case. And I have the option of changing the color type from Process Color to Spot Color. Process Color ensures that the color will separate to independent cyan, magenta, yellow and black plates during the commercial reproduction process so that your printer can actually manufacture this color for you. If you were to choose Spot Color then you would need to find an ink, an actual industry standard ink out there that matches your color, because if you go in there without an idea of what that ink is, if you just say, Hey I invented my own new ink today, it's called Medium Clay, you're going to get laughed out of the printer because they're going to go, Well good for you.

Creating and saving color swatches

Now let's say I like this terra-cotta clay color that I've created so much that I want to go ahead and save it out as a swatch and use it over and over again. So I'd go ahead and select the object that contains the color that I want to go ahead and save which happens to be cyan, magenta, yellow and black values of 0, 10, 25 and 25 respectively. Then I would go up to my Fill icon and click on it. Don't Shift -click on it this time cause we want to bring up the swatches. And I would save a new swatch by clicking on the new swatch icon right there and then I'd go ahead and name my swatch Medium Clay in this case. And I have the option of changing the color type from Process Color to Spot Color. Process Color ensures that the color will separate to independent cyan, magenta, yellow and black plates during the commercial reproduction process so that your printer can actually manufacture this color for you. If you were to choose Spot Color then you would need to find an ink, an actual industry standard ink out there that matches your color, because if you go in there without an idea of what that ink is, if you just say, Hey I invented my own new ink today, it's called Medium Clay, you're going to get laughed out of the printer because they're going to go, Well good for you.

Once you actually come to me with that ink, then I can use it for you. So you want to go ahead and stick with Process Color here. Another option though is to turn on this Global checkbox, and that's a good option. I recommend you do that. If you turn on global, you create a relationship between this new swatch that you're making and any objects to which you assign the swatch. That way, in the future if you make some modification to the CMYK values that are associated with the swatch, all of the objects that are painted with that swatch will update in kind. So you're basically creating a swatch stylesheet.

Really awesome function, so when in doubt go ahead and turn that guy on and then click OK. And notice that you get a new swatch inside of your Swatches palette and it has a little white triangle in the lower right corner and that indicates that it's a global swatch. Now I'd like to go ahead and clean up my Swatches palette cause I don't need all these other really colorful, vivid colors going on, because I'm not going to apply them to this stone tablet that I'm creating, this stone calendar here. So first I'm going to press Control+Shift+A or Command+Shift+A to deselect everything inside of the illustration. That way I don't run the risk of recoloring any of the selected objects. Then I'm going to I click on this icon again to bring up the Swatches palette. I'm going to click on this Plum color that I loaded from the Fruit palettes. I'll go ahead and click on it and Shift-click on this Magenta up here in order to select this big range of colors in between my clay color and black.

And then I'll go ahead and delete those colors by clicking on the delete swatch icon, the trash can. Illustrator will ask if I want to delete the swatches for real. I'll say, Yes, you bet baby. And there we have it, good. Now let's say I want to create a couple of variations on this swatch right there. Why, then I'd go ahead and select the swatch, and I'll click on the new swatch icon, so it brings up the last settings I had applied, the settings that are in place for this swatch anyway, the CMYK values, and I'll change this color to Light clay this time around, cause I want a lighter version.

And I'll change the Magenta value to 6, and the other two values to 12 like so. Leave cyan set to 0, click OK. Let's make an even paler version of the color still, by clicking on new swatch again. Let's call this one Pale clay this time around, and we'll take its values down to 3, 7 and 7, and notice I'm leaving Global turned on all the time. And I click OK and there are my new swatches, these are the swatches that I'll be using throughout the filling and stroking process, and they become the swatches that are saved along with the illustration the next time I choose the Save command.

This does not affect your default swatches. So your new documents will not use these swatches. Just this document right here. So all is well inside of the Aztec calendar. In the next exercise we are going to create a rich black that is going to ensure that we have no trapping problems around our strokes. Join me then, won't you?

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This video is part of

Image for Illustrator CS3 One-on-One: The Essentials
Illustrator CS3 One-on-One: The Essentials

114 video lessons · 36997 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 59m 53s
    1. Welcome to Illustrator CS3 One-on-One: The Essentials
      2m 0s
    2. The unwelcome Welcome screen
      6m 35s
    3. Browsing Illustrator artwork
      4m 53s
    4. Bridge workspaces and favorites
      6m 8s
    5. The anatomy of an illustration
      7m 2s
    6. Examining a layered illustration
      5m 38s
    7. Customizing an illustration
      5m 21s
    8. Creating a new document
      6m 12s
    9. Changing the document setup
      6m 51s
    10. Saving a document
      6m 14s
    11. Closing multiple files
      2m 59s
  2. 1h 3m
    1. Preferences, color settings, and workspaces
      55s
    2. Keyboard Increment and Object Selection
      5m 52s
    3. Scratch Disks and Appearance of Black
      6m 43s
    4. Establishing the best color settings
      5m 35s
    5. Synchronizing color settings in Bridge
      4m 3s
    6. The new CS3 interface
      3m 55s
    7. Organizing the palettes
      9m 4s
    8. Saving your workspace
      2m 33s
    9. Zooming and scrolling
      3m 39s
    10. Using the Zoom tool
      5m 27s
    11. The Navigator palette
      3m 37s
    12. Nudging the screen image
      2m 50s
    13. Scroll wheel tricks
      3m 11s
    14. Cycling between screen modes
      5m 56s
  3. 1h 4m
    1. Why learn Illustrator from a Photoshop guy?
      1m 32s
    2. Introducing layers
      4m 37s
    3. Creating ruler guides
      6m 34s
    4. Creating a custom guide
      3m 28s
    5. Organizing your guides
      5m 50s
    6. Making a tracing template
      3m 34s
    7. Drawing a line segment
      4m 10s
    8. Drawing a continuous arc
      4m 17s
    9. Drawing a looping spiral
      5m 17s
    10. Cutting lines with the Scissors tool
      6m 45s
    11. Aligning and joining points
      7m 58s
    12. Drawing concentric circles
      3m 45s
    13. Cleaning up overlapping segments
      6m 21s
  4. 1h 9m
    1. The anatomy of a shape
      1m 1s
    2. Meet the Tonalpohualli
      4m 8s
    3. Meet the geometric shape tools
      3m 47s
    4. Drawing circles
      6m 36s
    5. Snapping and aligning shapes
      7m 0s
    6. Polygons and stars
      7m 0s
    7. Rectangles and rounded rectangles
      6m 16s
    8. The amazing constraint axes
      6m 30s
    9. Grouping a flipping
      7m 37s
    10. Combining simple shapes into complex ones
      6m 36s
    11. Drawing with Scissors and Join
      6m 3s
    12. Cutting and connecting in Illustrator CS3
      3m 49s
    13. Tilde key goofiness
      2m 55s
  5. 1h 22m
    1. Three simple ingredients, one complex result
      33s
    2. Introducing Fill and Stroke
      3m 42s
    3. Accessing color libraries and sliders
      7m 8s
    4. Using the CMYK sliders for print output
      5m 6s
    5. Using the RGB sliders for screen output
      4m 39s
    6. Color palette tips and tricks
      4m 46s
    7. Creating and saving color swatches
      4m 14s
    8. Trapping gaps with rich blacks
      7m 58s
    9. Filling and stacking shapes
      5m 17s
    10. Dragging and dropping swatches
      6m 16s
    11. Paste in Back, Paste in Front
      5m 43s
    12. Filling shapes inside groups
      5m 16s
    13. Pasting between layers
      3m 34s
    14. Joins, caps, and dashes
      5m 50s
    15. Fixing strokes and isolating your edits
      7m 35s
    16. Creating a pattern fill
      4m 38s
  6. 1h 22m
    1. The power of transformations
      1m 25s
    2. From primitives to polished art
      4m 4s
    3. Clone and Duplicate
      6m 15s
    4. Moving by the numbers
      4m 16s
    5. Using the Reshape tool
      6m 30s
    6. Modifying, aligning, and uniting paths
      7m 0s
    7. Using the Offset Path command
      4m 25s
    8. Styling and eyedropping
      4m 11s
    9. The wonders of the translucent group
      5m 37s
    10. Making a black-and-white template
      3m 48s
    11. Scaling and cloning shapes
      4m 26s
    12. Enlarging and stacking shapes
      5m 6s
    13. Positioning the origin point
      6m 50s
    14. Using the Rotate and Reflect tools
      5m 16s
    15. Series rotation (aka power duplication)
      4m 3s
    16. Rotating by the numbers
      5m 15s
    17. Rotating repeating pattern fills
      4m 32s
  7. 1h 4m
    1. Points are boys, control handles are girls
      2m 16s
    2. Tracing a scanned image or photograph
      4m 34s
    3. Placing an image as a template
      5m 32s
    4. Drawing a straight-sided path
      5m 36s
    5. Moving, adding, and deleting points
      5m 51s
    6. Drawing spline curves with Round Corners
      7m 56s
    7. Smooth points and Bézier curves
      8m 12s
    8. Defining a cusp between two curves
      4m 37s
    9. Adjusting handles and converting points
      7m 4s
    10. Cutting, separating, and closing paths
      7m 31s
    11. Eyedropping template colors
      5m 11s
  8. 1h 28m
    1. Paths never rest
      1m 42s
    2. Meet Uzz, Cloying Corporate Mascot
      2m 22s
    3. Exploring the Appearance palette
      5m 37s
    4. Snip and Spin
      7m 28s
    5. Adding a center point
      3m 57s
    6. Keeping shape intersections
      3m 8s
    7. Lifting fills and selecting through shapes
      4m 14s
    8. Saving and recalling selections
      5m 18s
    9. Rotating is a circular operation
      7m 35s
    10. Lassoing and scaling points
      6m 8s
    11. Using the Transform Each command
      5m 9s
    12. Using the Magic Wand tool
      6m 46s
    13. Converting paths and text to rich black
      2m 27s
    14. The overwrought lace pattern
      3m 21s
    15. Eyedropping Live Effects
      5m 39s
    16. Merging strokes with a compound path
      6m 32s
    17. Selecting and scaling independent segments
      6m 30s
    18. Pucker & Bloat
      4m 49s
  9. 1m 59s
    1. See ya for now
      1m 59s

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