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Adobe Illustrator can be used to accomplish many different design tasks, from illustration to app development. This course demonstrates core concepts and techniques that can be applied to any workflow—for print, the web, or building assets that will find their way into other applications. Author Justin Seeley explains the elements that make up vector graphics (paths, strokes, and fills) while showing how to use each of the drawing tools, and demonstrates how to combine and clean up paths and organize them into groups and layers. The course also covers text editing, working with color, effects, and much more.
Once you begin working with objects and color inside of Illustrator, you may find the need to create your own swatches. In this movie, I am going to walk you through the process of creating both a global and a process swatch, and I'll also discuss the differences between the two and why you might use one, versus the other. In this case, I am going to be using the blue circle of this logo right here. In the blue circle, I've just opened this file up and I want to add this swatch to my swatches over here on the right- hand side, and I'll actually bring this out so you can see exactly what I'm doing.
In order to add this to my swatches, I am going to come down and I am going to click the New Swatch icon. When I click the New Swatch icon, it's automatically going to come up with a swatch name. The swatch name by default in Illustrator goes to the exact values of the C, M, Y, and K values, otherwise known as cyan, magenta, yellow and black, that are associated with the object that you selected. In this case, my CMYK values are 93, 64, 1, and 0. You can even see that it kind of rounds up or down to the nearest number.
For my Color Type, by default, it's set to a Process Color. Now I am going to use the Process Color for now, and then later I'll show you what the Global check box is used for. Underneath I have my CMYK Color Mode, which is what I want to leave it as, and I am actually going to name this swatch, Logo Blue. Then I'll hit OK. Once I hit OK, you are going to see that that swatch is then added to my library. After I've added the swatch to my library, I can then go through and select other objects and apply that swatch accordingly.
In this case, I have to get inside the group. So remember, to get inside the group, double-click to enter isolation mode, then select your object and then apply your color. You do not have to ungroup your objects. I can double-click to exit and now theoretically, all of them are using that particular swatch. But watch what happens here. If I were to go into this Logo Blue, let's say, the client came back to me, for instance, and said, well, it's not exactly blue enough. Okay, let's go in and change the blue. I'll double-click to edit the swatch.
I can pump up the cyan just a little bit; maybe I'll even drag up the magenta a little bit to make it a little bit more rich. If I hit Preview, you are going to notice that none of the objects on screen changed. But wait a minute! They are all using the Logo Blue color swatch, right? So how come when I change the swatch, none of those update? It's because I've created this simple process color and I didn't check the Global box. The Global box ensures that anything in your document that's currently using the color you're editing is always going to update once you create the swatch.
You can think of a global swatch as sort of like a "smart swatch". It remembers that it's attached to these objects. So therefore, any time you update it, it automatically updates the objects as well. So here I'm going to click Cancel and come back out into the document. I'll throw this swatch away and let's recreate it utilizing the global color swatch. I've already got it right here. So all I have to do is drag this over into the Swatches panel and drop it, and it automatically creates it.
If I double-click it, it opens up and allows me to make changes. I'll go ahead and check the Global box, I'll call it Logo Blue, and then I'll hit OK. Notice when I do that, you'll get this little white triangle in the bottom right-hand corner of the swatch, indicating that it is a global swatch. Now I can select the pieces of artwork and apply that global swatch. Again, this grouped object on the end, I double-click, then select it, then apply the blue, double-click to exit.
Now let's say, for instance, the client came back to me and again, said, it's not blue enough. Okay, let's go into the global swatch and let's make a change. I'll pump up the cyan, rich it up a little bit with magenta, and maybe I'll even darken it a little bit with some black. If I hit Preview, did you see all of those change on the artboard? That's because they're utilizing that global swatch. If I make a big change, like really darkening it up, you'll see they all changed like that, or if the client comes back and says you know what, I don't really want blue at all.
Okay, remove the cyan and we can make it red and you notice all of those update accordingly. Whatever you do in here, if you're doing it to a global swatch, anything on the artboard that has that global swatch applied to it will automatically update as well. So let's go ahead and click Cancel for now, because I want to keep it with the blue, but just know that anytime you need to go in and edit that swatch, it's automatically going to update anything in the document using it. Now that you know how to do that, you can hopefully employ some global swatches into your artwork to make it easier to change things on multiple objects or even multiple projects.
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