- [Voiceover] Alright, now let's say you want
that custom Swatch Library to come up
every time you launch Illustrator,
in other words, you want it to be Persistent.
And, we'll also be taking a look at Spot Colors, by the way,
such as Pantone Colors, which are custom inks that are mixed
by your commercial printer according
to very specific recipes,
and the great thing is they provide you
with a lot more colorful options
than separating everything to CMYK,
the downside is that you have to pay
for the privilege of an additional ink.
And, so let's see what that looks like,
I'm gonna start off here inside the Swatches panel,
by clicking on the Library icon,
choosing User Defined, and choosing SeaFarer Swatches,
and as you can see here,
that ends up bringing up my EarthTone Swatch as well.
I don't want that, so I'll just go ahead
and drag it out by its tab, and I'll close that panel.
And, now, with the SeaFarer Swatches panel open,
I'll click on its flyout menu icon
and I will choose Persistent.
And, now we'll go ahead and put a check mark
in front of that command, which tells Illustrator
to open this panel every time you start the program.
Alright, I'm gonna go ahead and try to make this panel
as narrow as possible, which it pretty much is,
and I'll just put it up there for the sake of aesthetics.
Now, let's say you work with
at least one Spot Color on a regular basis,
in that case, click on the Library icon again,
then choose Color Books,
and what you want is either Pantone+ Solid Coated,
if you work with coated stock, or Pantone+ Solid Uncoated,
if you work with uncoated stock.
I'm gonna go with Solid Coated,
but you definitely want Solid, by the way.
All the other colors include Process Color swatches,
which means that they're ultimately gonna separate to CMYK.
Alright, so I'll go ahead and choose Pantone+ Solid Coated,
and I'll bring up its flyout menu
and choose Persistent, once again,
and then I'll go ahead and drag
this guy's title bar right there,
until it snaps into alignment
with the bottom of my SeaFarer Swatches,
and I might go ahead and make this guy as tall as possible.
And, then, the ink I came up with,
the Spot Color I'm working with here,
happens to be PMS 122,
and I know that because I have a Color Swatchbook,
and so I just went through it
and came up with a color I liked,
or, in this case, this actually happens to be
the old lynda.com yellow,
and that would be something my clients specifically request.
And, now it's pretty impossible to tell
which of these colors is going to be the proper yellow,
which is why you have the Search field,
and all I need to do is enter 122
and it automatically breaks down
to the two colors with 122 in their titles.
The first one is
1225
and the second one is 122.
All I have to do to add it to my document
is click on it and it appears right there,
as you can see inside the Swatches panel,
after which point I'll click that X
in the top-right corner of the floating Pantone panel
in order to get rid of that search,
so I can once again see all of my inks.
Alright, now if you'll look closely here,
you can see that these guys look slightly different,
and what I'm gonna do is double-click on the first one
to bring up the Swatch Options dialogue box.
Notice everything's dimmed at the top here,
and that's because the Color Type is set to Spot Color,
and we're lifting the color from a Book Color.
And, such colors, by the way, are locked,
which is a good thing,
because you don't really wanna mess with them
since they are very specifically defined using LAB values.
And, notice, in this case, we've got 84 / 21 / 73,
I just want you to notice that,
cause I'm gonna cancel out here,
and, then I'll double-click on this new guy,
and I can see a different recipe, slightly different,
86 / 7 / 73, and that's because this is Pantone 122 C,
which is coated stock,
so the other one said Pantone 122 U, which means Uncoated,
and any time you're working with different kinds of paper,
you're gonna get slightly different results.
And, so I'm just gonna cancel out of here
and I'm gonna click on this yellow rectangle
to make it active,
and then I'll change its fill,
which is active here in the Swatches panel,
from Pantone 122 U
to Pantone 122 C,
and that's gonna update all those yellows
and make them slightly brighter inside the document.
Alright, and just to test
that everything's working the way that I'm saying,
I'm gonna go ahead and save my changes
by choosing the Save As... command,
and I'll go ahead and call this guy
Coded Stock, let's say,
put a period there before the file extension
and click the Save button,
and I'm gonna save this guy,
just because there's nothing special going on,
as a CS6 Document, just to make it more widely compatible,
and I'll click OK.
Alright, now I'll go to the File menu
and choose the Exit command,
that's gonna be the Quit command on a Mac,
which is a keyboard shortcut of Cntrl+Q here on a PC,
or Command+Q on a Mac.
You might as well go ahead and clear the Clipboard.
And, now I find myself back in Adobe Bridge,
and I'm sorting my documents by date modified, by the way,
with the newest ones on top,
in other words, Descending Order,
and so I'll just go ahead and double-click
on the Coated Stock.ai file in order to launch
the newest version of Illustrator CC,
and you can see that my floating panels
are indeed Persistent.
And that, friends, is how you make a custom Swatch Library,
as well as, if you're so inclined,
a ginormous Pantone Spot Color Library
stay on-screen from one session to the next
by making the panels Persistent, here, inside Illustrator.