Lessons

Lesson Info

Color Panel, Stroke & Fill

So we're gonna start off today with fantastic color, creating colors, applying fills and strokes and creating some fantastic, horrible radiance and beautiful things. And start with that. And we brought along Captain Bacon here for you because we have to use Captain Bacon to sample some color from because when you're using color, it's not just creating color and in design, you may want to sample colors from other pieces of artwork, import them into other adobe products, take them from other adobe products. So here we go, starting off with color under the window menu. We're going to start with color and under the color menu. We have our color radiant and swatches panel, all of which were going to call up and use here. So there's gonna be my color panel going to go and pull up the radiant panel. And the 3rd 1 is going to be the swatches panel right there. Okay, lots of panels organized. Those to make it nice and easy to see. Clear all that stuff out of the way. Ugo snapped them right over...

. Talk to myself while it's all happening. Move the mouse all around, make it look like a busy. There we go. Fantastic. All right. So in the swatches panel, there's a certain set of colors that come as a standard set in in design. And I'm just going Teoh clear these out here at sea will do that in a second. Okay, so a standard set of colors in in design, you're gonna have no color registration paper, which is technically light. And we have black Zion, magenta, yellow, red, green and blue. Any time you import anything into in design, if it be an illustrator file or PDF or a text document that is color in it, those colors will automatically come into your swatches panel. Very few colors that are in this watch panel to begin with, we can go in and we can create our own colors right from the swatch panel. So with the swatches panel, we're going to start off and we're gonna click on the cheese grater on the swatches panel. I know you'll never forget the cheese grater. And under the swatches panel, the first item we have under the drop down menu is create a new color swatch. So we're gonna create a new color swatch and up comes our dialogue box now in in design because we're primarily showing you this as a print medium, we're gonna be doing our colors in C m y que, which is signed magenta, yellow and black. And if you know anything about printing, if you have a color printer, you've got your for inks cyan, magenta, yellow and black. Yes, we can create colors that are an RGB and RGB is for anything that you're going to create that's going to be on a light emanating device. So if your final product is going to be on a website phone, IPad, app, whatever it is, you can also create colors and RGB. But because we're dealing with print here, we can use C m. Y que. So when you call up our new color swatch weaken, Diallo are ramps back and forth, and we can get any color that we wish to create. If you have a specific color, you can just highlight the fields here and put in the specific values of each sigh in magenta, yellow and black, and we can click add, So I'm gonna create some random colors here, and every time I get a color that I like. If I click OK, I'm gonna go out of the dialogue box. I'd like to add several colors here so I can simply click add when it adds the color. Right now, it's going to add the color as the Swatch name right here. And that's watch name is basically the value of the color. That's how I operate. It makes sense, but if you want to add a proper name to this, you can click off the name with color value, and you can add whatever color you want. If you have corporate colors that have specific names, you can type the name and there and we'll show up in your color panel. If you don't do that now, you can always come back later and do that very easy to Dio. So I'm going to create some colors, and I'm simply going to add them to my color palette. So every time I click the add button, they will show up there, and we're gonna get several to use through there and create some very interesting colors. Gonna have some fun with them all. Okay, so once I get my colors in there when I click OK, conflict, the done button and in my swatches panel, all of these show up and I can see all of them right there. And there's my whole list of colors. You can organize these colors anyway that you want to win your swatches panel. You can click on these and you can drag them up or down to put them higher up your swatches panel. If you want Teoh, you could just click and drag. And as you see that very thick line appear, just drag him wherever you want to. If you want to label them alphabetically and do them by descending color. Whatever you want, it's up to you. With these colors, we can now begin to use them for any container and he fill stroke type line. Wait. If you can apply color. This is where you're gonna get it from your swatches panel. So I'm gonna start off with a very basic rectangle and I'm going to draw the rectangle and we're gonna start feeling with some color. Got a question? Ewing. The colors on the computer as opposed to print. Is there any change in the color? How how do you go about after meeting that well. Those are two questions in their great questions. So here's the issue with dealing with color. The hardest thing is is that you cannot really accurately represent color unless you have very high end equipment, because every monitor that you have has slightly different color calibrations. Everybody's eye sees color slightly differently. If your end result is going to be on a website or a phone or some type of tablet, everybody has different settings on that as well. So the rial true test of color is what's going to work best for you. If you're going to print this out on a printer and a high end printer, they're going to give you color proofs that are going to be as accurate as possible. But then paper quality, light, fading humidity, all that changes colors ever so slightly. So basically the best and most most accurate representation is does your client like it and doesn't match what it is that you're trying? Teoh come across so V best always before you did like a large scale printing to print a sample, you should always get a proof, and the more expensive the proof is, the better off you're color representation is going to be if you're going to have this printed off a quick print place, and you like the color on your satisfied with color. That's great in many cases when we designed this way, if we're just doing a basic design, as long as we have pleasing color, that's great. When you're dealing with corporate identity, corporate identities will have very specific color builds color models, Pantone colors that are used to match that. You have consistent color across all of the printed pieces, all of the display pieces, and then with that accurate color representation, you have something to match. Two. Okay, so color, color, correctness and color matching is a whole different field. We're just gonna go for pleasing color, okay? But yes, it's a totally different field, and that is a concern to pay attention to Certainly. Okay, so any container that we draw, whether it be a text container or an object container, we can fill with color. Previous versions have been designed. We had to worry about the fill in the stroke being controlled separately. Down here in my toolbar, we have our little icons right here, and I'll zoom in really close. We have the fill right here and we have the stroke here. Now, in order to access the Phil, we would have to click on this box and bring that box of the front goto our swatches panel. Select a color. If we wanted to do the feel of our object, we were the stroke. We would then need to go over there, click on our stroke, bring the stroke to the front to be active. And then we could control the stroke by going and setting the point size of our stroke and then clicking on a color. Here are swatches panel. What happens is you click on an object, do you think? Oh, I thought I used the stroke last. You do it and you found out you've done the fill. And it was always frustrating because no matter what you had selected last, it was the wrong one. Murphy's Law. So being having to go through here and say Okay, I need to select my object, bring the fill to the front click on what it is that I want to fill. My object got really tedious. So in in design, CS six What they did is they went ahead and put shortcuts up in the control bar for your feel and your stroke. Now these air nothing mawr than this watch panel we see on the screen here. It's just more readily accessible, and it doesn't take up a lot of room like this watch panel does. It's here readily accessible for you, and you can go through and scroll through it, and everything that's in here is also in my swatches panel here. It's identical, including going through the drop down menu and creating swatches editing swatches. So technically, you don't need to have your swatches floating panel up here. You've got that right here. It's identical between the stroke and the Phil. It's just that they spell it out, that this is your fill and this is your stroke right there. So I don't need to go through and select these objects right here. That's a big help. So now, with my object selected, I could go to my stroke drop down window and I could select a color, and then I could go to my fill drop down window and I could scroll through. And by the way, this doesn't expand. I can't expand this. So use your scroll wheel going to scroll through this instead of using your little scroll bars. They remember I told you about scroll bars. You're never going to use them. Don't. That's what the scroll wheel is. So this is much handier to see this because this is a much more visual process than having to go, you know, flicked the light switch the other way to get what it is that you're doing. Now. One of the things that you may have caught is when I hover over these items right here, it says drag to apply and drag to apply. It's like, interesting. Does it really work? What do you know? Here's how it works. When you have an object here, you can go in and specifically say Okay, I'm gonna click on the Fail and select a color. I'm gonna click on a stroke and select a color, or you can do this. I like having my swatches panel up and active here and not having to worry about okay. Is my stroke or my fill selected right here? Which ones to the front and then having to go through used the drop down menu here and then go back and use the drop down menu. I like speed and efficiency. So here's how we make things nice and efficient was gonna bump up the stroke here so we can see what's going on. I'd like to go in and apply to fill in the stroke. However, I want to wherever I want to you, because that's just how I am. I'm going to grab my green here from my Swatch panel and I'm going to click and I'm going to begin to drag. And when you begin to drag, I get the no symbol and it's like, Oh, do I let go now? And the answer is, No, Don't let go So I'm gonna drag over onto my object. When I dragged into my object, my cursor will show up black with a square around there that tells me that I'm going to drop this color into my fill, regardless of whether my filler stroke is brought to the front in the toolbar. If I drag it onto the stroke, you'll see the little slash next to the cursor there, and I can pick and choose where I want to add this color. So if I drag it into the middle there and I drop it, it becomes green. And I'm gonna zoom in here so you can see in a minute, grab my orange here and I'm gonna drag it over and I'm going to touch the stroke. I get the line, and when I drop it there, it adds it to the stroke. To me, that's the fastest way of doing it. And if I don't like that, I could just drag another color in. That's my field or onto the line. That's my stroke right then and there makes it super handy. But you have to have your swatches panel up to do that, or you can drag it right from here is well. But if you drag it from here once you drag it, that panel goes away. So that's how it works now with color. And this happens quite a lot to people. When I was drawing these containers yesterday, there was no filler stroke on them. They were just white or blank, and there was nothing on them, right? So what happens is this Now, this morning when I get in here every single time I draw my boxes air filled with blue. Well, how did that happen? Because immediately, people say, Well, I didn't do that. It just happened one time. Here's how it happens when you have a container selected and you choose the Phil or the stroke of an object. You were applying net color to the object that you have selected, and it isn't uncommon to have no object selected, and you inadvertently go in and you click on a color. Well, no object selected. You've just clicked on the color and you think, OK, you know nothing's really happening, but it has. Guess what? You now have made that either your fellow your stroke color as the default. You have set the preference like we talked about yesterday when you have no file open and you set certain preferences, your setting global preferences. Well, when you click on a color for the film with stroke, when you have no object selected, you are setting the preference now for everything else that you draw from here on forward, you will have that particular preference set, so if I do want a container filled with green with a black stroke around it. I can choose my Phyllis Green. My stroke is black, but it can also control the weight of the stroke, the style of the stroke, so that when I draw anything from here on out, I do not have to go in and keep changing that every single time that gets changed when I have nothing selected and I apply all those attributes. If you don't want all those attributes, by all means, don't apply them because I love it. People like I didn't do anything and it's like, You know what? There's only one driver behind the wheel here, folks. You did it. You just didn't know. So I would like to have no border, so I could just shut this off to have no stroke. And I'm going to go to my fill right here, and I'm going to go to my swatches panel with the Phil and I'm going to choose not or no feel whatsoever. So every time I draw my container, it will be completely transparent. All right. The shortcut for none, right here is if I have something filled and I want apply, none is just simply my slash key shared with your question, mark. Right there. The slash just means none. It basically follows the red slash through there. That's a quick and easy way to shut off a filler, a stroke. Select your object and whether or not your fill your stroke a selected Here. You do this slash, and that's gonna turn off your feel or your stroke. Nice way to do it. Another thing when you have no Phil inside your object, this object has no feel whatsoever. So if I go and I want to select this container with a fill, I can click anywhere inside that container and it's active. I try to select this container and nothing happens. And it's like, Why can't I select that container? Well, here's the deal. If your container is filled with nothing, you cannot select it until you literally touch the edge. Even if I fill this with white and I then click on it as long as it's filled with a color paper or white being a color, I can select it anywhere in the object. But if it's filled with nothing, I cannot select it. You have to click the edge or drag over the edge to get it to select. It's a frustrating thing. That's something that nobody ever points out. But people like Oh, I know, you know. That's kind of weird, Yeah, but filled with nothing. You can't select it. It's crazy, but that's how it happens. So now I've set my preference is that every time I draw an object there, I will have no feeling no stroke. And I did that on purpose. If I want to have a filler stroke, I will set my fill in my stroke with no object selected. And Aiken then draw with all those attributes time and time again. So being able to create our color apply our color to our objects, dragged them right from here works really good. One other thing. I'm going to bump up the stroke on this object. I'm going apply a nice contrast ing stroke to it by dragging there, I realized that I have my object and I would like to swap my fill in my stroke. So right now my stroke is yellow. My feel is blue. And I would like to swap those over here in my toolbar. You see that I have got this rotate thing right there, and I have my fill and I have my stroke when I hover over the little double ended arrows. This will swap the Phil and the stroke, and that's simply shift X. So Shift X will simply swap my fill in my stroke so that I don't have to go in. And I don't have to drag a new field color and dragon nuestro color. I can simply swap them one for another works out fantastic. And this is just the tip of the iceberg, folks. Just the tip of the iceberg. So I have my objects. I can do any Phil. I could do any stroke, any line. Wait the same way I may be using a series of colors here, and I want to create a nice color palette where I'm going toe have some colors that I'm going to be used on a regular basis, but I don't want to use them at this full intensity. So what? I'm dealing with colors here and when I'm dealing with print colors, we have tents and we have shades. A tent of a collar is adding white to a color, so if I have a tent, I only have lighter tents. By the way, technical thing. If I want a darker shade of a color, I will technically add black to that color. So now you know when you go into a paint store, when you speak about tints and shades, you know how to address it correctly. Okay, so I have kind of my eggplant color here, and I would like to create different tents of this. I would like to use this to have some tone on tone and in my swatches panel. I noticed when I have my object selected in my fill right here. Here is my color selected its highlighted. And up here in my swatches panel, I can create a tent of this color, and I'm going to duplicate this using my option. Click and drag. And I would like to attempt this Phil back to say, 75% and it gives me a lighter tent. I'm gonna go back, and I'm going to do this one now. Say it 50%. And I have different tents of the exact same color. When I click on these, you'll notice here in the swatches panel, it still represents the exact same color, But the tent now is going to reflect what it is that I'm using each particular value as if I do this manually. I'll have to do this every time I create a container so I can actually go in. And I can actually create a tent swatch of this So it actually resides in my color panel in my swatches panel as an actual tent color Right now. I just did it manually because I was only going to use it once. But if I'm going to use it throughout my entire document, I want a specific color in there called that color at that specific tent so I can do it in two different ways. I can either take my object with that color, go under my swatches cheese grater here and create a new tense watch of this color that I have selected. And with that it will come up and you'll notice that I have no other editing that I can do here. But I can go in here and it can begin create too great 10th of this color very easily. So quite nice. There is my color drop down cheese grater created new tents watch and I can go in. They can create my tent. So say 50% of this color right here, and I will add it to my swatches panel. And what they will get is I will get that value of the color right here in my swatches panel. And it'll show me at 50% right there. So it puts it down at the bottom. My swatches panel. And it's like, you know, I want to have this where my actual object is so I can drag this and park it right underneath there so I can kind of keep them all together. The easier way of doing this is simply taking your fill color right there and using your color panel. I like to do this. It's a little bit easier than going under the cheese grater. I can take my full tent color, and I could just slide it back and forth on my color and inside it to whatever I want it to be or just type in the value right here. And then manually. Aiken, grab my tents, watch right there. And Aiken drag it and I can park it exactly where I wanted to be in my swatches panel, and it will show me the value right after that. So I have those all readily available. So now I have my 100% right there. I have my 50% in my 34% and I can create any tents that I would like. I'll do one more here. Just so I've got that. So say, 70% and I'll drag that swatch in here and put it right in lines. And I got 100% 70 50 and 34. I'm gonna apply these colors in that order to buy objects. Here, do one last copy of it. Right there. So now I have all my pre made tents. Now, I don't need to make them every single time there made there. There. Fine. At any point, I can change the tents of these. I can change the color of these and the wonderful part of working with color and in design. Is it so easily done? So I begun to build my file. I've got text that this colors I've got containers that have tone on tone here. I'm doing some really nice layout. Do this and I got my layout going on here, and I've got some color going through when I decide I'm going to go in and I'm going to use my you know, some lines going through some of this as well. And that stroke is going to have this with a tent as well and is being used all through my document. And the client comes back and says, You know, I love everything except two things. The layout of the color. You're like, Oh, at least the fonts are good and they're like, Oh, sorry, three things. So I've created these files. I put them all together, and the clients like, you know, those colors just aren't working. And I've used this throughout my entire document. I've used it with type. I've used tents, everything else the benefit of going in and creating all of your tents in your swatches panel and using them from there is you've now established your tents in a fixed area. So if the client comes back and wants it changed one direction or another, you want a little bit more magenta. Take out some scion, bump up the yellow or change the color completely. I can go into my swatches panel here, and I can edit anyone of this family of colors right here, any of them. And I do that by either double clicking on it or simply go right click on it and choose my swatch options. I just like to go in and double click on it. And when I double click on that color in the Swatch panel, it calls up my swatch options. And at any point in time, I can simply change any of these values in here. Not only will it change the value for this watch, but it will also go in and change the value of every single one of the colors. And Adobe calls this the parent daughter relationship. And it doesn't matter if you change the daughter or you change the parent. They're all part of the same family. You change any of the CME like values and is going to change the entire family, and it's going to keep the tents as well. So I'm gonna take this, and I'm going to add a little bit more blue to it to make it a little bit more purple E gray and I'm gonna click. OK, and it's changed it. Every single place that they've used it type lines, fills strokes, radiance, no matter what it's going to do that and it has gone in and it's kept all the tents, make sure it did, and all of the family has been changed. I'm gonna show you that if I go in and I change my tent right here in my 34% tent that I change the color overall, it won't change it, no matter what. It doesn't matter if you change the parent or you change the daughter simple and easy to fix. If you decide that you want to get rid of this color, you can always replace it with another color. So if I decide that this color is no longer being used and I would like to replace it one of one of the other colors I can click on the color in this launch panel and then on to the trash can here of the bottom of the swatches panel. And when it does that, it says, Okay, what do you want to replace it with? Because you can't just go in and replace it with nothing unless you choose nothing. I'm gonna replace this with orange, and I'm going to click. OK, when it replaces it with orange, it still keeps all the tents. It doesn't matter where you use it tight, no matter what. It still keeps it and everything is kept. So it's really hard to go through and mess up the building and three application of color and in design. Now you could have just bad color taste, and your colors could be horrible. But at least you won't screw up the actual building of the file. So swatches brilliantly simple, fantastically helpful. Easy to apply, easy to use. Easy to add it. Now with our swatches in the swatches panel here, you can apply them to everything that you want. Teoh. But I just showed you here was just the basic CM. White case watches for print. We also have spot colors as well, so we want to create a spot color for a very specific logo for a client, or I want to use a pastel or I want to use a metallic or when he was a fluorescent color. These are all going to be spot colors. You're gonna grab those from the exact same cheese grater. New colors watch. And when we come to our new colors watch options instead of using C m y que, which is going to be our four color process, I can click, and on the drop down menu and Aiken go to basically any of the spot colors that I want to choose. So pretty much one of the standards is the Pantone solid coated. So I'm gonna have my Pantone book. I'm going to choose what it is that I want and I can scroll through here and say, OK, Pantone to 90. I'm gonna add that to that. And, um So what else do I need here? I just use my scroll wheel, not a snow scroll bar. Exactly. You got it. Get some nice stage green in there as well through a few other colors in there, into the mix. There we go. You can also search for the color here, So if you want PMS 1 25 you're gonna add it there. Question? Yes. How often do those Pantone colors change And is it automatically updated in this program? The Pantone colors don't change. They will add more to them. but pretty much that's the industry standards. So the colors that air existing, our existing, they're done, they're there. They're always adding new colors are always hitting new italics. Fluorescents, varnishes things like that. But the existing ones never change. When there's an update that comes out from them adobes right on top of it. And so when you do your updates all the time, it's just going to go ahead and add to it. Correct. So when I add my spot colors to my swatches panel here, they'll come up and they will also be indicated as a spot color with my little spot color icon. So I can very clearly tell which is which. Another nice feature is when I hover over these colors here, this will actually tell me the breakdown of the color. And it's interesting because people are like, Well, you know, why does it come up in L. A B color complex Reason, basically, because there is no specific C. M. Y que equivalent to most of these Pantone colors, there is no exact breakdown with the inks, and dealing with Pantone colors is a whole different ballgame. So if you're not sure what a spot color. Pantone color is go online, and I'm sure Wikipedia has a great description of why we use them. But in short, we use Pantone colors so that we can use a single color in concert of a build of inks, and we can also get them to match anywhere in the world. It's the Pantone standard, and we can't do metallics. We can't do varnishes. We can't do fluorescent colors. Metallics any of that stuff using sign magenta, yellow and black, therefore requires a special ink and a special process. And this is that ink, and this is the trademarked colors. Pantone colors. Spot colors work exactly the same way. With the fill in the stroke, you drag him on there. You aren't going to notice any difference on screen with these colors because, of course, these air colors that we use for print and print and onscreen use are going to give you two very different effects. So we're not going to see an accurate representation if you do fantastic. If you don't, don't worry about it. That's why you by the Pantone books, so that you can actually see them in person rather than on screen, so Pantone colors are not gonna work any differently on screen and building your file. You won't have to worry about that. It's just something you'll have to know when you build your file, whether you're going to do a spot color job or a process, color job. And, again, whole world of print production I've lived in for so many years. Hey, so Jimmy Schaffer wants to know what your advice is for. Monitor color calibration. There's a couple of good processes out there to calibrate your monitor, and Pantone actually makes one, and you can get a couple different ones 100 bucks a couple 100 bucks. They're going to be a good ones. You will get the software. You'll get a monitoring device that goes over your screen. It'll run through the entire process, measure all the light, measure the contrast, and you will have to do some adjustments on screen manually, nor to get that and that's gonna dial in. The representation of the color is best possible. The borrowing money you spend on a monitor, hopefully, the better off. The quality of it is the age of your monitor. How long you leave it on their the burn in. That's all going to make a big difference as well as your perception of color. Big thing is, once you go through the entire color calibration process, do not then go in afterwards and adjust it manually to make it look better. I've seen like that's great, but the colors looked all I'm going to live in them up. Okay, That's like adding zeros to your checkbook. It's not really. That's the whole reason why you run through that to calibrate your monitor so that you have those exactly what it's supposed to be accurately represented, cool and then a couple more questions. Clarifications, Brandon, 8 18 says so Pantone is a type of spot color, which is correct, and then spot colors air single colors that get laid down with ink and process is four color correct processes. A build of colors. Okay, it's the process of putting down all the color rings at the four spot colors are a Single Inc and can you add spot color to four color? If you're printing, you sure can. Wired magazine does it all the time. They usually have a four color process with metallics of fluorescence and that they put it on there to get that extra pop of color. Great. Thank you, Certainly. So with spot colors, we have a couple cool things that weaken dio process colors we can use, and we content and we can change spot colors. We can't really go in and edit. When respect that spot color out. That's the color. That's the number. That's what we go with. We can't really go in and say, I want this little bit more red. You'll just choose a different spot color. But a very unique feature that we can do with spot colors is we can actually go in, and we can create a mix of colors. So if I'm dealing with a project here, and I'm gonna create a new color swatch here and I'm going to do this as a PMS color, So I am going to use the scroll bar. I'm using my Pantone Warm bread, and I would like to use this Pantone warm bread and I'm doing this as a project, and I'd like to do some colors. I'm limited to the one spot color here, so I've got my object here and I've got my spot color here. I've got that. And I would like to do some type over the top of this and I can go ahead and I content this color anyway that I want Teoh and the clients like Okay, you know, let's get some interesting things here. So I'm gonna let you use to spot colors. So the other spot color that you're going, Teoh uses black. And these are my two spot colors here. And you've got to design something that looks really good with my orange and my black and make it look interesting. Why can create tents of any one of these colors that I want to? So I could easily go in and I could take my tent of my orange And with that I could say, OK, 50%. And I content my black back to say 20% that he can use type and I can use these. These are still the same colors. I haven't changed the colors here, but I realized that I would like to get like, a much deeper orange and do something different. Well, what I can dio and this is on Lee with spot colors is I could actually go in and I could create what's called a mixed ink swatch. And so I've got my orange and I've got my black. But I want to mix these two together, and I want to do in a way that the printer will not yell. It may. And this is the way we can do it only with spot colors. So I'm going to create a new mixed thinks Watch by clicking on the cheese grater, and I'm going to put together my spot colors and I'm going to use my warm red and I'm gonna use my process Black in a minute. Control the amounts off both colors. So right now I'm going to use my PMS orange at 50% black. So I'm going to type this in, and I'm gonna name that orange or someplace close to orange. I'm gonna add that to my list. There we go. So now I added this as a mixed inks watch, so I could actually use type or fill or stroke, and I could add this color to it right there and set the tent to be 100%. And now I have a combination of those two colors, which gives the appearance of a different color than I've normally ended up using. This is about the only way you can do it is by going in and using your mixed in Swatch here so that the printer doesn't come back and say, Okay, you know, how is this actually being done? But it's a great way to take a limited color on your job and actually have a little bit of fun with it and mix them together. You can create 10th of each of those, and this is actually creating a shade because I'm adding black to the whole thing. So instead of just having tense of the whole thing and going lighter, I can actually create a totally different palette by combining these two together. So for the spot color people, this maybe something new. If you have no understanding of this, just keep that in the back of your mind. So somebody actually to be like, Oh, you know what way? Back in the day I thought he heard something about this. Well, basically, you can do that