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Beginning a core design

From: Illustrator CS4 One-on-One: Advanced

Video: Beginning a core design

In this exercise, we're going to begin to build the core design upon which we'll base our tile pattern. I'm still working inside this document called Tile pattern library.ai. I would like you to go ahead and turn off this test shape layer, scroll down to this design layer right there. Go ahead and turn it on and make it visible and let's go ahead and rename this layer. I'm going to double-click on a layer and then its name to template, because it is going to serve as our tracing template. Click OK and then I'm going to select all these objects right there and let's go ahead and fill them with this guy.

Beginning a core design

In this exercise, we're going to begin to build the core design upon which we'll base our tile pattern. I'm still working inside this document called Tile pattern library.ai. I would like you to go ahead and turn off this test shape layer, scroll down to this design layer right there. Go ahead and turn it on and make it visible and let's go ahead and rename this layer. I'm going to double-click on a layer and then its name to template, because it is going to serve as our tracing template. Click OK and then I'm going to select all these objects right there and let's go ahead and fill them with this guy.

It's just a little bit of black inside of there. So that we can see the shapes, but we're not confused by what's going on with all the colors and all that jazz, and I'm going to convert this layer to a template by meatballing the entire layer like so. And then I'm going to change the Opacity value to 30%, either in the Transparency palette or up here inside the Control palette. Either way. And then I'm going to lock it down. All right, so now we have a tracing template. Now, I'm going to go back to the Layers palette and Alt-click or Option -click on that little Page icon right there, in order to make a new layer. Let's change the color, just for the sake of contrast of Violet and I'm going to call this layer core design, because that's what it's going to be and then click OK.

Now, if you take a look at what's going on here, you can see that we've got a star surrounded by these three- pronged hooks. So I'm going to turn on the repeat layer for just a moment and you can see that these three-pronged hooks are all the same. Every one of them is the same as its neighbor. They are just rotated differently and they are only rotated to two different angles. You can see that all the yellow ones are at one angle and all the sort of pink ones are at another angle and there are all surrounding these sort of lilac stars. All right, and every one of these star is a six pointed star. Now, I'll go ahead and turn that repeat layer off for a moment here, so we can just focus on the template layer. Now, joining these three-pronged hooks is a little daunting because you can see that this segment is the same link. That this segment and this one is twice as long and has to be exactly twice as long for things to work out and then this guy has to be the same link as this one and on and on.

And it's like how am I going to draw that? What kind of grid am I going to use to put that together? Whereas if you look at the six pointed star, that's not hard. We can draw that using the Star tool. So let's start there and then we'll build the hooks based on the star. I'll show you how that works. Pretty easy actually. It's just a matter of thinking your way through a geometric project is really what this is all about. All right, so go ahead and get your Star tool and you may have to choose it from this fly- out menu here. So you may go to the Rectangle tool and choose the Star tool and then I want you to begin drawing the star. In your case, it's probably going to appear as a five pointed star like so. Press the Up Arrow key to switch it to a six pointed star. Go ahead and Spacebar maneuver it into position. Now, then, I want you to press and hold the Shift key as you draw your star. This is very important. Now, this doesn't cause the star to match the angle of the star and the template, but it does make sure that it's straight up and down, so we've a place from which to begin, so we get very accurate result as you are about to see.

So keep the Shift key down. Then I want you to press and hold the Alt key, or the Option key on the Mac, so we've a perfect six pointed star like that. So all of this segments are exactly, precisely aligned at some 60 degree angle. Now, I'm going to go ahead and try to make my star about the same size it is in the template. That part is not necessary. You don't have to do that. You can make your star very big or very small and you'll still be able to get good results out of it. However, just so that we have a decent match here, I'm going to try to make it about the same size. So again, I've got the Shift and Alt keys down.

If you are on the Mac, you need to have the Shift and Option keys down. Keep them down, release your mouse button and then release the keys. All right, so we have a nice six pointed star. Let's go ahead and fill it with white as opposed to this sort of light gray here. So I'm going to go over to the Color palette. My Fill is active, I'm just going to click on the little white swatch to make the colors white and then I'll switch to my Stroke just to test it out. And I want a rich black. It's not essential. I just like my rich blacks, don't you know. So I've got 50% for the Cyan, Magenta, and Yellow values and then 100% for Black.

Now, to match this shape here to the angle of the shape in the background, you want to double-click on the Rotate tool and you want to enter this Angle value right there, 30 degrees, and if you turn the Preview checkbox on, you'll see that yes indeed you've matched the proper angle. Now, click OK and let's go ahead and align things into position, so that I'm confident that I've got exactly the shape that I want here. It's a little tiny bit smaller in my case is what I'm seeing here, but it's good enough. Actually, that's not a bad match.

That's pretty darn good. I'm going to sit here and pat myself on the back a little bit. All right, so we have the core star in place. These hooks are all based on the star, as you'll see when we start constructing one of the hooks in the next exercise.

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This video is part of

Image for Illustrator CS4 One-on-One: Advanced
Illustrator CS4 One-on-One: Advanced

149 video lessons · 21466 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 28m 41s
    1. Welcome
      1m 7s
    2. Installing the dekeKeys keyboard shortcuts
      8m 59s
    3. Resetting the Function keys on a Mac
      4m 47s
    4. Installing the CS4 color settings
      4m 20s
    5. Loading the CS4 color settings in Illustrator
      6m 3s
    6. Loading the CS4 color settings in Bridge CS4
      3m 25s
  2. 1h 53m
    1. From the simple emerges the complex
      42s
    2. Introducing Pathfinder operations
      4m 17s
    3. Editing a compound shape
      4m 39s
    4. Adding to a compound shape
      3m 11s
    5. Inserting a subpath into a compound shape
      3m 56s
    6. Expanding a compound shape
      4m 53s
    7. Assembling primitives
      4m 42s
    8. Preparing a template in Photoshop
      7m 0s
    9. Uniting paths permanently
      5m 40s
    10. Minus Front vs. Minus Back
      1m 55s
    11. Working with compound paths
      6m 49s
    12. When in doubt, divide
      3m 54s
    13. Divide and Unite
      3m 2s
    14. Open path pitfalls
      5m 35s
    15. Strokes bad, fills good
      4m 38s
    16. Advanced Divide and Unite
      8m 59s
    17. Using the Crop operation
      8m 30s
    18. Expert Divide and Unite
      8m 45s
    19. "Ghosting" shapes with Fill Opacity
      6m 45s
    20. Anticipating and troubleshooting
      8m 16s
    21. Exclude and Intersect
      7m 24s
  3. 44m 59s
    1. Familiar one moment, different the next
      1m 3s
    2. Snapping to anchor points
      5m 41s
    3. Aligning a group to the artboard
      3m 34s
    4. Distributing objects on the artboard
      4m 16s
    5. Setting the key object
      4m 54s
    6. Distributing objects by space
      3m 6s
    7. Distributing objects by selections
      3m 19s
    8. Aligning point text
      6m 7s
    9. Aligning live text vs. using outlines
      4m 58s
    10. Aligning key letters
      3m 35s
    11. Aligning to key objects
      4m 26s
  4. 1h 4m
    1. CS4’s gradient renaissance
      1m 7s
    2. Applying a gradient
      6m 0s
    3. Dragging and dropping color swatches
      2m 55s
    4. Using the Gradient palette
      6m 27s
    5. Designing a shaded gradient
      5m 9s
    6. Saving a gradient swatch and adding a texture
      4m 2s
    7. Introducing the new Gradient tool
      4m 39s
    8. Editing color stops inside a shape
      3m 26s
    9. Setting multiple gradients to the same angle
      5m 0s
    10. Adding and adjusting radial gradients
      7m 20s
    11. Making a transparent gradient
      7m 6s
    12. Adding drop shadows (a kind of gradient)
      6m 28s
    13. Blends vs. blend modes
      4m 38s
  5. 1h 17m
    1. Creating freeform color flows
      1m 0s
    2. The power of CS4's transparent gradients
      10m 25s
    3. Creating a gradient mesh
      4m 30s
    4. Expanding a gradient to a gradient mesh
      7m 40s
    5. Adding and deleting rows and columns
      6m 13s
    6. Selecting and coloring points
      6m 5s
    7. Assigning colors with the Eyedropper tool
      7m 42s
    8. Cool mesh editing techniques
      3m 56s
    9. Warping and puckering a mesh
      7m 24s
    10. Applying precise finishing touches
      5m 48s
    11. Gradient strokes
      9m 45s
    12. Gradient text
      6m 50s
  6. 55m 35s
    1. The first of the dynamic functions
      1m 4s
    2. Making a blend automatically
      5m 48s
    3. Fixing problem blends
      3m 56s
    4. Making a blend with the Blend tool
      3m 6s
    5. Cloning and coloring a blended path
      4m 37s
    6. Creating a mask
      3m 53s
    7. Blending between translucent shapes
      5m 30s
    8. Blending along a curve
      4m 34s
    9. Adjusting the speed of a blend
      2m 58s
    10. Filling and stroking a mask
      4m 36s
    11. Creating a compound clipping mask
      6m 3s
    12. Nesting one clipping mask inside another
      6m 7s
    13. Ghosting nested masks and blends
      3m 23s
  7. 1h 13m
    1. Patterns that repeat forever and ever
      51s
    2. Introducing tile patterns
      6m 36s
    3. Beginning a core design
      5m 6s
    4. Building an interlocking element
      6m 25s
    5. Achieving precise radial symmetry
      4m 46s
    6. Rotating duplicates around a common center
      3m 10s
    7. Determining how a pattern repeats
      9m 54s
    8. Coloring the core objects
      5m 0s
    9. Identifying the rectangular tile
      7m 14s
    10. Saving tile patterns
      7m 19s
    11. Applying tile patterns to a shape
      3m 25s
    12. Protecting patterns from transformations
      7m 36s
    13. Moving patterns without paths
      5m 51s
  8. 1h 19m
    1. Illustrator gets natural
      1m 15s
    2. Introducing the vector painting tools
      3m 16s
    3. Calligraphic brush options
      4m 3s
    4. Pressure sensitivity
      5m 17s
    5. Editing a calligraphic brush
      5m 53s
    6. Repainting and smoothing paths
      5m 30s
    7. Making the paintbrush behave
      6m 16s
    8. Erasing stroked paths
      3m 17s
    9. Painting with the new Blob brush
      6m 24s
    10. Refining filled paths with the Eraser
      4m 14s
    11. Painting independent paths
      3m 53s
    12. The Selection Limits Merge options
      3m 20s
    13. Applying and scaling an art brush
      6m 23s
    14. Snipping a brushed path
      4m 55s
    15. Colorizing an art brush
      4m 9s
    16. Heaping a stroke on an art brush effect
      4m 32s
    17. Creating a custom art brush
      6m 51s
  9. 1h 44m
    1. The computer art world’s dynamic duo
      1m 7s
    2. Copying and pasting pixels from Photoshop
      7m 21s
    3. Linking is efficient, embedding is not
      2m 47s
    4. Editing an image in Illustrator
      7m 30s
    5. Filtering an image in Photoshop
      6m 34s
    6. Adding a filter mask in Photoshop
      6m 25s
    7. Masking a woman from the background
      3m 49s
    8. Creating a sepia effect
      6m 37s
    9. Adding a second gradient map layer
      2m 13s
    10. Achieving a graphic effect with Levels
      8m 10s
    11. Preparing an image for use in Illustrator
      5m 46s
    12. The importance of image resolution
      9m 40s
    13. Placing and linking images
      4m 43s
    14. Managing linked images
      6m 18s
    15. Integrating an image into a design
      5m 12s
    16. A better way to wrap text
      7m 28s
    17. Previewing the trim size
      4m 25s
    18. Layer comps and editable text
      8m 42s
  10. 2h 11m
    1. Transparency is safe and fun
      1m 27s
    2. Introducing the translucent composition
      4m 39s
    3. Assigning opacity to an Appearance attribute
      3m 41s
    4. Creating a knockout group
      5m 7s
    5. Defining an opacity mask
      7m 15s
    6. Using the Clip checkbox
      2m 41s
    7. Opacity mask tips and tricks
      3m 20s
    8. The Multiply blend mode
      6m 8s
    9. Adding to an existing opacity mask
      7m 53s
    10. Blending between parallel groups
      7m 27s
    11. Creating a gradient opacity mask
      4m 54s
    12. Employing an opposing gradient mask
      7m 57s
    13. Combining Multiply and Screen
      3m 49s
    14. Blend mode roundup
      5m 24s
    15. Mixing blend modes inside a single path
      3m 48s
    16. Blend mode and transparent gradient
      3m 49s
    17. Masking an entire layer
      7m 0s
    18. Combining Screen with 100K Black
      7m 43s
    19. Knocking out a drop shadow
      5m 18s
    20. But will it print?
      3m 8s
    21. Working with the Flattener preview
      8m 44s
    22. Rasterizing an illustration in Photoshop
      9m 16s
    23. Super-rich blacks and raster effects
      3m 35s
    24. Exporting TIFF artwork from Illustrator
      7m 48s
  11. 58s
    1. Until next time
      58s

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