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I have saved my progress as Intricate weave.ai. And from here or you can go where your ambitions take you. For example, we might go the direction of that Celtic knot.ai file, in which we had some gradients and had a little bit of a depth of fact as well. And I will show you how to do that in the next exercise, because it's not all that complicated. And it gives you a sense of how you can select a bunch of fills and replace them with a gradient for example, and then change the direction of the gradient, very interesting stuff, or you could do one of these numbers.
I am working back here inside the Intricate weave.ai file. We have seen what it looks like if we move these objects around with respect to each other. What if we transform them? For example, what if I rotate this green object inside of the orange one? I can go ahead and switch for my White Arrow tool and I'll Alt+Option+Drag around this top portion in order to select all of these shapes here. And then I'll switch my Rotate tool. And I will click to set the transformation origin right there at that target guy that I've set up. And then I'll drag with a tool and it's amazing that you can do this.
It just goes ahead and retains that same relationship between the path outlines, absolutely wonderful. And then that made me think, well, I bet, I can create an even more intricate pattern if I wanted to. So I will press Ctrl+Z a couple of times, Command+Z on the Mac a couple of times in order to reset that shape. And then what the hack, let's go ahead and Alt+Click or Option+Click at the center of that target guy, which will bring up the Rotate dialog box and lend her an angle of 180?. And I will click on the Copy button and that ends up creating that effect there, now that's not the least bit desirable of course, but now, all I need to do is figure out what the patterns is going to be, and go ahead and fill in the various subpaths accordingly.
So I press the K key to once again switch to my Life Paint Bucket tool. And then I want to make sure that the areas that should be transparent are, so I will go ahead and press C, left arrow key in my case, in order to get the none-swatch. And then click in those areas that should be holes, like so. So I am working fairly quickly here, because this is fairly mind numbing stuff when you come right down to it. And then I decided you know this new path ought to be filled with a different color, such as blue. Let's say this shade of blue right there in the Swatches panel. And then I will just click along in these various subpaths, and you have to work fairly deliberately, and at this point you might actually want to reset this tool.
so it only affects fills and not strokes. So I will double-click on that paint bucket icon there in the toolbox, I will turn off strokes, click OK. And that way because there are so many little areas of Intersection, I am not going to accidentally affect the stroke, because I'm just trying to rough in this path outline like so or at least as big what's going to be a blue object inside of my Illustration. And I'll go ahead and fill in these guys like this, and ultimately come back around and then I would need to fill in those areas of green that are missing as well.
So I have a few areas that should be green that are currently transparent. And so I switch back to my green swatch, and then I will click in those areas like so and then I would determine who needs to be in front and who needs to be at back. Now that everything that should be filled is, at least filled with some color and I ultimately got this effect here. And so, this a file that I am calling Superintricate.ai. I am going to work through this entire process, because it's about fifteen minutes of clicking around and trying to figure out, okay, this guy should be in front, and then he should weave around the back.
And then in front again, and then it back again, and then in front again, and then in back again, and you might figure, well, shouldn't it go in front of any back of these shapes, well, it doesn't have time. It can't work that quickly in order to get in front and in back, right in this region, and so on. So I think this is the right pattern. The pattern that I was looking for, but it did take a fair amount of effort and there are some teeny-itsy-bitsy teensy-weensy path intersections that you have to account for too. So you got to do some zooming in, zooming out. It's totally dependent upon whether your ambitions take you that direction, but you can do this kind of stuff if you want to, and then once again, if I Alt+Drag or Option+Drag with my white arrow tool inside of some region like this in order to select it, and I think I have got my path edges hidden right now.
So I will press Ctrl+H, Command+H on a Mac in order to bring back those edges inside of this particular illustration. And then if I grab my Rotate tool and I am not going to clone, this time around, I am not that insane. I'm just going to go ahead and grab the rotate tool. Make sure that my origin is right there in the center of the illustration, which it is. And now I can drag in order to rotate these paths, and sure enough, Illustrator goes ahead and retains that same relationship that I had before. So it's just amazing that you can get away with this kind of stuff using Live Paint. In the next illustration what we are going to do, is we are going to create this effect.
We are going to go ahead and fill in our basic illustration here with the gradient. And that still takes a fair amount of effort as you'll see, but there are few time saving tips that I will pass along. So join me, won't you?
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