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Illustrator CS5 One-on-One: Advanced

Establishing a rectangular tile


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Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Establishing a rectangular tile

I've saved my progress as Heap of humanoids.ai. In this exercise, we're going to take our successfully interlocking objects and we're going to convert them into a rectangular tile pattern, but how? See the thing is, even if you get your objects exactly interlocking like this, if there are no gaps whatsoever, and everything looks absolutely perfect, it is by no means implicitly obvious where that rectangle should be. By the way, you have to mark a rectangle using the Rectangle tool. So let me show you.
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  1. 38m 35s
    1. Welcome
      1m 48s
    2. Linking AI and EPS files to Illustrator
      6m 48s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 54s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 22s
  2. 1h 40m
    1. Converting pixels to vectors
      1m 2s
    2. Tracing an imported image
      6m 17s
    3. Other ways to trace
      3m 17s
    4. Raster and vector previews
      7m 2s
    5. Threshold, Min Area, and Max Colors
      5m 27s
    6. Tracing options: The raster functions
      8m 2s
    7. Using the Ignore White option
      5m 3s
    8. Tracing options: The vector functions
      6m 40s
    9. Expanding traced artwork
      5m 6s
    10. Sketching and drawing for Illustrator
      6m 24s
    11. Editing scanned line art
      9m 23s
    12. Adding contrast and color
      10m 32s
    13. Live Trace and resolution
      9m 8s
    14. Expanding and separating paths
      8m 43s
    15. Scaling and editing traced art
      8m 4s
  3. 1h 8m
    1. Gradients are good
      1m 15s
    2. Assigning a gradient fill
      6m 9s
    3. Using the gradient annotator
      7m 31s
    4. Editing multiple gradients
      4m 37s
    5. Establishing symmetrical gradients
      5m 28s
    6. Creating a radial gradient
      5m 46s
    7. Adjusting the midpoint skew
      3m 23s
    8. Mixing gradients with blend modes
      6m 11s
    9. Making a transparent gradient
      6m 42s
    10. Drop shadows and dynamic effects
      5m 58s
    11. Assigning a gradient to editable text
      5m 42s
    12. Editing text that includes dynamic effects
      2m 56s
    13. Assigning a gradient to a stroke
      6m 46s
  4. 1h 37m
    1. The earliest dynamic functions
      1m 10s
    2. The gradient-intensive illustration
      5m 26s
    3. Creating a multi-color blend
      7m 39s
    4. Establishing a clipping mask
      3m 34s
    5. Reinstating the mask colors
      9m 7s
    6. Editing blended paths
      6m 50s
    7. Adjusting the number of blended steps
      6m 49s
    8. Using the Blend tool
      4m 33s
    9. Blending between levels of opacity
      7m 32s
    10. Editing the path of the blend
      6m 22s
    11. Adding a custom path of the blend
      5m 4s
    12. Placing one mask inside another
      8m 33s
    13. Blending groups and adjusting the speed
      6m 1s
    14. Rotating objects in 3D space
      10m 21s
    15. Creating custom perspective guides
      8m 31s
  5. 1h 37m
    1. What's old is new again
      39s
    2. Introducing tile patterns
      6m 11s
    3. Determining the points of intersection
      6m 51s
    4. Extending paths from the intersections
      5m 40s
    5. Crafting symmetrical subpaths
      5m 38s
    6. The final flawed subpaths
      5m 52s
    7. Reconciling misaligned paths
      5m 34s
    8. Completing the core path outline
      6m 14s
    9. Making a symmetrical modification
      6m 47s
    10. Adjusting the interior elements
      8m 26s
    11. Coloring paths and testing the interlock
      9m 29s
    12. Establishing a rectangular tile
      6m 22s
    13. Defining a tile pattern
      3m 43s
    14. Creating a few color variations
      8m 50s
    15. Protecting patterns from transformations
      6m 9s
    16. Transforming patterns without paths
      5m 30s
  6. 1h 12m
    1. Filling and stroking virtual areas
      44s
    2. Introducing Live Paint
      7m 57s
    3. Stroking with the Live Paint Bucket tool
      5m 30s
    4. Using the Live Paint Selection tool
      7m 18s
    5. Adding a path to a Live Paint group
      4m 33s
    6. Building a classic Celtic knot
      8m 28s
    7. Constructing the base objects
      5m 31s
    8. Weaving one object into another
      6m 13s
    9. Creating a path that overlaps itself
      7m 15s
    10. Painting a path that overlaps itself
      5m 34s
    11. Creating knots inside knots
      5m 2s
    12. Adding gradients and depth
      8m 22s
  7. 1h 4m
    1. Dynamic effects and OpenType
      1m 12s
    2. Applying a dynamic effect to type
      5m 43s
    3. Creating a basic bevel effect
      4m 12s
    4. Building up a multi-stroke effect
      4m 49s
    5. Best practices for 3D type
      6m 34s
    6. Applying a "path wiggler" to type
      6m 14s
    7. Drop shadows and Raster Effects settings
      4m 52s
    8. Duplicating attributes and effects
      7m 8s
    9. Editing type with dynamic effects
      7m 27s
    10. Ligatures, swashes, ordinals, and fractions
      5m 45s
    11. Small caps and the Glyphs panel
      4m 25s
    12. Warping text and increasing resolution
      6m 9s
  8. 1h 44m
    1. A world of colors at your beck and call
      1m 32s
    2. Customizing a letterform to make a logo
      8m 37s
    3. Creating a custom drop shadow effect
      6m 26s
    4. Introducing the Color Guide panel
      9m 3s
    5. Harmonies and Color Guide settings
      5m 39s
    6. Lifting harmony rules from color groups
      7m 21s
    7. Harmony layouts and the Lab color wheel
      8m 15s
    8. Working inside the Edit Color dialog box
      6m 36s
    9. Limiting a color group to spot colors
      5m 47s
    10. Recoloring selected artwork
      5m 50s
    11. Recoloring with custom color groups
      6m 1s
    12. Swapping colors with the Color Bars feature
      5m 18s
    13. Using the options in the Assign panel
      8m 41s
    14. Moving color groups between documents
      7m 17s
    15. Distilling your artwork to one spot-color ink
      7m 45s
    16. Recoloring artwork that contains gradients
      4m 17s
  9. 1h 21m
    1. How symbols work
      1m 2s
    2. The power of symbols
      5m 1s
    3. Creating new symbols
      6m 0s
    4. Enabling CS's new 9-slice scaling
      4m 24s
    5. Adjusting your 9-slice scaling guides
      6m 54s
    6. Previewing and acquiring symbols
      4m 12s
    7. Finding a symbol and creating an instance
      4m 13s
    8. Duplicating and replacing instances
      4m 19s
    9. Breaking a symbol link and envelope fidelity
      5m 26s
    10. Distorting and expanding a symbol
      4m 54s
    11. Updating an existing symbol definition
      3m 40s
    12. Recoloring a symbol definition
      4m 13s
    13. Applying a basic "local" color adjustment
      5m 20s
    14. Applying a more elaborate local color adjustment
      5m 4s
    15. Laying down a random symbol set
      5m 35s
    16. The eight symbolism tools
      6m 55s
    17. Editing selected instances
      4m 11s
  10. 1h 32m
    1. Illustrator needs Photoshop
      1m 1s
    2. Two ways to place a pixel-based image
      6m 6s
    3. Working with linked images
      6m 6s
    4. Linking versus embedding
      9m 38s
    5. Stroking and blending an image
      6m 16s
    6. Adding a clipping mask and page curl
      6m 51s
    7. Creating a blended border effect
      7m 10s
    8. Rasterizing your artwork in Photoshop
      8m 0s
    9. Saving a flat raster file from Photoshop
      4m 58s
    10. Restoring cropped border elements
      5m 39s
    11. Copying and pasting into Photoshop
      6m 27s
    12. Working with Photoshop Smart Objects
      5m 26s
    13. Adding a pixel-based layer effect
      4m 12s
    14. Editing a Vector Smart Object in Illustrator
      7m 20s
    15. Creating and placing a transparent image
      7m 1s
  11. 1h 15m
    1. The many forms of transparency
      1m 29s
    2. Real-world blending modes
      7m 57s
    3. Exporting transparency from Illustrator
      6m 24s
    4. Opacity and blending modes
      6m 18s
    5. The Darken and Lighten modes
      7m 17s
    6. The Contrast, Inversion, and HSL modes
      6m 12s
    7. Blending modes in action
      5m 11s
    8. Creating a knockout group
      6m 14s
    9. Confirming the viability of your artwork
      6m 8s
    10. Introducing the opacity mask
      4m 6s
    11. Making an opacity mask
      5m 25s
    12. Drawing inside an opacity mask
      3m 34s
    13. Creating a gradient opacity mask
      5m 29s
    14. Adding an opacity mask to a single object
      3m 22s
  12. 1m 13s
    1. Until next time
      1m 13s

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Illustrator CS5 One-on-One: Advanced
14h 53m Intermediate Nov 30, 2010

Viewers: in countries Watching now:

In Illustrator CS5 One-on-One: Advanced, author and industry expert Deke McClelland teaches how to take advantage of the wide array of dynamic features in Illustrator CS5. This course demonstrates how to apply these features to paths, groups, and editable text to create professional-quality artwork. The course covers Live Trace, Live Paint, and Live Color, as well as symbols, gradients, exporting, and integration with Photoshop. Exercise files accompany the course.

Topics include:
  • Tracing a pixel-based image
  • Sketching and drawing for Illustrator
  • Creating and editing gradients
  • Creating multi-colored blends
  • Creating seamlessly repeating tile patterns
  • Creating interlocking artwork with Live Paint
  • Designing advanced type effects
  • Recoloring artwork with color harmonies
  • Making the most of symbols
  • Integrating Illustrator with Photoshop
  • Using transparency, blend modes, and opacity masks
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Establishing a rectangular tile

I've saved my progress as Heap of humanoids.ai. In this exercise, we're going to take our successfully interlocking objects and we're going to convert them into a rectangular tile pattern, but how? See the thing is, even if you get your objects exactly interlocking like this, if there are no gaps whatsoever, and everything looks absolutely perfect, it is by no means implicitly obvious where that rectangle should be. By the way, you have to mark a rectangle using the Rectangle tool. So let me show you.

I'm going to switchover to the humanoid layer. Make sure it's active. Then I'll grab my Rectangle tool either by clicking on it, or pressing the M key. Then I could just draw a rectangle like so in the middle of the shape. Of course, I'm covering everything up, so that's no good. Up here in the Control panel, I'm going the Fill to None. Then I'm going to change the Stroke to White. Then I'll zoom in on my rectangle to see if that's what I want. And how could it possibly be what I want? I mean, we need to see everything repeating properly.

So if I were to merely select an arbitrary area, like so. We would have this guy's shoulder, the yellow guy's shoulder, upside down man, coming right into the purple guy's shoulder over here. So what we need, is we need to surround our various objects similarly. So we need to look for common points of reference. So I'm going to get rid of that rectangle just by deleting it. What's looking pretty good for me is the top of this yellow guy's head. Notice that we've got another yellow guy next door, and he has got a top of the head too.

So that's good. Then down here, we've got yellow guys that are more or less directly below. Now I say more or less, because they aren't actually directly below. They're out of alignment. But we'll fix that momentarily. Anyway, I'm going to go ahead and draw a rectangle from the top of that guy's head, the upside down yellow guy, to about the top of the other upside down yellow guy's head. But you can see over here in the right-hand side, but you can see I'm not aligning properly. So I'll have to fix that in just a moment. Then I'll drag down here. And I can't even see, because I didn't auto scroll and Illustrator's not keeping up with me, so I'll just release and hope for the best, and the best wasn't very good.

But anyway, that's the way things are. So what I need to do now is I need to take these massive interlocking guys and I need to rotate them slightly, so they fit better in the rectangle. So I'm going to press Ctrl+A, or Cmd+A on the Mac to select all these guys. My gosh, that's so easy to figure out with all those selection edges. I'm going to Shift+Click with the Black Arrow tool, Shift+Click on the rectangle, because I don't want to move it. All right, now I'll press Ctrl+H or Cmd +H on the Mac. Now that I have confirmed the rectangle is deselected, so that I'm getting rid of the selection edges, just so I can see what the heck I'm doing.

I'll get my Rotate tool, which I can get by pressing the R key of course, and I'll click at that point of alignment where the top of that yellow guy's head is indeed aligned properly. That will become the origin for my rotation. Then I'll go ahead and drag these guys down, so they at least appear to be aligned, and I'm not sure if I'm doing this right or not. So I'm going to have to zoom in a little bit. Let's press Ctrl+Y or Cmd+Y on the Mac in order to switch to the Outline mode. I'm seeing too many of these guys, because the template layer is still turned on.

So I'll turn it off. And what I want to do, I'll leave this origin point right where it is. I'm not sure that the top of that head is exactly where it needs to be. So I'm going to drag back up like so, and I'm going to take another swing at it. I'm going to drag it down until the top point of that other yellow head exactly aligns to the top of that rectangle right there. Then I'll check these guys down below. Make sure their heads are aligning. Well, at least they are on the straight and narrow here. They're aligned horizontally. They're not aligned to the bottom of the rectangle, but that's the rectangle's fault.

So I'm going to switch to the Direct Selection tool and I'm going to press Ctrl+H once again to see my selection edges. I'll press Ctrl+Shift+A, Cmd+Shift+A on a Mac to deselect everything, and I'm going to grab this corner point by clicking on it, and this corner point as well by clicking on it. Then I'll drag it up while pressing the Shift key, because this has to be an absolute rectangle, by the way, you've got to constrain this shape to a rectangle. You can't let it get rotated or slanted or anything like that. Then I'll release my mouse button once I've snapped into alignment there, and I'll release the Shift key as well.

Now I'm going to click off the path outline. I'm going to click on this corner point again. I'm going to scroll up inside of my illustration, and Shift+Click on this guy. I'll drag it over while I press the Shift key until it snaps into alignment. Now we have the rectangle exactly where it needs to be. So it should be snapped into alignment. If I press Ctrl+Y or Cmd +Y, I can confirm. We should have a rectangle that's snapped exactly into alignment with each of the upside down yellow guy's heads. Sure enough, it looks like we have exactly that kind of alignment.

Okay, now having done that, leave the rectangle there, let's get rid of the dudes we don't need. So I'm going to get my Black Arrow tool and I'm going to select anybody who is not at least partially inside the rectangle. If they're even partially in the rectangle, leave them. But if they aren't, like this yellow guy is not actually contributing, because even though his corner is right there inside of the rectangle, there is already another corner point that's filling in the gaps. So we already have a stroke that's going into the rectangle from the purple guy there.

So we don't need the gold guy. I'll Shift+Click on him as well. Him we need, because his tail goes in. Him we need, because his hand goes in. Him we don't need, because nothing goes in. Him we need, because just the little teeny top of his finger goes in. So you've really got to keep a close eye. This red guy, we need him, because the top of his hair is inside the rectangle; this purple guy, his hand's in the rectangle; this red guy, his arm and leg are in the rectangle. These two guys, not in the rectangle, they can come out. And that's it, everybody else has to stay.

So just these two guys over here, and these three to four guys, actually this fourth guy as well. Once you've selected and pressed the Backspace key or the Delete key to get rid of them, and now we have a rectangular tile pattern. Believe it or not, this is what rectangular tile patterns look like inside of Illustrator. In the next exercise, I'll show you how to save this pattern as a swatch, so that we can apply it as a fill to an object here inside Illustrator.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Advanced.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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