# Establishing a rectangular tile

## 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.

## 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.

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#### This video is part of

153 video lessons · 28099 viewers

Author

Expand all | Collapse all
1. ### Introduction

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. ### 13. Live Trace

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
10m 32s
13. Live Trace and resolution
9m 8s
14. Expanding and separating paths
8m 43s
15. Scaling and editing traced art
8m 4s

1h 8m
1m 15s
6m 9s
7m 31s
4m 37s
5m 28s
5m 46s
3m 23s
8. Mixing gradients with blend modes
6m 11s
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. ### 15. Blends and Masks

1h 37m
1. The earliest dynamic functions
1m 10s
5m 26s
3. Creating a multi-color blend
7m 39s
3m 34s
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. ### 16. Repeating Tile Patterns

1h 37m
1. What was 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
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. ### 17. Live Paint and Intersecting Objects

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
8m 22s
7. ### 18. Advanced Type Effects

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. ### 19. Advanced Color and Harmonies

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. ### 20. Working with Symbols

1h 21m
1. How symbols work
1m 2s
2. The power of symbols
5m 1s
3. Creating new symbols
6m 0s
4. Enabling the new 9-slice scaling
4m 24s
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. ### 21. Illustrator and Photoshop

1h 32m
1. Illustrator needs Photoshop
1m 1s
2. Two ways to place a pixel-based image
6m 6s
6m 6s
9m 38s
5. Stroking and blending an image
6m 16s
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. ### 22. Real-World Blending

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
4m 6s
5m 25s
12. Drawing inside an opacity mask
3m 34s
5m 29s
3m 22s
12. ### Conclusion

1m 13s
1. Until next time
1m 13s

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