IntroductionWelcome| 00:00 | (music playing)
| | 00:04 | Hi! I'm Robin Schneider.
| | 00:05 | Welcome to Illustrator for
Fashion Design: Creating Brushes.
| | 00:09 | In this course, I'm going to show you
how to create custom brushes in Adobe
| | 00:12 | Illustrator, so you can quickly add
details to your fashion illustrations and flats.
| | 00:17 | I'm going to start by showing you how
to create simple, time-saving brushes for
| | 00:21 | illustrating details
like bias trims and boning.
| | 00:24 | Then I'll walk you through
creating some more advanced brushes.
| | 00:27 | We'll create brushes
for chains and cording.
| | 00:29 | Then, we'll make brushes for trimmings,
like sequins, rhinestones, and fur.
| | 00:34 | Finally, I'll show you how to create lace.
| | 00:36 | Now, let's get started with
Illustrator for Fashion Design:
| | 00:39 | Creating Brushes.
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| Using the exercise files| 00:00 | If you're a premium member, you'll have
access to the exercise files that I've
| | 00:04 | used throughout this course.
| | 00:05 | They're organized by chapter, and in each
chapter are the files I use in each movie.
| | 00:09 | If you don't have access to the
exercise files, you can follow along.
| | 00:13 | Just use your own assets, and
create your brushes from scratch.
| | 00:16 | Have fun!
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|
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1. Simple Brushes That Save TimeCreating pin tucks| 00:00 | For the first brush in this series,
we're going to start with a pin tuck brush.
| | 00:04 | It's a simple, brush but it's very,
very useful, and it's easy to make.
| | 00:07 | So, let's get started.
| | 00:09 | Whenever I draw brushes, I like to draw
them next to either the flat, or a flat
| | 00:14 | template, so I can gauge the
scale of the brush that I'm making.
| | 00:17 | Let's start with the
Line Segment Tool.
| | 00:19 | Click once on the page, and make a
line segment that's 4 points long, with an
| | 00:23 | angle of 0 degrees, and click OK.
| | 00:26 | And we'll zoom in, since
this is quite small.
| | 00:29 | I would like this line segment to have
no fill, a black stroke, a stroke weight
| | 00:34 | of 1 point, and let's go ahead and
change the end caps on the stroke to Butt
| | 00:39 | Cap, so it's got a nice straight edge.
| | 00:41 | Now we need a second line segment
that's half the size of this one, and we can
| | 00:46 | go ahead and do that by
using the Scale Tool.
| | 00:48 | So, let's double-click on the Scale Tool,
type in 50%, because I want one that's
| | 00:53 | half the size of this, and make sure
that Scale Strokes & Effects is not checked,
| | 00:57 | and click Copy,
because we want a second stroke.
| | 01:00 | So, now I have my smaller stroke, and
I'm going to use my arrow key on the
| | 01:05 | keyboard to nudge it down.
| | 01:06 | And my nudge, apparently,
is set very, very small,
| | 01:09 | so let's reset the
nudge on the keyboard.
| | 01:11 | I'm going to do that by clicking Ctrl+K,
which is going to open the Preferences
| | 01:15 | panel, and you'll notice that the Keyboard
Increment is currently set to 0.1 point,
| | 01:20 | and that's very small.
| | 01:22 | Let's change it back to the
default, which is 1 pt, and click OK.
| | 01:25 | So, now I can use my down arrow to
nudge this down 1 point, and I'd like to
| | 01:31 | change the stroke now to 0.25,
so we'll reduce the stroke size.
| | 01:35 | And for this one, I'd like to make the
stroke with round caps, because this is
| | 01:39 | going to be a stitch, and I like my
stitches to be a 2 point stroke with round caps.
| | 01:43 | I think it looks more
natural as a stitch that way.
| | 01:47 | And that's really all there is to it.
| | 01:49 | Now, we can take this, and
create a brush out of it.
| | 01:52 | So, let's select it, open the Brushes
panel, which is right here, and we're going
| | 01:56 | to make a new brush by
clicking on the New Brush icon.
| | 01:59 | The type of brush we're going to
make for a pin tuck is a pattern brush,
| | 02:03 | so let's select Pattern Brush,
and click OK.
| | 02:05 | When the Brush window opens, we can title
this Pin Tuck, and we'll go ahead and click OK.
| | 02:11 | And that's really all there
is to this particular brush.
| | 02:14 | Let's see what it looks
like when we apply it.
| | 02:16 | I'll draw a path, click on the brush,
so you can see how the brush looks.
| | 02:20 | I've got my 1 point stroke, which is the
edge of the pintuck, and then my little
| | 02:25 | line of stitches right up next to it.
| | 02:27 | So, let's apply this to a
flat and see how it works.
| | 02:30 | We'll zoom back out, and you'll see
I've got a shirt flat here, all set up, and
| | 02:34 | waiting for pin tucks.
| | 02:35 | I am going to go ahead and open the
Layers panel, and let's stretch this out a bit,
| | 02:39 | and I'm going to turn back on the
paths that I drew for the pin tucks.
| | 02:43 | Let's select them, so I can just click
on the target to select all of those
| | 02:48 | paths, go up to my brushes,
and click on my Pin Tuck brush.
| | 02:52 | And now you can see that I've got
pin tucks instead of single strokes.
| | 02:57 | But all my pin tucks are
facing in the same direction,
| | 03:00 | and that's because I created a section
of these lines, and reflected it to get
| | 03:04 | the lines on the other side.
| | 03:05 | So, in order to fix this, and have them
all going in the correct direction, I'm
| | 03:09 | going to click with the Group
Selection Tool to select all the pintucks on
| | 03:14 | this side of the shirt,
| | 03:15 | and I'm going to go ahead
and edit the brush.
| | 03:17 | But I don't want to
edit the brush universally;
| | 03:19 | I'm going to edit the brush
by clicking on this icon here.
| | 03:22 | It edits the options of
the selected object only.
| | 03:26 | So, if I click on this, and I check
this little box that says Flip Across, it
| | 03:31 | flips the way my brush sits, so that the
stitches are now on the other side, and click OK.
| | 03:37 | You'll notice it only affected the paths I had
selected, and not the others. And there you go!
| | 03:42 | With the click of a brush, I've changed
my basic old oxford into a tuxedo front.
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| Making boning| 00:00 | In this movie, I'm going to show
you how to make a Boning brush,
| | 00:03 | and this time we don't have to start
from scratch; we can actually use the
| | 00:07 | Pin Tuck brush that we made in the
previous movie, and turn it into a Boning brush.
| | 00:11 | To edit an existing brush, open
the Brushes panel, find the brush, and
| | 00:15 | click and drag it out of the
Brushes panel. There it is!
| | 00:19 | We'll zoom in to get a closer look at
it, since it is a very small brush tile,
| | 00:23 | and let's work on it.
| | 00:25 | Before we do anything, we need
to right-click and ungroup it.
| | 00:28 | Let's make sure that that's
actually ungrouped; no, Ungroup.
| | 00:32 | There we go!
| | 00:33 | And we're also going to need
to delete the bounding box.
| | 00:35 | Now, you can't see it, but there's
actually a bounding box here that was added
| | 00:40 | when it was turned into a brush, so I
need to select that, and delete it, and
| | 00:44 | get it out of the way.
| | 00:45 | Now, to turn this into a Boning brush, all
we need to do is reflect these two paths.
| | 00:50 | I'll select them, click once on the
Reflect Tool, Alt+Click a little below my
| | 00:55 | two paths, select Horizontal,
and make a copy.
| | 00:59 | And now I've got the shape of my boning,
| | 01:01 | but I still need to get a fill behind it,
| | 01:03 | so I'm going to select the two 1 point
strokes, copy them, Ctrl+C, and paste
| | 01:09 | in back, Ctrl+B. Now I need to join
them together to create a closed shape, and
| | 01:15 | I can do that by going to Object > Path > Join,
or the much easier way, right-click, Join.
| | 01:22 | So, now I've got a closed shape.
| | 01:24 | Let's turn the Stroke off, change it to
None, and change the fill to white, and
| | 01:30 | that's my tile for the boning.
| | 01:32 | I'll select the whole tile, click on New,
select Pattern Brush, because this is
| | 01:37 | going to be another
pattern brush; click OK,
| | 01:39 | let's name this Boning, and click OK.
| | 01:43 | We don't need the tile anymore, so
I'll go ahead and delete it, and let's
| | 01:47 | zoom back out; okay, maybe that's a
little too far. Let's zoom back in, and
| | 01:51 | let's work on the corset.
| | 01:52 | I'm going to use my Group Selection
Tool to select the paths that I
| | 01:56 | have previously drawn.
| | 01:57 | So, there they are,
| | 01:59 | and now, with one click on my Boning
brush, I have added boning to my corset.
| | 02:05 | Now, as I look at it, I think the proportion
is off, and this is probably a little
| | 02:10 | bit too wide for this corset,
| | 02:11 | so I can adjust the size by opening my
Stroke panel, and changing the stroke to
| | 02:16 | a smaller point size; maybe 0.75.
| | 02:19 | And now I think the boning is a
little more in proportion for this corset.
| | 02:23 | And now I've got a boning brush in
my library for future use as well.
| | 02:27 | Now, I don't have to
make my brushes white.
| | 02:29 | I can also set up my brush, so that it can
change color as well, so let's do that.
| | 02:34 | I'm going to go to my brushes, and let's
drag this Boning brush back out again,
| | 02:38 | and make a little change to it.
| | 02:39 | Instead of a white background, I'm going to
select that, and change it to a medium gray;
| | 02:44 | a 50% gray,
| | 02:46 | and it's this one right here.
| | 02:48 | You'll notice that it's a CMYK;
| | 02:50 | K=50, and K stands for black.
| | 02:52 | It actually stands for key, but
key is black, and that is 50% gray.
| | 02:57 | So now that I've got that color,
let's define it as a brush again.
| | 03:01 | New > Pattern Brush, click OK, we'll call
this one Boning Color, and we're going
| | 03:08 | to need to change the colorization
method in order for this to work.
| | 03:11 | So, down here where it says
Colorization, it's currently set to None.
| | 03:15 | I'm going to drop down and
change it to Tints and Shades.
| | 03:18 | What this is going to do is allow
me to change the color of my boning.
| | 03:23 | It's going to change the gray to
whatever color I change my stroke to, but it's
| | 03:27 | going to leave the black black.
| | 03:29 | So, let's delete that, zoom back out,
and let's play with it a little bit.
| | 03:33 | I'll go ahead, and select the
boning again, and switch to this brush.
| | 03:38 | Now, it reads as black, which isn't
very attractive, but the reason it's doing
| | 03:42 | that is because I have black
selected as my stroke color.
| | 03:45 | If I were to select a different stroke
color, oh, let's say a nice hot pink, it will
| | 03:50 | turn my boning pink, and
leave the outlines black.
| | 03:53 | So, that's just a nice little trick
for playing with colors and brushes.
| | 03:57 | Now, that pink is probably a little
bit harsh for this particular corset,
| | 04:01 | so let's select these again, and
change it from this hot, hot pink to a nice,
| | 04:08 | softer tint of pink, and I think
that's a little more appropriate.
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| Creating bias trim| 00:00 | Let's take the Boning brush we just made, and
turn it into a brush we can use for a bias trim.
| | 00:05 | We'll start by dragging it out of
the Brushes panel. Let's zoom in close,
| | 00:10 | and this is a really easy edit to make.
| | 00:12 | We're going to delete the small stitch
on top, and then we're going to select
| | 00:16 | the larger line segment on the bottom,
and change the weight to 0.5, so it's a
| | 00:21 | little more delicate.
| | 00:23 | And while we're at it, why don't
we change the color of this brush --
| | 00:26 | let's do it with the Direct Selection
Tool, to 50% gray, so we can go ahead and
| | 00:32 | play around with the color.
| | 00:33 | We'll select it;
make a new brush out of it.
| | 00:35 | This is another pattern brush,
and we'll call it Bias Trim.
| | 00:39 | And the color Methods, we need to
switch to Tints and Shades. Click OK,
| | 00:44 | that's all there is to it!
| | 00:45 | So, let's go ahead to the
shirt and try out our new brush.
| | 00:50 | I am going to use the Group Selection
Tool again, because I have this all
| | 00:54 | grouped, and we'll select
the paths that I've drawn.
| | 00:56 | I've got one here on the sleeve, one on
the pocket, and one on this sleeve, and
| | 01:00 | let's go ahead and add the trim.
| | 01:02 | Now, it's black, and that's because we
set this to change color, and my stroke is
| | 01:06 | currently set to black.
| | 01:08 | And of course, that's not
very attractive in this case,
| | 01:10 | so we'll change the stroke
to a nice contrasting color.
| | 01:14 | And there you have it;
| | 01:16 | bias trim, except for one problem:
this one is going in the wrong direction,
| | 01:20 | and that's because the sleeve was drawn,
and then reflected, so all the lines on
| | 01:25 | this side are drawn opposite basically.
| | 01:27 | That's what happens when
you draw a flat; it's typical.
| | 01:30 | So, we need to fix this brush.
| | 01:31 | We'll select it, we'll click on the
Options of Selected Object icon, and we'll
| | 01:36 | just flip across, click OK,
| | 01:39 | and now all of my brushes are
going in the right direction.
| | 01:41 | Of course, it's not necessary to make
the trim the same size as the boning;
| | 01:46 | we can make a thin trim,
or a wide trim,
| | 01:48 | and all you need to do to change the
trim size is go ahead and grab the Direct
| | 01:53 | Selection Tool, and marquee select
either the top or the bottom, and with your
| | 01:57 | arrow key, just nudge it in a bit
to change the width of the trim.
| | 02:01 | Now we can select it, go ahead and
make a new pattern brush out of it;
| | 02:05 | we'll call this one Bias Trim Narrow.
| | 02:08 | Make sure we also have the Colorization
set to Tints and Shades, and click OK.
| | 02:15 | Let's see how this one looks.
| | 02:16 | I'll go ahead and select these, and we
can switch out to the narrower one, and
| | 02:23 | we still have to go ahead and adjust
the direction of this one, so we'll select
| | 02:27 | it, click on this icon again,
and flip across. Click OK,
| | 02:32 | and now we've got contrast bias trim.
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| Making ribbing| 00:00 | In this video, I'm going to show you how
to create two different ribbing brushes.
| | 00:04 | Let's use the Line Segment Tool, click
on the page, and make a line segment that
| | 00:08 | is 25 points,
and 90 degrees. Click OK.
| | 00:13 | Let's move it down a little bit.
| | 00:14 | I'm going to change the weight of that
line segment to 0.5, and make sure it
| | 00:19 | has a Fill of None.
| | 00:21 | We can copy it, paste in front, and
use your arrow key to nudge it over once,
| | 00:26 | and that's pretty much it.
| | 00:28 | We'll select it, and make
a pattern brush out of it.
| | 00:30 | So, New > Pattern Brush, click OK.
| | 00:33 | We'll call it Ribbing, and we need to
adjust the spacing to 100, and click OK.
| | 00:40 | And this is going to give us a
double rib knit type pattern.
| | 00:43 | Let me show you how to use it.
| | 00:45 | Let's grab the shape I
want to fill with my ribbing.
| | 00:47 | It's right here, and I'm going to need
to go into Isolation mode to separate it
| | 00:51 | from the rest of the shirt.
There we go.
| | 00:54 | Now I'm going to draw a path with the
Pen Tool straight down the center of the
| | 00:58 | area that I want to cover with the rib,
and we'll apply the ribbing brush.
| | 01:02 | Now I'm going to send the ribbing
behind the area I want to fill with it.
| | 01:06 | So, right-click, Arrange >
Send to Back.
| | 01:08 | Holding the Shift key, I'm going to go
ahead, and switch to the Selection Tool,
| | 01:13 | and select the cuff piece as well.
| | 01:15 | Now, I'm going to make
a clipping mask.
| | 01:17 | Right-click, Make Clipping Mask, and
that's going to put my ribbing inside the cuff,
| | 01:22 | although you'll notice the color
of the cuff changed, and the outline
| | 01:25 | disappeared. It's very easy
to bring those things back.
| | 01:28 | Switch to the Direct Selection Tool,
and select just the outline of the cuff.
| | 01:33 | Now you can go up to your stroke,
change the point size back to 1 pt, which it
| | 01:37 | was, the color back to black, and you
can also at this point change the Fill
| | 01:42 | color to whatever color
you wanted it to be.
| | 01:45 | We'll go with a contrast cuff.
| | 01:48 | And that's how you do it.
| | 01:49 | I'll show you one other style now.
| | 01:51 | Let's make a type of ribbing that
actually has the top and bottom line attached
| | 01:56 | to it, so that you don't have
to clip it inside something.
| | 01:59 | So, we'll go ahead and
escape from Isolation mode.
| | 02:01 | We don't need this anymore.
| | 02:03 | Let's draw another type of ribbing.
| | 02:05 | We're going to use the rectangle to
start this time, and draw a rectangle that
| | 02:09 | is 3 points wide, and 20
points high. Click OK. There it is.
| | 02:14 | We're going to go ahead and lose
the stroke, and change the Fill;
| | 02:18 | we'll do, again, this medium gray, just
because it's easier to see than a plain old
| | 02:22 | white rectangle on the page.
| | 02:25 | Now we need to make the ribbing,
| | 02:26 | so switch to the Direct
Selection Tool; the white arrow.
| | 02:29 | Go ahead and click on the top line
segment, hold your Shift key, and click on the
| | 02:33 | bottom line segment.
| | 02:35 | Copy and paste in front, which is Ctrl+F.
We're going to change the stroke to 1
| | 02:40 | pt, black, and the Fill to None.
| | 02:43 | And now we can do the rib part.
| | 02:45 | Click on one side; doesn't matter, but
one of the line segments on either side.
| | 02:50 | Copy, and paste in front.
| | 02:52 | We're going to change the stroke this
time to 0.5, make sure it's set to black,
| | 02:57 | and the Fill to None.
| | 02:59 | We don't want to fill on this.
| | 03:00 | And you can nudge it over
one click on your keyboard.
| | 03:04 | Now Copy > Paste in Front, and nudge that
over once with your arrow key, and that's it.
| | 03:09 | Now we have ribbing that we can color,
with a stroke on the top, and on the bottom.
| | 03:14 | Select the whole thing, click on
Brushes > New, it's a Pattern Brush, click OK;
| | 03:20 | we'll call this Ribbing 2.
| | 03:22 | We need to adjust the color this
time to Tints and Shades. Click OK.
| | 03:26 | Now switch to my black arrow.
| | 03:29 | If I select the path and fill with it,
I get this again, because my Stroke is
| | 03:34 | set to black, so let's change the Stroke color
to something else. How about green this time?
| | 03:39 | And now I have a colored rib
ready to apply to any shirt.
| | 03:43 | Now, you can make the rib any color you
want, and of course, you can adjust the
| | 03:47 | spacing and the line
weight of the ribbing as well.
| | 03:49 | If you want a more delicate rib, you
could select one of these, and change the
| | 03:53 | Stroke to something
thicker, or something thinner.
| | 03:55 | We'll try switching this to a 0.5 Stroke, and a
0.25 Stroke, just to vary the look a little bit.
| | 04:01 | We'll define it again as
a Pattern Brush; click OK.
| | 04:04 | This one we'll call Ribbing 3, and
we'll need to select Tints and Shades, click
| | 04:10 | OK, and now we'll apply this one.
| | 04:13 | I'm going to just get a slightly
different look for the ribbing.
| | 04:16 | So, that's how you can vary the look of
your ribbing, and change colors, and make
| | 04:20 | two new ribbing brushes to
add to your brush library.
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| Creating twill tape| 00:00 | In this movie, we're going
to make a Twill Tape brush;
| | 00:03 | a little more complicated than the other
ones we've done, but I'll break it down
| | 00:07 | into easy steps for you to follow.
| | 00:09 | Let's start with a rectangle.
| | 00:10 | Grab the Rectangle Tool, and make a
rectangle that is 4 points wide, and 8
| | 00:15 | points tall, and click OK.
| | 00:17 | We're going to change the Stroke
to None, and the Fill again to gray,
| | 00:22 | but we'll make a really
light gray this time.
| | 00:24 | Now we're going to draw a line segment,
so grab the Line Segment, click on the
| | 00:28 | page; we're going to make a line
segment that's 12 points, and 45 degrees,
| | 00:33 | so we don't have to worry
about rotating it. Click OK.
| | 00:36 | There is our line segment.
| | 00:38 | We're going to change the Stroke to
0.25, and we're going to make the Stroke
| | 00:43 | color a slightly darker shade of
gray than the gray we've got going.
| | 00:46 | Now we can make copies,
| | 00:47 | so let's just move this out
of the way of the rectangle.
| | 00:50 | I suppose I could zoom in just a little
bit more to move these over, and we're
| | 00:54 | going to go ahead and make a copy of
this, but we're going to use the nudge
| | 00:59 | keys; the arrow keys on the keyboard.
| | 01:00 | So, let's just double-check
the setting on them.
| | 01:02 | Ctrl+K is the shortcut to get you
there, and we want to make sure that the
| | 01:07 | Keyboard Increment is set to
2 points, and then click OK.
| | 01:09 | Now you can hold your Alt or Option
key, and click the right arrow on your
| | 01:13 | keyboard, and it will
make a copy two points away.
| | 01:17 | We want a total of six, so that's
one, two, three, four, five, and six.
| | 01:22 | Select the whole group, and go ahead and
group them together, so right-click, Group.
| | 01:27 | Now, we're going to align them
to the center of this rectangle,
| | 01:30 | so go ahead and select everything, go up
to Align, and we're going to Center > Center.
| | 01:35 | Now, you can release.
| | 01:38 | Select just your group of stripes.
| | 01:41 | We are going to expand them, and that
means we need to go up to Object in the
| | 01:45 | menu bar, scroll down to Expand, and
you want to make sure that these have no
| | 01:50 | Fill on them. As you can see, mine only
have a Stroke color, and a Fill of None.
| | 01:54 | If you've got a fill at this point,
click Cancel, and remove your fill.
| | 01:58 | Now, in the Expand window, you're going
to uncheck Fill, but make sure Stroke is
| | 02:02 | checked, and click OK.
| | 02:03 | And we've just expanded the strokes,
so they're no longer strokes; they're
| | 02:06 | actually objects now,
| | 02:08 | and we've done that
so we can use Pathfinder.
| | 02:10 | Select everything, and we could go to
Pathfinder Divide, but I want to show you a
| | 02:15 | tool that's a little bit more fun.
| | 02:17 | It's over here in the toolbar,
| | 02:19 | it looks like this, and it's
called the Shape Builder Tool.
| | 02:22 | It's kind of Pathfinder on steroids.
| | 02:24 | It's a very interactive
way of using Pathfinder.
| | 02:26 | So, once everything is selected, you
can click on the Shape Builder Tool.
| | 02:30 | Now hold down your Alt or Option key,
and go ahead and click and drag through
| | 02:34 | all the pieces that are sticking out
beyond the length of the rectangle.
| | 02:38 | Make sure not to click inside the
rectangle, and then release the mouse while
| | 02:42 | you're still holding
the Alt or Option key,
| | 02:44 | and I'll make sure to get these little pieces
on the bottom and the top also. There you go!
| | 02:49 | Now, we can move on to the next step.
| | 02:51 | Switch to the white arrow, click once
on the page to release your selection,
| | 02:55 | and now you're going to click on the very
top edge of the rectangle with the white arrow.
| | 02:59 | Hold down your Shift key, and click
on the bottom edge of the rectangle.
| | 03:03 | So, we've selected the top line
segment, and the bottom line segment.
| | 03:06 | Copy, and paste in front,
change the Stroke to 1 pt, and black,
| | 03:12 | and we need to bring it in front
of these little diagonal lines,
| | 03:16 | so right-click, Arrange, and
Bring to Front. Almost done;
| | 03:21 | the only thing left is
to add the stitching.
| | 03:23 | So, let's make another line
segment with the Line Segment Tool.
| | 03:26 | It needs to be 2 points long, and
the Angle should be 0. Click OK.
| | 03:31 | And it's a small line segment, but
we're going to make it even smaller. Change
| | 03:36 | the Line Weight to 0.25, make sure
that the Stroke is black, and that the Caps
| | 03:41 | are set to Round, because
these are going to be stitches.
| | 03:44 | Now we can move it into place.
| | 03:46 | With the black arrow, select it, and
just move it close to the top line.
| | 03:51 | The exact placement doesn't matter.
| | 03:52 | It's just going to be the
stitching, however you want to place it.
| | 03:56 | Now click on it, hold your Alt or
Option key, and also your Shift key, and drag
| | 04:02 | it down, so you can put it in the same
place on the bottom, and then release the
| | 04:06 | mouse, and then the Shift key.
| | 04:07 | Now, you've got twill tape with stitching.
| | 04:10 | So, go ahead and select the whole thing,
go to your Brushes, click on New Brush.
| | 04:14 | This is another Pattern Brush.
Click OK.
| | 04:17 | We'll call it Twill Tape.
| | 04:19 | And if you want to be able to change the
colors, you can switch the Colorization
| | 04:22 | method to Tints and Shades. Click OK,
| | 04:25 | and let's zoom out,
and see how it works.
| | 04:28 | We'll select this stroke, click on the
brush, and there you've got twill tape.
| | 04:33 | You can change the look
of it by changing colors.
| | 04:37 | The Stroke color is what is going
to control the color of your tape,
| | 04:40 | so you can pick lighter colors, you
can pick darker colors, richer colors;
| | 04:44 | I clicked on white, so it looks very light
right now, but how about some blue, or orange?
| | 04:48 | So, you have plenty of control changing
the colors of your tape, and that is how
| | 04:54 | you make twill tape.
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|
|
2. Advanced Brush ControlAdding finished ends to your brushes| 00:00 | Now that you know how to make these
simple pattern brushes, let's talk about
| | 00:03 | making brushes that are just
a little more sophisticated.
| | 00:06 | As great as these brushes are, wouldn't
they be nice if they looked more like this?
| | 00:11 | Rather than just ending abruptly, we
actually had a formal end cap on the brush?
| | 00:17 | It's called a start tile,
and an end tile,
| | 00:19 | and adding them to your brushes
is really a pretty simple process.
| | 00:23 | Let me show you how to do it.
| | 00:25 | Let's go ahead and add them
to the narrow bias trim brush.
| | 00:28 | I'm going to go ahead and click on it,
and it's this one here, and drag it out.
| | 00:34 | And there are a few things
we need to do to it.
| | 00:37 | Remember I said that these
have a bounding box on them?
| | 00:40 | Well, we need to grab the Direct Selection
Tool, and find that bounding box, and delete it.
| | 00:45 | You have to hit Delete
twice to get rid of it.
| | 00:48 | Now we can go ahead and edit this.
| | 00:50 | We need to make a copy,
| | 00:52 | so go ahead and select it, and
Alt+Drag to make a copy of it.
| | 00:55 | We're going to turn this
copy into a start tile.
| | 00:58 | All we need to do to make the start
tile is grab The Direct Selection Tool,
| | 01:02 | click on the left edge of this tile,
copy it, paste in front, Ctrl+F, and then
| | 01:08 | let's turn off the Fill on that, and
change the Stroke to black, 1 pt, and we'll
| | 01:14 | change the Cap to round.
| | 01:17 | Because we narrowed this stroke on the
bottom to 0.5, we're going to have to
| | 01:21 | click on this anchor point right here,
and with the arrow key on the keyboard,
| | 01:25 | nudge that up just a little
bit, so we have a nice clean edge,
| | 01:28 | and that is our start tile.
| | 01:30 | I'm going to select it, and reflect
it, so Alt+Click just next to it;
| | 01:34 | Vertical > Copy, and there's my end tile.
| | 01:37 | That wasn't that difficult.
| | 01:39 | Now, here is what we need to do.
| | 01:41 | I'm going to double-click on the brush,
just to show you what it looks like here
| | 01:45 | in the brush options.
| | 01:46 | You'll notice, and we haven't really
talked about this before, but there are
| | 01:49 | a bunch of little boxes here, and it's the
two on the end that we're most concerned with.
| | 01:54 | This one here is for the End Tile, and
the one over here is for the Start Tile,
| | 01:58 | and the way to get your tiles placed in
these boxes is to get them in this list,
| | 02:03 | so you can click on them,
and apply them.
| | 02:05 | Well, we need to get them into that list,
and the way to do that is to click on
| | 02:09 | the Swatches panel, first select your
start tile, click, and drag it into the big
| | 02:15 | gray area of the Swatches panel.
| | 02:16 | Then select the end tile, click, and
drag it into your Swatches panel, and there
| | 02:21 | they are right there.
| | 02:23 | Let's click on the page to release.
| | 02:25 | Now we can go ahead and make
our brush with start and end tiles.
| | 02:28 | So, let's grab the side tile, click on
Brushes, we'll make a new Pattern Brush,
| | 02:34 | and now you'll notice in this list
I've got New Pattern Swatch 53 and 54.
| | 02:39 | Now, if you're following along on
your computer, your numbers are probably
| | 02:42 | going to be different.
| | 02:43 | I've made a lot of pattern swatches
today, so the numbers are kind of high.
| | 02:47 | Yours would probably be
more in the 1, 2, 3 area.
| | 02:51 | But I'll click on the Start Tile,
and click on the smaller number.
| | 02:56 | Click on the End Tile box;
click on the larger number.
| | 02:59 | And since I'm working with gray tiles,
let's go to Tints and Shades, and
| | 03:04 | let's name this too.
| | 03:05 | I guess we'll call it Bias Trim Narrow 2,
click OK, and that's all there is to it.
| | 03:12 | So, let's go ahead and change these out.
| | 03:16 | If you look closely, you'll see that
this worked fairly nicely, but not perfectly.
| | 03:21 | You have to be really
careful where this ends.
| | 03:24 | If I end short, it's sort of okay,
| | 03:27 | but if I go all the way to the edge,
because it cuts off abruptly, we lose the
| | 03:31 | black outline here of my shirt.
| | 03:33 | But if I switch to this new brush
we created that has the ends on it, it
| | 03:38 | solves that problem.
| | 03:39 | I still want to tweak this a bit,
because the bias trim would extend out just a
| | 03:43 | little bit beyond the length of the shirt.
| | 03:46 | Now, this is probably incredibly picky,
and nobody is really going to see that,
| | 03:50 | but I kind of get into the
details; I think it's a lot of fun.
| | 03:54 | So, we'll select this one, change it
out to the Bias Trim brush, and we can go
| | 03:58 | ahead and expand that
one a little bit too.
| | 04:01 | I'll hold my Alt key, and
just drag it a hair longer.
| | 04:04 | So, now I've got that one,
| | 04:05 | and the last one, we'll go ahead, and
select it, and click on the brush, and we'll
| | 04:11 | just nudge it over to the left a couple
of clicks, so it extends out just a tiny
| | 04:16 | bit beyond the shirt,
| | 04:17 | and also, this is the one
that we have to flip. Click OK,
| | 04:21 | and there are our new trim brushes,
complete with start and end tiles.
| | Collapse this transcript |
| Controlling brush alignment relative to a path| 00:00 | So, now that we've talked about how to
add start and end tiles to our brushes, I
| | 00:04 | want to talk to you about brush alignment.
| | 00:06 | By default, when you draw a path, and
apply a brush to it, Illustrator centers
| | 00:11 | that brush along the path.
| | 00:13 | So, for instance, the double needle top
stitch we did is centered over the path.
| | 00:18 | That bias trim brush we did;
also centered.
| | 00:22 | Now, most of the time that's okay,
but there are many occasions when you're
| | 00:26 | drawing flats when it's not useful to
have the brush aligned to the center, or
| | 00:31 | the path aligned to
the center of the brush;
| | 00:33 | we really want to change the alignment.
| | 00:35 | Here's a perfect example.
| | 00:36 | If I grab my path here around the neckline,
and try to add this brush to it, it's
| | 00:42 | centered, and it sticks out, and it
doesn't keep the integrity of the flat that I
| | 00:47 | just finished drawing,
| | 00:48 | so it's really not the best way to go.
| | 00:50 | I want to adjust the brush, so that
when I apply it to a path, I can control
| | 00:55 | where it sits along the path.
| | 00:57 | So, instead of having it centered,
what I really want to happen is have it
| | 01:02 | sitting just like this, so if my path
is sitting here, I want my brush to align
| | 01:08 | to it this way. For this particular
use, I want it to sit right below.
| | 01:12 | So, let me show you how to do that.
| | 01:14 | We can go ahead and work off of
the brush that we already created.
| | 01:18 | So, I'm going to open the Brush panel,
and drag out the Trim Brush that we made,
| | 01:23 | and let's make a few edits to it.
| | 01:25 | The first thing we need to do is ungroup
it, because when you drag brush elements
| | 01:29 | out of the Brush panel,
they come out grouped together.
| | 01:32 | Also, for this particular use,
I don't want it to be gray,
| | 01:36 | so I'm going to go ahead and select
these gray sections, and I'm doing it with
| | 01:41 | the Group Selection Tool --
| | 01:42 | that's the white arrow with the plus sign --
so that I don't have to ungroup these
| | 01:46 | individual pieces to select
just the gray area.
| | 01:49 | I will change that to white.
| | 01:51 | I want to make another adjustment also.
| | 01:53 | I like the 1 point stroke on the outside,
but I think I would prefer to change
| | 01:58 | the stroke closest to the
stitch to a smaller size.
| | 02:01 | So, again, I'm going to select those
pieces, and I'm going to change Stroke
| | 02:07 | weight from 1 pt -- see how 0.75 looks --
I think I'll take it down to 0.5.
| | 02:13 | We'll make it a little bit more delicate.
| | 02:15 | I'm not concerned with these little
overlapping pieces right now, but if I was,
| | 02:20 | I could also fix those by selecting
this here, grabbing that anchor point, and
| | 02:26 | grabbing this one, and changing the end
caps to Butt Caps instead of round, and
| | 02:32 | that would solve that problem.
| | 02:34 | It would create other problems,
| | 02:35 | so I think we're going to keep them
round, and I know from experience that this
| | 02:40 | is going to overlay another 1 point
stroke, and we won't see it. All right.
| | 02:44 | So, how do you control
the placement of the brush?
| | 02:46 | Right now, it's going to align
center to a path, and I don't want that,
| | 02:51 | so what I need to do is make the brush
selection area bigger, so that the center
| | 02:56 | of it hits where I
want it to hit the path.
| | 02:59 | So, instead of the brush being this size, I
actually need the brush to be twice as large,
| | 03:04 | and I need it to be something like this, so
that the center hits where I want it to hit.
| | 03:10 | Let me delete that.
| | 03:12 | Now, there are numerous ways of doing this.
| | 03:14 | Some people will select the brushes, and
reflect it horizontally, Copy, and then
| | 03:20 | change this Fill and
Stroke of those pieces to None.
| | 03:23 | That works very nicely, but it's a lot
of extra information for Illustrator to
| | 03:29 | process while it's applying your brushes.
| | 03:31 | I think it's unnecessary.
| | 03:32 | There's actually another way to do it that
uses a little less of the computer's memory.
| | 03:37 | So, let's do it that way.
| | 03:38 | I'm going to delete this.
| | 03:39 | All you need to do is
add one anchor point,
| | 03:42 | and since I want my alignment to be
along this part of the brush, and actually,
| | 03:48 | this maybe confusing to you; we're
looking at the bottom of the brush right now.
| | 03:52 | Why don't I rotate this 180 degrees, so
it's sitting in the correct direction?
| | 03:57 | Now, the top is on top.
| | 03:59 | I want the alignment to be
along this top line.
| | 04:02 | So, what I'm going to do is grab my Pen
Tool, and add an anchor point at the bottom.
| | 04:07 | And it doesn't matter exactly where on the
bottom; just below where the brush starts.
| | 04:11 | So, I'll add an anchor point, and I
need to make sure that that tiny little
| | 04:15 | anchor point has no stroke and no fill.
| | 04:17 | So now, of course, if I
deselect it, it disappears.
| | 04:21 | So, let's change the mode, and view this
in Outline, so that we can see the X for
| | 04:27 | that little anchor point,
and not lose it.
| | 04:29 | I'm going to select that anchor point,
and I'm going to Alt+Drag it to each one
| | 04:34 | of these pieces, so that
they're all aligned the same.
| | 04:38 | Select the anchor points,
and I'm going to reflect them.
| | 04:41 | So, we'll click once on Reflect, and
hold down the Alt key, and click right along
| | 04:46 | the top of the path, because this is
where we want the alignment to be.
| | 04:50 | I am going to open up the menu,
select Horizontal, and click Copy.
| | 04:54 | So, what I just did was put an anchor
point on top of each one of these brush tiles,
| | 05:00 | so now if I were to select the whole
thing, the center of the tile is here, and
| | 05:04 | that's the piece that's
going to align with my path.
| | 05:07 | So, I'll select and group
each one of these individually;
| | 05:11 | I'm just doing the keyboard
shortcut Ctrl+G for Group.
| | 05:14 | Let's change the view back to Preview, and
go ahead and turn this back into a brush.
| | 05:20 | We'll open the Swatches, and here are the
ends from last time; let's get rid of those.
| | 05:25 | We're going to take the start tile, along with
that anchor point, and drag it into swatches.
| | 05:30 | We're going to grab the end tile, and
drag it into the swatches, and now we're
| | 05:34 | going to select the side tile,
open Brushes, make a New Brush.
| | 05:38 | We're going to make a Pattern Brush;
that's the only type of brush that has
| | 05:41 | the start and end tile.
| | 05:43 | So, here is my side tile.
| | 05:45 | We'll add our new start
tile, and our new end tile.
| | 05:49 | Click OK, and actually,
let's name this.
| | 05:52 | It's another trim brush; we'll just call it
Trim, click OK, and that's all there is to it.
| | 05:58 | Let's apply it, and see how it works.
| | 06:00 | So, we'll zoom in to my shirt, and we'll
select the path, and apply this new brush,
| | 06:07 | and notice the difference.
| | 06:08 | See, because of the way we aligned it,
it aligned right along the top of that
| | 06:12 | path, and it sits exactly where it should.
| | 06:14 | Let's also put trim -- oops!
Where's that path?
| | 06:18 | There it is!
| | 06:19 | And we'll also apply the brush to the back.
| | 06:22 | Now, this one, you can see, it's
going in the wrong direction.
| | 06:25 | I don't want to double-click on the brush,
and flip it there, because that's going
| | 06:30 | to universally affect the
placement of my brush.
| | 06:32 | And in this case, it works fine down
here, and I don't want to change that one,
| | 06:37 | so I'm just going to adjust the single
brush instance, and that's very simple to do.
| | 06:41 | Go over to the Brushes panel, and click
on this icon right here, which allows you
| | 06:45 | to control the options
of the selected object.
| | 06:47 | We'll click on that, and we'll make
sure Preview is on, and flip, so that our
| | 06:52 | brush sits in place right where
it belongs, and there is my trim.
| | 06:56 | So, it's much easier to use the
brushes when you have the alignment set up to
| | 07:00 | the path in the way that you're going
to be using the brush, and it's really
| | 07:04 | not difficult to do,
| | 07:05 | so I recommend that rather than
just making a brush, and selecting it, and
| | 07:09 | playing with your arrow keys to try
and get it in place, just go ahead and
| | 07:13 | design your brush
with its proper use in mind.
| | 07:16 | It will save you a lot
of time in the long run.
| | Collapse this transcript |
|
|
3. Chains and Cording BrushesMaking chains| 00:00 | For this brush, I'm going to show you
how to create a Scatter brush, and we're
| | 00:03 | going to make a chain.
| | 00:05 | Let's start with an ellipse.
| | 00:06 | Select the Ellipse Tool, click on the
page, and make an ellipse that is 14
| | 00:11 | points wide, and 8 points high.
Click OK.
| | 00:14 | It's going to look like that.
| | 00:16 | Now we're going to change the
stroke; make it a little bit fatter.
| | 00:19 | So, I'll switch that to 2
points, so it's a thicker chain.
| | 00:22 | Make sure the Fill is set to None.
| | 00:25 | Now we're going to go ahead,
and expand this,
| | 00:27 | so Object > Expand,
only the Stroke; not the Fill.
| | 00:31 | So I'm going to uncheck Fill,
and click OK.
| | 00:34 | There's the piece of my chain.
| | 00:36 | The other thing we need to make
is another link going sideways.
| | 00:40 | We're going to make a line
segment that's 8 points long.
| | 00:43 | So, let's click on the Line Segment Tool,
click on the page, 8 points, 0 degrees
| | 00:48 | for the Angle; click OK.
| | 00:50 | This line segment should also be 2
points, the Stroke should be black, and the
| | 00:55 | Caps should be Round.
| | 00:57 | We want a rounded edge.
| | 00:58 | Make sure there is no Fill,
and we can expand this as well;
| | 01:01 | Object > Expand, only the
Stroke, not the Fill; click OK.
| | 01:06 | Go back to your Selection Tool, and
let's go ahead and move this into place.
| | 01:10 | I want it to be overlapping
just a little bit.
| | 01:13 | We can select both pieces; open up
Align, and make sure that they're aligned
| | 01:18 | with each other nicely by
clicking on this icon over here.
| | 01:21 | That looks pretty good.
| | 01:23 | Now, we can either make them white with
a black stroke, or we can do something a
| | 01:27 | little bit fancier, and I'm
inclined to take the fancy route today.
| | 01:30 | So, let's go ahead and open the
Swatches and I'm going to fill them with
| | 01:34 | this medium gold color.
| | 01:36 | Fill them with it; not stroke.
| | 01:38 | Let's change the Stroke size to 0.25
so it's more delicate, and the stroke
| | 01:44 | color, instead of black, let's
use this darker gold color I've got.
| | 01:48 | We'll make it look a
little bit more like chain.
| | 01:50 | The last thing we can do is
add a couple of highlights.
| | 01:53 | So, back to the Pen Tool, I'm going to
click, hold my Shift key, and click to
| | 01:58 | make a little highlight along the top.
| | 02:00 | We'll change the Stroke color of this.
| | 02:02 | We'll make sure that it's a 1 point
stroke, and I'm going to change the stroke
| | 02:06 | color to a light yellow that I've created.
| | 02:08 | I'm also going to change the Caps to round.
| | 02:11 | And it looks to me like 1
point is just a little bit too big,
| | 02:15 | so let's go with 0.5
instead. That seems better.
| | 02:18 | I can also put a little highlight over here,
| | 02:21 | so I'm going to go ahead and click once
with the Pen Tool, click in the center,
| | 02:26 | and drag straight across with the
Pen Tool to make a nice little curve.
| | 02:30 | It's going to be the same
point size, 0.5, the same color.
| | 02:33 | I don't want a Fill on it,
so we'll change that to None,
| | 02:37 | and I think this one would look
nice if I put a profile on it,
| | 02:41 | so I'm going to go ahead and
select this one, and close that out.
| | 02:45 | And now I have my chain link.
| | 02:47 | Let's turn it into a brush.
| | 02:49 | Select both pieces, go to
Brushes, and select New.
| | 02:53 | This time, we're going to
make a Scatter Brush.
| | 02:55 | So, select Scatter, and click OK.
| | 02:57 | Now there's nothing we can do
right now, so click OK in this window.
| | 03:01 | Before we can adjust this brush, we need
to draw a path, and see what it looks like.
| | 03:06 | So, I'm going to zoom out, and go ahead
and draw a path with the Pen Tool, so we
| | 03:10 | can adjust the brush.
| | 03:11 | Click on the brush.
| | 03:12 | You'll find it up in the top of
the brushes in these little squares.
| | 03:16 | That's where the Scatter brushes live.
| | 03:18 | Click on your brush, and it's not too
bad, but it's still not quite right.
| | 03:22 | We have a few adjustments to make to it.
| | 03:24 | I'll zoom in just a bit. There you go!
| | 03:28 | So, you can see how the
chains are not quite linking up.
| | 03:31 | We're going to fix that.
| | 03:32 | Double-click on the brush in the
Brushes panel, and we're going to open the
| | 03:35 | brush options again.
| | 03:36 | We need to make a
couple of important changes.
| | 03:38 | The first one is the rotation of the brush
needs to be relative to the path, not the page,
| | 03:43 | so we'll change this to Path.
| | 03:45 | This way, the chain will always
follow the direction of our path.
| | 03:48 | The other thing we need
to adjust is the spacing.
| | 03:51 | Right now, it says 10%; I'm not sure if it's
really 10%, but we need to adjust it a bit.
| | 03:56 | So, go ahead and click on the
spacing, and drag the slider until the
| | 04:00 | overlap works for you.
| | 04:02 | In this case, it looks like
the magic number for me is 82%.
| | 04:07 | I'm going to click OK.
Apply the Strokes,
| | 04:10 | and there it is!
| | 04:11 | I've created a chain link brush,
| | 04:13 | so now I can use my brush to
draw whenever I need chain link.
| | 04:18 | And if that link is too big for me, I
can always go to my Stroke panel, and
| | 04:22 | select a smaller point size, like
maybe 0.5, to make a smaller chain.
| | 04:27 | And since I went ahead and drew a
little bit of a highlight on my chain, they
| | 04:31 | look a little more realistic.
| | 04:33 | I could take it a step
further, and add a shadow as well.
| | 04:35 | So, if I go back to my little chain link,
I can go ahead and actually select the
| | 04:40 | highlight piece that I drew, and reflect
it Horizontal, Copy, and we'll take that
| | 04:46 | one, and move it down here.
| | 04:48 | I guess it needs to be
rotated just a little bit.
| | 04:51 | We'll move it down here.
| | 04:53 | I'm definitely doing this
the hard way. There it is!
| | 04:55 | We'll go ahead and change the stroke
color to my darker color that I've got set up.
| | 05:01 | And I could even do the same thing here.
| | 05:04 | Go ahead and copy this, move it down here,
and change the color, get rid of the fill;
| | 05:10 | None, and change the stroke
to my darker color,
| | 05:14 | and that will give it just a little bit
more life. So, we'll take that one, we'll
| | 05:19 | go to Brushes, define it as a
Scatter Brush, click OK, and zoom back out.
| | 05:24 | Again, you really need to apply
it in order to adjust the settings.
| | 05:28 | So, we'll select the path, apply the brush,
double-click, and adjust the settings.
| | 05:33 | We'll slide the spacing slider;
see what we can come up with. Yup!
| | 05:37 | It looks like that is going to be
the magic number. Rotation relative to:
| | 05:42 | Path. Very important. Click OK.
| | 05:44 | Apply the strokes,
| | 05:45 | and now we've got a chain
brush made with a scatter brush.
| | Collapse this transcript |
| Creating cording| 00:00 | In this movie, I'm going to show
you how to make a cording brush.
| | 00:03 | We're going to start with a line segment.
| | 00:05 | Go ahead and click on the Line Segment
Tool, click on the page, and we're going
| | 00:09 | to draw a line segment that's 6
points long and a 45 degree angle. Click OK.
| | 00:15 | There it is.
| | 00:15 | You want to make sure that we have the
line weight set to 0.25, the Stroke to
| | 00:21 | black, and the Fill to None.
| | 00:22 | Let's zoom in a little closer.
| | 00:25 | We're going to create sort
of a fancy shape out of this.
| | 00:28 | So, switch to the Convert Anchor Point
Tool, click and hold on the top anchor
| | 00:33 | point. Hold down your Shift key, and
drag to the right to create a curve.
| | 00:38 | Holding the Shift key is going to
help you keep your mouse and the handles
| | 00:41 | constrained, so you won't rock like this.
| | 00:44 | So, make sure you hold on to the Shift
key, so you stay constrained, and you want
| | 00:48 | to drag the curve out like that.
| | 00:50 | Release the mouse, and
then release your Shift key.
| | 00:53 | Now we're going to do the
same thing for the bottom one.
| | 00:56 | Click on the anchor point to press the
Shift key, and drag to the right, and then
| | 01:00 | let go of your mouse.
| | 01:01 | So, we've created this sort of S shape.
| | 01:04 | Now switch to the Selection Tool, hold
your Alt or Option key, and the Shift key.
| | 01:10 | We're going to drag a copy a little
distance away from the first line, but
| | 01:14 | we want to keep it aligned perfectly, which is
why we're holding the Alt and the Shift key.
| | 01:19 | Release the mouse,
and then release the keys.
| | 01:22 | This is going to be the shape of
one little piece of your cording.
| | 01:26 | So, go ahead and marquee select
the whole thing;
| | 01:28 | right-click > Join;
right-click > Join.
| | 01:31 | Make sure that the stroke has round
corners, and round caps, so we get a
| | 01:35 | nice looking shape.
| | 01:36 | Now, you can either fill this with
white, and create a piece that's black and
| | 01:40 | white, or you can fill it with a color.
| | 01:43 | I'm going to have some
fun and fill it with color,
| | 01:46 | so I'll go up to my Fill colors, and
I'll select, how about a nice blue
| | 01:50 | cording for this one?
| | 01:51 | While I'm at it, I'll go ahead and
change the stroke to a dark blue, and just for
| | 01:55 | fun, I'm going to add a
little bit of a highlight.
| | 01:58 | To do that I'm going to switch to my
Pen Tool, and I'm going to add a straight
| | 02:02 | line just where this curve
is happening on the top part,
| | 02:05 | so I'm going to click;
| | 02:06 | I want to make sure not
to add a point to the side.
| | 02:09 | If you hold your Shift key, you should get
this little asterisk next to the Pen Tool.
| | 02:13 | Now I can click, and hopefully not add
an anchor point, and hold my Shift key to
| | 02:19 | keep my lines straight,
and click on the other side.
| | 02:21 | I'm going to go ahead and switch that
stroke color to something light for a highlight.
| | 02:26 | So, maybe a very light electric blue,
or something even a little bit lighter.
| | 02:30 | Maybe I'll even shorten it just a
bit, so it doesn't go over the outline.
| | 02:35 | Now I'm going to select this,
and I can group it,
| | 02:37 | so right-click > Group, and now I'm going
to hold my Alt and Shift key again, and
| | 02:42 | drag it to the right until it snaps
right on top of itself, so that I've got two
| | 02:47 | right next to each other.
So far, so good.
| | 02:50 | Last step.
| | 02:51 | Grab the Rectangle Tool.
| | 02:52 | You're going to click and drag a rectangle,
and it's important when you do this
| | 02:56 | that your Smart Guides are on.
| | 02:58 | See these little green
lines popping up on the screen?
| | 03:00 | Those are my Smart Guides.
| | 03:01 | If yours aren't on, you can turn them
on by going up to View, and making sure
| | 03:06 | that Smart Guides is checked.
| | 03:07 | So, I'm going to draw a rectangle.
| | 03:09 | I'm going to start by moving my cursor
until a Smart Guide shows me that I'm
| | 03:14 | over the center of the first piece.
| | 03:15 | See this little X here saying intersect?
| | 03:18 | That indicates the center.
| | 03:19 | I'm going to click and drag out a
rectangle until I hit the center of the next piece.
| | 03:24 | That's indicated by that
same little X. There it is.
| | 03:27 | Now I'm going to release my mouse.
| | 03:29 | I need to remove the fill, remove
the stroke, and send this to the back.
| | 03:34 | Right-click > Arrange > Send to Back.
| | 03:38 | This little piece in the back with no
stroke and no fill is what's going to tell
| | 03:42 | the brush how much of this image to use.
| | 03:45 | Now I can select this whole thing.
| | 03:47 | I'm going to marquee select it, including
that box in the back with no stroke and no fill.
| | 03:52 | We'll go to the brushes, and click New Brush.
| | 03:55 | This is going to be a Pattern brush.
| | 03:57 | Click OK, and then click OK.
| | 04:00 | That's really about it.
| | 04:02 | Let me zoom out and show you what
our new brush is going to look like.
| | 04:05 | Go ahead with your Pen Tool, and draw
yourself a path, and apply the brush,
| | 04:10 | and there it is: a lovely piece of cording,
with a nice little highlight going through it.
| | 04:14 | If you'd like, you can change the size of
it by going to the Strokes, and making a
| | 04:19 | smaller or larger stroke, and you can
always make this in any color you like.
| | Collapse this transcript |
| Making braids| 00:00 | Alright, it's time to tackle the braid.
| | 00:02 | Go on up to file, and click Place.
| | 00:05 | I've put a template in the
Chapter 3 folder for you to follow.
| | 00:08 | Click on the Braid template,
and click Place.
| | 00:11 | Go into your Layers panel, lock the
layer, and make a new layer to draw on.
| | 00:17 | Make sure your Fill is set to None, the
Stroke to black, grab your Pen Tool, and
| | 00:21 | let's go ahead an trace this.
| | 00:23 | You actually only need
to trace one segment.
| | 00:25 | So, let's start here, and click.
| | 00:26 | The second click will be at this
intersection; click anddrag to form the
| | 00:31 | round curve of the braid.
| | 00:33 | Now click to release the handle, click
at this point, click anddrag a slight
| | 00:39 | curve, click to release the handle, and click
back where you started, and drag a slight curve.
| | 00:45 | That's all there is to it.
| | 00:47 | That's the braid piece.
| | 00:48 | The rest we can just duplicate.
| | 00:50 | So select it, hold your Alt or Option
and Shift key, and drag a copy until it
| | 00:57 | aligns with the first piece, and then
duplicate it; Ctrl+D or Command+D. Now, I'm
| | 01:03 | not particularly happy with
the way this is lining up.
| | 01:06 | I can see that this point
is not quite hitting,
| | 01:08 | so I'm going to grab my Direct Selection
Tool, take that anchor point, and just
| | 01:12 | move it forward a tiny bit.
| | 01:14 | I think I'm going to like that better.
| | 01:15 | I'll delete these two,
and do this again.
| | 01:19 | Select it, Alt+Shift+
Drag and move it into place;
| | 01:23 | I think I like that better,
and then duplicate.
| | 01:25 | Now you can take all three, group them together,
and we'll reflect them for the other side.
| | 01:31 | Double-click on Reflect, select Horizontal,
Copy, and now we can move these down.
| | 01:37 | You can use your arrow key down and over,
and just nudge those into place, like so.
| | 01:43 | Now you can go ahead and
color them however you like.
| | 01:47 | I'll select them all, and I think I'm
just going to go for basic with these.
| | 01:50 | We'll give them a white
fill, and group them together.
| | 01:54 | Now, the template I gave you is definitely
much too big, but I made it large so
| | 01:58 | it would be easier to trace.
| | 01:59 | Let's scale this down to 10%,
which will be more appropriate.
| | 02:02 | Double-click on the Scale tool;
type in 10%.
| | 02:05 | This time you should Scale Strokes
& Effects, so make sure that box is
| | 02:09 | checked, and click OK.
| | 02:11 | There is our braid.
| | 02:12 | Let's go back, unlock the layer,
and Select and Delete the template we
| | 02:18 | placed, because we don't really need it
anymore, and zoom in to the braid that we've drawn.
| | 02:23 | Now for the next part; we're going
to take the Rectangle Tool, and draw a
| | 02:27 | rectangle, but it's
important where the rectangle hits.
| | 02:30 | Take a look at your Smart Guides.
| | 02:32 | What we want to find is the
center of this very first piece.
| | 02:36 | If you move around without clicking on
your mouse, you'll find this center X.
| | 02:40 | Click and drag out a rectangle until you
hit the center of the last one on the top.
| | 02:48 | Again, see that little X?
| | 02:49 | You can sort of feel it snap into place
when your Smart Guides are on.
| | 02:53 | Go ahead and right-click > Arrange >
Send to Back to make sure that that
| | 02:58 | rectangle is in the back.
| | 03:00 | We need to turn the Stroke
to None as well, as the Fill.
| | 03:04 | We now have a rectangle behind the braid
shape, with a Stroke and Fill of None.
| | 03:09 | Select the whole thing;
| | 03:10 | that rectangle, and the braid.
| | 03:12 | Open your Brushes, click on New,
this will be a Pattern Brush,
| | 03:16 | click OK, and click OK. That's it!
| | 03:20 | Let's zoom out and take a look at it.
| | 03:22 | Go ahead and draw a path.
| | 03:23 | I'll draw a nice and curvy one, so
you can see how nicely this brush works,
| | 03:27 | and click on the braid.
| | 03:29 | Now you've got your
very own braid brush!
| | Collapse this transcript |
| Creating linking chains: Pattern brush| 00:00 | In this movie, I'm going to show you
how to make another style of chain brush.
| | 00:04 | This one is going to
interlock with itself.
| | 00:06 | We'll start by drawing a rounded
rectangle, so we can have a different
| | 00:09 | shaped chain this time.
| | 00:10 | Go ahead and click on the page, set
the Width to 11 points, the Height to 7
| | 00:15 | points, and the Corner
Radius to 3 points.
| | 00:18 | There's the rectangle.
| | 00:19 | Go ahead and change the
Stroke weight to 2 points.
| | 00:22 | Make sure the Fill is set to None, and
we're going to expand this. Up to Object,
| | 00:28 | Expand, not the Fill, so uncheck
that box; just the Stroke. click OK.
| | 00:33 | Now we have a shape instead of a path.
| | 00:35 | We'll switch the Fill to
white, and the Stroke to black.
| | 00:39 | Back to the black arrow;
let's duplicate this.
| | 00:42 | Click and hold your Alt and Shift key,
drag until you get past the center point,
| | 00:47 | see that tiny little X, and
release, and then duplicate,
| | 00:51 | Ctrl+D, to repeat what you just did.
| | 00:53 | We're going to go ahead and play
with the Shape Builder Tool now.
| | 00:56 | This is actually sort of fun.
| | 00:58 | I like this tool a lot.
Select everything.
| | 01:01 | Let's change the stroke to 0.25, so we can
see what we're doing a little bit easier.
| | 01:06 | Select the Shape Builder Tool,
which is this tool right here.
| | 01:10 | We're going to go ahead and connect the
pieces of the chain that we want linked.
| | 01:13 | So, I'm going to click on this
piece and drag into this piece.
| | 01:17 | See how it turns a speckled gray?
| | 01:19 | That's how you know which
pieces you're uniting together.
| | 01:21 | I'll click on this, and drag
into this piece to unite those.
| | 01:25 | I'll do the same thing with these
pieces here. Click and drag to unite.
| | 01:30 | Now the bottom; click and drag
through these three to unite, and I'll
| | 01:34 | click and drag through these
three pieces to unite. Oops!
| | 01:38 | I went a little too far,
| | 01:39 | so I get to use that
magical key stroke, Ctrl+z, to undo.
| | 01:43 | Let's try that again.
| | 01:44 | Click and drag; click and drag.
| | 01:47 | Now I want to make sure
that everything is separated,
| | 01:49 | so I'll right-click > Ungroup.
| | 01:51 | We have one more thing to do.
| | 01:53 | We're going to take the Pen Tool, and
draw a straight line, and move it, so that it
| | 01:58 | hits the center point of
our link, which is right there.
| | 02:02 | Go ahead and duplicate that, and do the
same thing for the center -- where is it?
| | 02:06 | There we go -- of the last link.
| | 02:09 | Now we're going to select
the link, and the dividing line.
| | 02:12 | Go back to the Shape Builder
Tool, and click once on this link.
| | 02:17 | It's just divided that
link from the other half.
| | 02:19 | We still need to get
rid of this stroke,
| | 02:21 | so hold your Alt or Option Key, and
click directly on the path, on the top,
| | 02:26 | middle, and bottom to get rid of it.
| | 02:29 | Right-click, and make sure there's nothing
to ungroup, which there isn't. That's great.
| | 02:33 | Back to the Selection Tool.
| | 02:34 | Select the link, and the
dividing line on the other side.
| | 02:37 | With the Shape Builder Tool, click once
on the link to separate it, and now Alt+
| | 02:41 | click on the top, middle, and
bottom of the line segment. That's it.
| | 02:46 | Now we can separate our links.
| | 02:48 | Select the end link, and use your
arrow key to move it over on each side,
| | 02:52 | and let's color them.
| | 02:54 | We'll select everything, and change
the fill to whatever color you like.
| | 02:58 | I'm going to go with
a light gray for now.
| | 03:00 | We want to change the Stroke to None.
| | 03:02 | Now we're going to copy everything,
| | 03:04 | so Ctrl+C, and then paste in front.
| | 03:07 | Now, with the piece pasted in front, we're
going to change the Stroke back to 0.25,
| | 03:12 | and the Fill to None.
| | 03:15 | We actually have two sets here.
| | 03:17 | The bottom set has got a fill with no stroke,
and the top set has a stroke with no fill.
| | 03:22 | The reason for this is that we need to
delete a few of the line segments, and
| | 03:25 | if we deleted them from a filled object, the
object would no longer be able to be filled,
| | 03:30 | so this is the workaround.
| | 03:32 | With the white arrow, we're going to
click on this end piece, and Delete.
| | 03:35 | You want to delete the end piece
of each link all the way across.
| | 03:39 | Do the same across the bottom.
| | 03:42 | We're in the home stretch.
| | 03:44 | Let's define our start and end
tiles like we did for an earlier brush.
| | 03:48 | Select the link on the left, Object > Pattern >
Make, and we'll name this Link Left. Enter; Escape.
| | 03:58 | Select the link on the right, and again,
Object > Pattern > Make, and we'll call
| | 04:03 | this one Link Right.
| | 04:05 | Again, Return; Escape.
| | 04:08 | Now select the center
section of your chain.
| | 04:10 | We'll open the Brushes panel;
click on New.
| | 04:13 | This is going to be a Pattern brush.
Whenever you have a start and end tile, you
| | 04:17 | know it's a pattern brush. Click OK.
| | 04:19 | There's our center tile.
| | 04:21 | Let's add our start tile, which is going
to be Link Left, and the End tile, which
| | 04:25 | is going to be Link Right. Click OK.
| | 04:28 | Let's zoom out and see how we did.
| | 04:31 | We'll draw a path for our
brush, and click on it.
| | 04:34 | There it is; a lovely chain
to add to your brush library.
| | Collapse this transcript |
| Making shoelaces| 00:02 | Let's make a shoelace.
| | 00:03 | We'll start with the eyelet, grab the
Ellipse Tool, click on the page, and draw
| | 00:06 | a circle that's five
points by five points. Click OK.
| | 00:10 | Let's change that Stroke to black.
| | 00:12 | Now we need a second
circle that's smaller,
| | 00:14 | so double-click on the Scale Tool,
type in 50%, make sure Scale Strokes &
| | 00:19 | Effects is unchecked; click Copy.
| | 00:22 | We'll fill that second circle with a
dark gray, select both circles, make sure
| | 00:28 | that the Stroke weight is set to 0.5,
which it is, and we'll group them together.
| | 00:33 | Let's set this aside.
| | 00:35 | Now we need to make the lace part.
| | 00:37 | We're going to use the
Rounded Rectangle Tool for that.
| | 00:40 | Click on the page, and draw a rounded
rectangle that is 15 points wide, in this
| | 00:45 | case, 2 points high, with a corner
radius of 3 points, and click OK.
| | 00:51 | Let's change the fill to white, and
the Stroke is 0.5. That looks good.
| | 00:55 | We'll zoom in, so we can
get a better look at this.
| | 00:59 | Take the Direct Selection Tool, which
is the white arrow, and click
| | 01:02 | once on the page to release.
| | 01:04 | Go ahead and click and drag.
| | 01:05 | Looks like there's two points there.
| | 01:07 | We'll go to the Pen Tool,
grab the minus, and delete it.
| | 01:11 | Back to the Direct Selection Tool.
| | 01:13 | Grab that anchor point,
and drag it out a bit.
| | 01:15 | Do the same on the other side.
| | 01:17 | It looks like there's
double points there too,
| | 01:19 | so we'll subtract one of them.
| | 01:22 | That looks pretty good.
| | 01:23 | Now we need to divide this into three pieces,
so with the Pen Tool, go ahead and draw a line.
| | 01:29 | Click one point, hold the Shift key,
click another, so we assure that it's
| | 01:33 | straight, we're going to duplicate it, and
the exact placement doesn't matter here;
| | 01:37 | we just want to divide this
into three different pieces.
| | 01:41 | We'll select all three.
| | 01:42 | Let's open pathfinder.
Window > Pathfinder.
| | 01:46 | Select Pathfinder Divide, which is
this first icon on the bottom, and then
| | 01:50 | right-click > Ungroup.
| | 01:52 | We can close Pathfinder.
| | 01:53 | Let's separate these pieces.
| | 01:56 | Select all three pieces.
| | 01:58 | Let's make sure we've got
round joins, and flat butt caps.
| | 02:02 | That looks pretty good.
| | 02:04 | We need to get rid of the stroke, and
since it's white, and difficult to see, I'm
| | 02:09 | going to go ahead and make it light
gray, just so you can see what I'm doing.
| | 02:14 | I actually meant to do that with the fill.
| | 02:16 | We'll change the Stroke to None.
| | 02:18 | We'll change the Fill to a light gray.
| | 02:21 | Make sure everything is selected, copy
it, paste in front, and now we're going
| | 02:26 | to change the Fill to None,
and the Stroke to 0.5, black.
| | 02:32 | Switch to the Direct Selection Tool,
and we're going to delete the pieces we
| | 02:36 | don't need, which is this
line segment here. Oops!
| | 02:39 | Not the whole thing.
| | 02:41 | It helps if you use
the Direct Selection Tool.
| | 02:43 | Click on this line segment, and delete;
this line segment, and delete; this one,
| | 02:47 | delete; this one, delete.
| | 02:49 | Let's zoom out, grab our eyelet, move
it into place, right about there, and the
| | 02:57 | last thing we need is the
aglet for the other end.
| | 02:59 | So, grab a Rectangle Tool, and draw a rectangle
that's 5 points by 1.5. There's our aglet.
| | 03:07 | Let's make sure that the
corners on the stroke are round.
| | 03:11 | Move this into place. It has no fill.
| | 03:14 | I think a white fill would be helpful.
| | 03:17 | That's much better.
| | 03:18 | Now you can marquee select all three
pieces, open up a line, and we'll align
| | 03:23 | them center to make sure
everything is perfectly aligned.
| | 03:27 | That was a bad idea,
because now it doesn't work,
| | 03:30 | so I'm going to undo that.
| | 03:32 | I'll group the center piece, and now
marquee select everything, Align > Center, so
| | 03:40 | that I make sure
everything is perfectly aligned.
| | 03:42 | Now we can save the individual pieces
as patterns, and then define our brush.
| | 03:47 | So, select the first piece;
Object > Pattern > Make.
| | 03:51 | We'll call it eyelet.
Click Enter. Escape.
| | 03:55 | Select the aglet end;
Object > Pattern > Make.
| | 03:59 | We'll call it aglet.
| | 04:00 | But before we hit Return and Escape, we
have to fix this, because unfortunately,
| | 04:04 | we're seeing it in triplicate right now.
| | 04:06 | So, let's turn on the Pattern Tile Tool; go
ahead and drag the handles, so that we only get one.
| | 04:13 | Unfortunately, the way the pattern
generator is set up here, I don't know if I'm
| | 04:18 | perfectly in the center.
| | 04:20 | We could try sizing tile to Art, but
that still gives us a triple, and I'm not
| | 04:25 | really sure how to fix this.
| | 04:27 | I think ultimately it's a glitch in
Illustrator, but we'll try dragging this out,
| | 04:33 | and seeing if we can make it work.
| | 04:36 | Well, that looks better.
| | 04:37 | We'll give it a shot.
| | 04:38 | Hit Enter, and Escape.
| | 04:40 | Now select the center part of the
brush, go to the Brushes panel > New.
| | 04:45 | This is going to be a Pattern Brush.
| | 04:46 | Let's hope this works.
| | 04:48 | Start tile is going to be the eyelet, the
end tile is going to be the aglet; click OK.
| | 04:54 | Let's zoom out.
| | 04:56 | Draw a path, and hope everything
lines up. Lose the Fill. Not too bad.
| | 05:03 | Not 100%, but not too bad.
| | 05:06 | We're zoomed in very, very close.
| | 05:08 | I think you would never notice
that on a flat drawn to scale.
| | 05:11 | If you continue to have problems with the
pattern maker in Illustrator, there is a workaround.
| | 05:16 | Instead of trying to do Object > Pattern >
Make to define and name the start and end
| | 05:20 | tiles, all you have to do is drag each
tile in to the Swatches panel, like we
| | 05:25 | were doing for some of the earlier brushes.
| | 05:27 | The upside is you won't get the tile
in triplicate. The downside is you
| | 05:31 | won't be able to name it,
| | 05:33 | so it makes it a little more difficult to
find in a long list full of tiles, but it
| | 05:37 | will solve the problem.
| | 05:38 | Let me rotate this, and
there you have a shoelace.
| | 05:43 | Hopefully, that little bit of a kink
will get worked out of Illustrator, and we
| | 05:47 | will not have to worry about
the pattern generator problems.
| | 05:50 | Pretty cool, huh!
| | Collapse this transcript |
|
|
4. Ruching and RufflesCreating ruching| 00:00 | One of the most time consuming
things to draw on a flat is ruching.
| | 00:04 | I've watched students struggle, painstakingly
draw every single little gather by
| | 00:08 | hand, when in actuality, it's
much faster to create a brush.
| | 00:13 | It will take a little time to make the
initial brush, but after that, you're good to go.
| | 00:17 | So, let's make a little gather
brush, so I can add gathers to this flat.
| | 00:21 | I'm going to draw them next to the
flat, so I can keep my scale consistent, so
| | 00:25 | that I don't have to
scale the brush afterwards.
| | 00:27 | I'm going to create a gather brush
that will make little gathers down at the
| | 00:32 | bottom of this part of my flat.
| | 00:33 | Here's how I like to make gathers.
| | 00:36 | I'm really comfortable using the Pen
Tool, so that's preference, and that's how
| | 00:40 | I'm going to do this first version.
| | 00:42 | Basically, it's just about clicking and
dragging, and drawing a bunch of shapes
| | 00:46 | that resemble gathers,
and here's how I do it.
| | 00:48 | Click, move up, click and drag to get a
curve, and I always drag on a 45 degree angle.
| | 00:55 | Click to release the handle, and then
move my Pen Tool down towards the bottom.
| | 01:01 | Click and drag on a 45 again
to get a nice little curve.
| | 01:06 | Click to release the handle, move back
up near where I started, and drag on a 45
| | 01:11 | going the other way.
| | 01:13 | Click to release the handle,
and click and drag.
| | 01:16 | That's basically the type of
shape that you want to create.
| | 01:20 | You can do assorted different versions of it.
| | 01:22 | Some pieces can have just two little
gather shapes coming from it; something
| | 01:26 | like this. Some can go in
different directions, some can be singles,
| | 01:31 | so it's up to you to kind of go ahead
and decide what your gathers need to look
| | 01:35 | like for the particular piece you're doing.
| | 01:37 | I'm going to do just a little grouping, with a
few different shapes here, maybe a little one,
| | 01:43 | and I'm hitting Enter every time I finish
doing a shape with the Pen Tool, so that it
| | 01:48 | won't continue my line when I
start with the Pen Tool again.
| | 01:51 | At this point, I don't worry too much
about alignment, I'm going to go back
| | 01:54 | and fix that later.
| | 01:55 | I just get on my little
gather shapes drawn in.
| | 01:59 | So, here are my gathers,
| | 02:01 | and if you had to draw that every time on
every flat, I'm sure you would get very
| | 02:05 | bored, very frustrated, very quickly.
| | 02:07 | I'm going to select all of them,
and make sure they're aligned.
| | 02:10 | so we'll go up to Align, and Align Top,
because when I click on the seam for
| | 02:14 | these, I want to make sure that
they're all coming out of the same seam.
| | 02:18 | I also need to change the size
of these; they're much too thick.
| | 02:22 | Gathers are delicate, so we're going
to change the Stroke weight to 0.25, and
| | 02:28 | I'm going to add a profile.
| | 02:30 | Over here, down at Profiles, the one I
like is with Profile 1 for the pieces
| | 02:35 | that have multiple shapes, but the
single ones that just come straight from the
| | 02:39 | bottom, I like to change the profile
to this profile here: the one that looks
| | 02:44 | like a triangle, and right now it's
upside down, so I'm going to click this little
| | 02:49 | Flip icon to change it, so that it's
thick on top, and thin towards the bottom.
| | 02:54 | We'll make sure everything has
a round cap, and a round corner.
| | 02:58 | And this is pretty much it for the brush.
| | 03:00 | I can mess around with the spacing a
little bit, sometimes moving things over;
| | 03:05 | sometimes you might want to go ahead
and reflect something, so maybe we'll take
| | 03:08 | this one, and vertically reflect it.
| | 03:11 | I just sort of mess around with it until
I'm happy with the way the gathers look.
| | 03:15 | Since I messed with that,
let's realign the top again.
| | 03:19 | I can go ahead now, and group it
together, and turn it into a brush.
| | 03:24 | Now, scale-wise, maybe it's a little
bit long, so I'm just going to shorten, and
| | 03:30 | squish them in a tiny bit.
| | 03:32 | Let's make a pattern brush out of this.
New > Pattern Brush, click OK, and we'll
| | 03:38 | call this Medium Gathers, because
we're going to go back and make a small
| | 03:44 | gather brush later.
| | 03:45 | So, there are my gathers, and
let's apply them, and see how it looks.
| | 03:49 | We'll go ahead and select this path
I have here, and click on my gathers.
| | 03:53 | You'll notice there's one problem; see
how that moved up so high, because the
| | 03:58 | brush is centered along the path, and
that's not going to work for gathers,
| | 04:02 | so let's make an adjustment.
| | 04:03 | With the Pen Tool, I'm going to add a
point down along the bottom of my gathers,
| | 04:08 | and make sure that point has no Stroke,
and no Fill. I'll reflect it; click once
| | 04:13 | on Reflect, Alt+Click along the
top edge of your gather, and Copy.
| | 04:19 | Now I have this point up
here with no stroke and no fill.
| | 04:22 | I want to now select that, as well
as my gathers, and now make a brush.
| | 04:27 | New, Pattern Brush, and
we'll call it Medium Gather 2.
| | 04:35 | Let's switch brushes, and see
what it looks like instead.
| | 04:37 | We'll take this, and change it to this
brush, and now it's sitting in just the
| | 04:41 | right place, because that's where I have
a seam, but since I changed my seam out
| | 04:45 | to the gather, let me copy, paste in
front, and get rid of the brush on this one,
| | 04:50 | and now I have my gathers
down at the bottom of my top.
| | Collapse this transcript |
| More ways to create ruching| 00:00 | Now you can take the same ruching brush
that you made in the previous video, and
| | 00:03 | we can adjust the scale of it, and use
it in some other places on the flat.
| | 00:07 | So, let's take this brush, and scale it
down, so we can use it over here on the sleeve.
| | 00:12 | All I really need to do is just drag it
with my Shift key, and scale it down, but
| | 00:19 | I'm going to make sure that
my Stroke weight stays at 0.25.
| | 00:22 | I want to get this scale down to a
size that's going to be appropriate for my
| | 00:26 | sleeve, which is going
to be something like this.
| | 00:30 | Make sure the Stroke is still 0.25.
| | 00:33 | Now that I look at it, I think the
stroke may be a little bit heavy for this
| | 00:37 | particular thing in this scale,
| | 00:39 | so let's go ahead and make
it even smaller than 0.25.
| | 00:42 | Let's make it 0.15, and we can go
ahead and make a brush out of this.
| | 00:46 | Just like before, we want the alignment to sit
at the top of the ruching, not at the bottom,
| | 00:51 | so we're going to go ahead
and do the same little trick.
| | 00:54 | I'm going to just squish this to
shorten up the ruching a tiny bit.
| | 00:57 | That looks pretty good.
| | 00:59 | We'll go ahead with the Pen Tool, and
add the point down here, make sure it has
| | 01:04 | no Stroke, and no Fill. Click on
Reflect, Alt+click at the top, Horizontal,
| | 01:10 | Copy, and now we can select this whole
little batch here, and go ahead and make
| | 01:16 | a new pattern brush.
| | 01:19 | We'll call this Tiny Gathers,
and click OK.
| | 01:23 | Let's take a look at what
this one is going to do.
| | 01:25 | So, it's going to give us a row of
some very tiny little gathers, which is
| | 01:30 | great, but remember when I clicked on this
in the previous video, when we lost the stroke?
| | 01:34 | Why don't we go ahead and make
another version of this brush that has that
| | 01:38 | stroke included, so with one click,
we can have the path, and the gathers?
| | 01:44 | So, let's go ahead and draw a path that
goes from here, holding the Shift key, to
| | 01:50 | the end, and can't nudge it up when we
only have one anchor point selected;
| | 01:55 | we'll have to select the whole
thing, and nudge it up a little bit.
| | 01:59 | Now, what caused the gathers to be here?
| | 02:01 | We have to assume they were created
in some way; they didn't just magically
| | 02:04 | appear, and I'm going to say that this
particular set of gathers appeared because
| | 02:08 | we stitched a piece of elastic behind it.
| | 02:11 | So, let's change the Stroke to something
a little bit smaller; we'll make it 0.5,
| | 02:19 | round caps, and we'll turn on the dashed
line to indicate stitching. And you know
| | 02:23 | what? I think we do need to go with 0.25.
0.5 is a little heavy handed there.
| | 02:28 | I'm going to shorten this just a little
bit, so that I get complete dashes here,
| | 02:35 | and when it butts up against, it
will create the space in between.
| | 02:37 | We're going to arrow this down a little
bit, so the ruching comes right from it,
| | 02:42 | select it, along with that little
anchor point that we stuck up there before.
| | 02:47 | We'll make a new brush, it's going to
be a Pattern Brush, and we'll call it Tiny
| | 02:53 | Elastic, and click OK.
| | 02:57 | Something else just occurred to me: if
there's elastic here, and it's causing it
| | 03:00 | to gather on one side, it would
do the same on the other side,
| | 03:04 | so let's go ahead and reflect this.
| | 03:08 | Horizontal, Copy, and because I don't
like them to be totally mirror images, I'm
| | 03:13 | also going to reflect it
Vertically, but not make a copy.
| | 03:16 | Alright, let's try this one more time.
We'll make a pattern brush, and now we
| | 03:21 | have a quite an
assortment of brushes to play with.
| | 03:23 | Tiny Elastic Gathers 2. Click OK, and now
I can select this path, and apply my brush.
| | 03:32 | It takes a few minutes to create the
brush in the first place, but once it's
| | 03:36 | done, it makes your life so much easier,
because with one click, I can apply my ruching.
| | 03:41 | There's another way you
can do ruching as well.
| | 03:44 | I mentioned in an earlier movie that I
like to use the Pen Tool, but you can
| | 03:47 | also do ruching with the Pencil Tool.
| | 03:50 | If you've got a tablet, and you're a
little more comfortable drawing freehand,
| | 03:54 | you can to it this way.
| | 03:55 | Double-click on the Pencil, and make sure
that Edit Selected Paths is not checked.
| | 04:00 | If you keep it checked, you're
going to get very frustrated.
| | 04:04 | I'm also going to uncheck
Keep Selected, and click OK.
| | 04:07 | Now I can draw freehand with the Pencil,
and I don't have a tablet here with me
| | 04:12 | today, I'm actually drawing with the
mouse, so I'll do the best I can to do
| | 04:16 | this freehand, but basically what you
want to do is draw little squiggly
| | 04:21 | zigzags, similar to what we did, but they'll
be a little bit looser if you do them this way.
| | 04:27 | Let's take one of these, and
make it just a little bit longer.
| | 04:31 | And the rest is going to be the
same as the way I created this.
| | 04:35 | We'll select it, change the Stroke weight,
so we'll make this 0.25, go ahead and
| | 04:40 | add a profile, and for the ones coming
out here, we'll change it this profile,
| | 04:46 | reverse, select the whole
thing, and align it to the top.
| | 04:52 | Here's just another style of ruching.
I don't like the way that curved on the
| | 04:56 | bottom, so let's fix that.
| | 04:57 | We'll just delete that
anchor point; much better.
| | 05:01 | This is where you can go ahead and
tweak it a little bit. You probably will not
| | 05:05 | have quite as much tweaking to do if
you draw it using a tablet, and not a mouse.
| | 05:10 | That looks pretty good to me,
| | 05:13 | so I'll go ahead and group this together.
| | 05:16 | And as we always do, I want to be able
to control the placement for this, so I
| | 05:21 | am going to add an anchor point, no
Stroke, and no Fill, Reflect it, Horizontal,
| | 05:31 | Copy, and then I can select the anchor
point, along with my gathers, make a new
| | 05:36 | brush, Pattern Brush; click OK.
| | 05:40 | We'll call this Gathers Loose, click OK,
and it's just another style of gathers.
| | 05:47 | Maybe I want to have a little bit
around the neckline; I can go ahead and use
| | 05:52 | the Group Selection Tool, select
this path, and apply this looser style of
| | 05:56 | gather. We'll select both this, and my
gathers, and Arrange, Send to Back. There; better.
| | 06:04 | So, we can get some little gathers
this way, and it's just a different style.
| | 06:08 | But I don't want gathers up there, so I'm
going to restore this to the way I had it.
| | 06:13 | That is how you add another type
of gathers or ruching to a garment.
| | Collapse this transcript |
| Making smocking| 00:00 | Now I'm going to show you how
to make a brush for smocking.
| | 00:03 | There are a couple of
ways to approach it.
| | 00:06 | One of them is to actually draw from
some of the gathers that we created in the
| | 00:10 | previous movie, but for this one, I'm
going to draw them from scratch, because I
| | 00:14 | want them to be a very specific
size to fit in this area of my top.
| | 00:18 | I've already figured out that size, so
we're going to start by making a rectangle
| | 00:22 | that is 20 points by 5.5 points.
| | 00:26 | We want to make sure it has no fill, a
black stroke, and a 0.25 Stroke width.
| | 00:32 | With the Direct Selection Tool, I'm
going to select and delete the two end
| | 00:37 | pieces, because we don't need those.
| | 00:39 | This is the area that we're going to draw
our little gathers for the smocking between.
| | 00:44 | So, I'm going to grab my Pen Tool, and
this time I'm going to do them a lot looser,
| | 00:49 | so I have something that looks
different from some of the other gathers that
| | 00:52 | we've already drawn.
| | 00:53 | I'll click, and drag, and make
some little curves, and curly cues.
| | 00:57 | I'm going to hit Enter or Return in
between each one to release my Pen Tool, so I
| | 01:01 | can continue drawing.
| | 01:02 | This time I'm just going to do a
style that's a little bit curlier.
| | 01:06 | Enter; so, I'm just going and drawing
these pieces, and you have an option of also
| | 01:12 | drawing them with the Pen Tool if
you're more comfortable doing that.
| | 01:15 | Let's do a little curve this
way, and one coming from up here.
| | 01:18 | Alright, I think that looks pretty
good, and we will do one more down here.
| | 01:23 | Of course, I can't be satisfied with the
plain stroke like this. We're going to
| | 01:27 | go ahead and add a profile.
| | 01:31 | This one is going to work.
| | 01:32 | Actually, in this case, I think we're
going to use this profile. That way, I get
| | 01:37 | some thick pieces starting at the ends,
and I don't like the direction these two
| | 01:41 | are in, so we will go ahead and -- ah, I
can't reverse the profile from that menu.
| | 01:47 | We will have to do it from the
Stroke panel, and flip those over, so they
| | 01:51 | come from down there.
| | 01:52 | Almost done, at least with
drawing these little gathers.
| | 01:55 | You can go ahead and finesse them if
you like; get them the way you like them,
| | 01:59 | and then we're going to take the top
and bottom path, and turn it into a dashed
| | 02:04 | line, because these are
supposed to be stitches.
| | 02:06 | So, round, and this is going to be the
brush. This little dot here, I don't like,
| | 02:13 | so I'm going to go ahead and select both
of these paths -- come on, select -- and
| | 02:18 | Expand them, just the stroke; click OK.
| | 02:22 | That gives me the opportunity to grab
the Group Selection Tool, and oh look; when
| | 02:26 | I expanded it, those little
points just disappeared by themselves.
| | 02:29 | I don't even have to
delete them. How convenient!
| | 02:32 | Now we can go ahead and make
the smocking part of this brush.
| | 02:36 | Smocking has numerous rows of gathers, so
we'll have to duplicate this a few times.
| | 02:42 | I'm going to delete this bottom row,
and I notice, apparently I didn't click
| | 02:48 | that; there we go. When I was drawing it,
I must not have clicked Enter in between.
| | 02:52 | So, now we can select this, and hold my
Alt or Option key, and my Shift key, and
| | 02:57 | drag it down, so that it sits
right at the bottom of the gathers.
| | 03:02 | Then duplicate; Ctrl+D. You can duplicate
this is many times as you want. Depends
| | 03:07 | on how many rows of gathers you
want to have in your smocking.
| | 03:11 | I'm going to take one of these, and
reflect it vertically, click OK, just to kind
| | 03:17 | of give the impression of a
little more variation going on.
| | 03:21 | I need one more row of stitching at the
bottom, so I can select one of these rows
| | 03:25 | of stitching, and Alt+Drag until it's
sitting on the bottom. That's it!
| | 03:28 | That is my smocking brush.
| | 03:31 | So, let's select this whole tile,
go to the brushes, click on New, Pattern
| | 03:36 | Brush, click OK,
and we'll call it smocking.
| | 03:40 | For this brush, we don't need to adjust
the placement, because the way I'm using
| | 03:43 | it on this particular garment,
I actually want it centered.
| | 03:46 | So, I've got a path here all ready for
my smocking. I'll select the path, and
| | 03:50 | apply the smocking brush.
How nice is that?
| | 03:53 | One click, and you get all that detail.
Definitely a much faster way to work.
| | 03:57 | Zoom out, so you
can see the whole piece.
| | 04:00 | I'm a big fan of creating a
library of assorted gather brushes in
| | 04:04 | different sizes, and different lengths,
so you always have the one you need
| | 04:08 | ready and waiting.
| | Collapse this transcript |
| Making elastic in casing| 00:00 | Let's make a brush that looks like
elastic encasing, so we can change the
| | 00:04 | waistline of this skirt.
| | 00:05 | We're going to start with a line segment
that is 30 points long, with a
| | 00:10 | 0 degree Angle, and we'll zoom in.
| | 00:13 | We want to make sure that this particular
line segment has Butt Caps, no fill,
| | 00:19 | and a 1 point line weight.
| | 00:21 | We're going to put effect on it.
| | 00:23 | Up to Effect >
Distort & Transform > Roughen.
| | 00:26 | The settings we want to use are 2% for
the Size, and it should be set to Relative.
| | 00:31 | Let's turn on Preview, and for the Detail,
we're going to kick it up to about 98,
| | 00:35 | and it should be set on Smooth.
| | 00:38 | That gives us this little gathered
line segment that's going to make up the
| | 00:41 | casing for our elastic.
| | 00:43 | Now that we've got the Roughen
effect applied, we need to expand this.
| | 00:47 | So, we're going to go up to Object >
Expand Appearance, and now it's just a path
| | 00:52 | with a whole bunch of little
points instead of an effect.
| | 00:55 | We need to select the two end points, so
one in this end, hold the Shift key, and
| | 01:00 | select one on the other
end using the white arrow.
| | 01:03 | We need to align them, so
| | 01:04 | I'm going to click on Align top.
| | 01:07 | It's important that the end points
align, so that when the brush is made, the
| | 01:11 | tile will butt up
against each other nicely.
| | 01:14 | Now we can select this whole thing, and
we're going to reflect it horizontally.
| | 01:17 | So, click once on Reflect, Alt+click a
little bit below the path, and select
| | 01:22 | Horizontal, and Copy.
| | 01:24 | Now we've got a top
and a bottom for our casing.
| | 01:27 | We can go ahead now and draw the
gathers that are going to go in between.
| | 01:31 | So, let's grab the Pen Tool, make sure
we have black Stroke, no Fill, and we're
| | 01:36 | going to change the
Stroke Weight to 0.25.
| | 01:38 | Let's draw some gathers.
| | 01:40 | So, I'll grab the Pen Tool, and draw some
gathers, hitting the Enter or Return key
| | 01:45 | in between each one
to release the Pen Tool.
| | 01:49 | I'm just going ahead and drawing random
gathers here. Some go part way up; some
| | 01:55 | are going to go all the way
across the casing from top to bottom,
| | 01:58 | always hitting Enter in
between each little gather.
| | 02:03 | You'll notice that if I'm going from
the top, I start from the top, and I'm sort
| | 02:07 | of alternating in between each
one to get a nice random effect.
| | 02:12 | I think that looks pretty good.
| | 02:15 | You can go back and tweak pieces if you
want to, but I'm pretty happy with this,
| | 02:18 | so I'm going to drag straight
through the center to select all of them.
| | 02:22 | Open my Stroke panel, make sure I have
round caps, round corners, and the Profile.
| | 02:29 | I love these profiles; I really do.
| | 02:32 | I think I'll also go ahead and select
the ones that are coming out from the top
| | 02:37 | or bottom; the straight lines that
are coming out from the top or bottom.
| | 02:40 | Obviously, they're all coming out from
the top or the bottom, and we'll swap up
| | 02:44 | the Profile, and use this one,
| | 02:46 | so we get a little more
variation in our lines. We're close.
| | 02:50 | Now we're going to select the bottom path,
hold your Shift key, and select the top one.
| | 02:55 | Copy them, Ctrl+C or Command+C, and
Paste in back, Ctrl+B or Command+B for back.
| | 03:02 | Right-click > Join; Right-click > Join.
| | 03:04 | So, what we just did was make a closed shape
that's sitting behind this piece of casing.
| | 03:11 | We're going to fill that closed shape
with white, and we're going to change
| | 03:14 | the Stroke to None.
| | 03:15 | Now we need to create a start and
an end tile to go along with this.
| | 03:19 | For this particular brush,
it's super, super simple.
| | 03:22 | To start an end tile is just one path
that goes from the top of the casing to
| | 03:26 | the bottom of the casing.
| | 03:28 | With your Pen Tool, click, hold your
Shift key, click at the bottom, so we
| | 03:32 | want this to be a 1 point Stroke, with round
caps, and we want it to be black, which it is.
| | 03:39 | That's all there is to that.
| | 03:40 | We move it out of the way a little bit.
| | 03:42 | We also want to adjust the placement
along the path for this. Because I'm using
| | 03:46 | this on the top of the skirt for the
waist band, I want the alignment of the path
| | 03:51 | to be at the bottom of the casing.
| | 03:54 | That means we're going to add a
point to the top of the casing,
| | 03:57 | so click to add a point, no stroke, no
fill, and we're going to reflect it, so
| | 04:03 | click once on Reflect, Alt+Click on
the bottom edge of the casing where you
| | 04:08 | want the path to align,
| | 04:09 | and when the Reflect window
opens, select Horizontal, and Copy.
| | 04:13 | So, now I've got this
little anchor point.
| | 04:16 | I need another one, actually.
| | 04:17 | I'm going to go ahead and Alt+Drag this
anchor point over here, because I'm going
| | 04:22 | to need the same anchor point to be in
alignment with this little start and end
| | 04:27 | tile piece, so that the
whole thing aligns properly.
| | 04:30 | We'll select that end tile, make sure
it's aligned perfectly with that anchor
| | 04:35 | point, and group it together.
| | 04:36 | We'll select this casing with the
anchor point, and group it together.
| | 04:42 | Get ready to make the brush.
| | 04:43 | We'll drag the start and end tile
piece into the Swatches panel, and now we
| | 04:48 | can select the casing.
| | 04:49 | Go to Brushes > New; this is
going to be a Pattern Brush.
| | 04:54 | We'll call this the Elastic Casing,
and we need to add that end tile, and
| | 05:01 | start tile. Click OK.
| | 05:03 | Now if I draw a path, and apply my brush,
I get a beautiful piece of elastic
| | 05:08 | encasing with ends. A nice
finished piece with just one click.
| | 05:12 | Let's add it to my skirt.
| | 05:14 | I will select this path,
and click on the brush.
| | 05:17 | For some reason, the white fill
didn't take. Hmm, I wonder what happened.
| | 05:23 | Well, let's fix it.
| | 05:24 | I should be able to select on my
casing here, and see a piece that's got a
| | 05:29 | white fill and no stroke.
| | 05:31 | Let's go to View, and change it
to the Outline view, and it's there.
| | 05:36 | So, since this is grouped together, we'll
grab the Group Selection Tool, select this
| | 05:40 | piece, and ah; there's the problem.
| | 05:42 | It's got no stroke, and no fill, so we
need to get that fill back to white.
| | 05:47 | We'll switch our View back to the correct
Preview, and let's give this another shot.
| | 05:52 | We will select this piece, go to our
Brushes, make a New Brush. Pattern.
| | 05:57 | We'll add those start and end tiles.
| | 06:00 | I guess we'll call this one Elastic Casing 2,
click OK, and we'll give this another try.
| | 06:10 | Select that path, and apply the brush with
the white fill. Much better. There you go!
| | 06:16 | With one click, now I can add elastic
casing to any of my garments, because my
| | 06:21 | brush is done, and ready to go.
| | Collapse this transcript |
| Creating a ruffle| 00:00 | Drawing ruffles is much easier when
you have a ruffle brush, so let me show
| | 00:04 | you how to make one.
| | 00:05 | We're going to start with a line
segment that is 25 points, and 260
| | 00:10 | degrees for the Angle. Click OK.
| | 00:13 | Because I know I'm going to do this later,
I will do it now, so that I don't have
| | 00:18 | to select multiple paths later. I'm
going to change this, and add the Profile,
| | 00:22 | but I want it going in the
other direction, so we'll flip it.
| | 00:26 | And now I'm going to Reflect this, so
click once on Reflect, Alt+Click a little
| | 00:30 | bit to the right, and Vertical > Copy.
| | 00:33 | So, now I have what is
going to become my ruffle.
| | 00:36 | We're going to connect the
bottom later with a curve.
| | 00:39 | I also want to change
these to round caps.
| | 00:42 | Now I need to duplicate this shape.
| | 00:44 | I need a total of three.
| | 00:46 | So, I'll select it, I'll hold down my
Alt or Option key, and my Shift key, and
| | 00:52 | drag one over a little bit.
| | 00:54 | Then Ctrl+D to Duplicate,
so I get a third.
| | 00:57 | We'll select all of them, and I need to
lock them, so they don't move around on
| | 01:01 | me, and I can do that with the
shortcut Ctrl+2. It's quite handy.
| | 01:06 | Now, with the Pen Tool, we're going to
connect each of these pairs with smiles.
| | 01:10 | So, with the Pen Tool, and we want no
Fill, black Stroke, 1 point, I'm going to
| | 01:16 | go ahead and draw
a smile connecting those.
| | 01:18 | Hit the Enter or Return key to release.
| | 01:21 | Draw a smile connecting
those, Enter, and one here.
| | 01:26 | Now we're going to connect
these three ruffles with frowns.
| | 01:30 | So, we'll start at the left side again,
and draw a frown, Enter, and another
| | 01:35 | frown over here, Enter, and
| | 01:36 | that is my ruffle shape, for starters.
| | 01:40 | Now, we're going to select all of those
smiles and frowns we drew. Right-click > Join,
| | 01:45 | so it just connected all of
them into one piece. Very handy.
| | 01:49 | Grab your Pen Tool, click on the left-hand
anchor point, hold your Shift key to
| | 01:54 | draw a straight line, and you're
going to click up a little bit above the
| | 01:58 | height of the ruffle.
| | 01:59 | Hold the Shift key to do a straight
line across, and then click to close.
| | 02:03 | So, we've just created a closed shape
that we can fill, and I'm going to go ahead
| | 02:08 | and fill it with yellow for now as
kind of a placeholder, and lose the stroke,
| | 02:12 | and we will send it to back; right-click,
Arrange > Send to Back, so it doesn't
| | 02:16 | hide our little line segments.
| | 02:18 | Now we need to divide
this into three pieces.
| | 02:22 | We're going to do that by drawing a
rectangle that has a stroke, and no fill.
| | 02:27 | So, grab the Rectangle Tool, and visually,
there's no exact size here. We're going
| | 02:33 | to click and drag, and draw a
rectangle around the center ruffle.
| | 02:38 | I think that's a
little wider than I want.
| | 02:40 | I want it sort of splitting the difference
of that frown, so it's kind of centered.
| | 02:45 | Now select the yellow, and the
rectangle, open Path Finder, select Divide,
| | 02:51 | right-click, Ungroup, right-click, Arrange >
Send to Back, and we'll delete these
| | 02:58 | two little rectangles.
| | 03:00 | I've just broken this into three pieces.
| | 03:02 | Go ahead and grab the right side
section, and move it out of the way. Oops!
| | 03:07 | It helps if you unlock them,
doesn't it? Object > Unlock All.
| | 03:11 | Let's try that one more time.
| | 03:13 | Select it, move it out of the way;
much better.
| | 03:16 | Select this one; move it out of the way.
| | 03:18 | We're just going to work with this one.
| | 03:20 | We're going to reflect it a couple of times
to create a ruffle that will align with itself.
| | 03:26 | So, we're going to select this, click once
on Reflect, Alt+Click on the line, right
| | 03:33 | on the edge here, but make sure
that you don't go outside of it.
| | 03:36 | It's very important to be right on
the line, or if anything, a hair inside.
| | 03:40 | Click, Vertical, Copy, and now we can
select both pieces of yellow, and unite them
| | 03:47 | together using Path Finder.
| | 03:49 | Right-click, Arrange > Send to Back.
| | 03:51 | So, now that we've got this Reflected,
let's zoom in, and just smooth out this
| | 03:56 | frown in the center a little bit.
| | 03:58 | I'm not loving the way it looks, so I'll
just select it, and drag it down a little bit,
| | 04:04 | or possibly even grab the Convert Anchor
Point Tool, click to release the curve,
| | 04:08 | and then drag out a new one;
much better.
| | 04:11 | All right!
| | 04:11 | Now, for the next step, we're
going to use all of the pieces.
| | 04:15 | Select all of the yellow sections, and
we're going to change them to white.
| | 04:19 | Copy > Ctrl+C, Paste in Front, Ctrl+F,
and the ones that are in front we want to
| | 04:27 | turn off the white Fill,
and turn on the black Stroke.
| | 04:32 | Now we can delete a few
extraneous pieces of the stroke.
| | 04:36 | We don't need either
end of our side tile.
| | 04:40 | We don't need the insides
of our start and end tiles.
| | 04:45 | The last thing we need to delete is this
inside line segment for each start and end tile.
| | 04:52 | And just to give this a little bit of
flare for our end tiles, I'm going to
| | 04:56 | select this bottom corner, and I'm
marquee selecting it, so I make sure to get
| | 05:00 | the black Stroke, and the
white Fill that's behind it.
| | 05:03 | I'm going to use my arrow Key to just nudge
it out a little bit, and maybe up a tiny bit,
| | 05:08 | so I give my end of my
ruffle just a little bit of flare.
| | 05:12 | I'll do the same thing
on the other side.
| | 05:14 | I'll nudge it to the left, and up just a
tiny bit, so that my ruffle will end with
| | 05:19 | a bit of a flourish.
| | 05:21 | We'll group each individual piece
together, and let's align these.
| | 05:29 | So, we'll select all of them,
go to Align, and align them top.
| | 05:34 | The only other thing I'm noticing that
needs to be corrected is I want to make
| | 05:38 | sure that the corners
are the round joints.
| | 05:40 | The caps don't need to be round,
because if they're round, these won't blend
| | 05:44 | well with the brush, but we do
need the corners to be rounded.
| | 05:48 | The next thing we need to do is control
the placement of the ruffle along the path.
| | 05:53 | I don't want my ruffle to
be centered along the path.
| | 05:55 | I want the path to hit
the top of the ruffle.
| | 05:58 | It will make it
much easier for placement.
| | 06:00 | So, to do that, we need to grab the Pen
Tool, add a point at the bottom, make sure
| | 06:05 | it has no Stroke, and no Fill.
| | 06:08 | Reflect it, Alt+Click on the
top, where I want my alignment to
| | 06:12 | be, Horizontal, Copy.
| | 06:14 | So, now I've got this
anchor point up here,
| | 06:17 | but I also need to have one on each
end piece as well, so I'm going to hold
| | 06:22 | my Alt and Shift key, and drag one on top of
this ruffle, and drag one on top of my end tile.
| | 06:30 | Let me go ahead and group those
together to make sure that when I drag them
| | 06:35 | into my swatches later, I don't
accidentally forget to drag in that little
| | 06:40 | invisible anchor point.
| | 06:42 | So, off to my swatches. We'll take the
start tile, and drag it into the swatch.
| | 06:48 | We'll take the end tile, and
drag it into the swatches.
| | 06:51 | Select the side tile, open up
Brushes, New, Pattern Brush; click OK.
| | 06:57 | We'll add our start tile, we'll add our
end tile, let's call this Ruffle, click
| | 07:03 | OK, and now let's try it out.
| | 07:05 | I think it would look very nice to
have a ruffle at the bottom of my corset.
| | 07:10 | We'll select the path, click on
the ruffle, and there it is; a lovely
| | 07:14 | little ruffle brush.
| | 07:16 | We might even try adding ruffles
to the top part, so we'll do that.
| | 07:21 | Now, you notice one is on top, and the
other is folded in, and it's because of
| | 07:25 | the direction that the path was drawn,
| | 07:27 | but it's a super easy fix.
| | 07:28 | We'll select it, go to the Brushes, and
click on this icon here; it's Options
| | 07:33 | of Selected Object.
| | 07:34 | It will allow me to flip this brush
instance without affecting any of the
| | 07:39 | other brush instances.
| | 07:41 | Click OK, and I think those ruffles
might be a little big for up top, so I'll
| | 07:46 | select them, and change my Stroke weight
to something a little bit smaller, maybe
| | 07:51 | 0.5, so I have a small ruffle on top.
| | 07:54 | That works for me.
| | Collapse this transcript |
|
|
5. Fancy TrimmingsMaking sequins| 00:00 | In this chapter, I'm going to show you how
to create some fancy trims for your flats.
| | 00:04 | Let's start with the sequin brush.
| | 00:06 | For a sequin we're gong to
need to draw a couple of circles,
| | 00:09 | so let's select the Ellipse Tool,
click once on the page, and we are going to
| | 00:13 | draw a circle that is 3
points by 3 points, and click OK.
| | 00:17 | Awfully tiny, but that's okay; the scale
is correct for the flats we're working on.
| | 00:21 | We're going to draw a second circle that
is really tiny: 0.6 points by 0.6 points.
| | 00:28 | Now let's select both circles, and
change the line weight from 1 point to 0.25,
| | 00:34 | and we'll go ahead and align them.
| | 00:36 | So, I'll click on Align,
and center-center.
| | 00:39 | The last thing we need is a stitch, so
let's grab the Pen Tool, and go ahead and
| | 00:43 | click in the center of the circle, hold
the Shift key, and click on the edge of
| | 00:48 | the larger circle, and there's our
little stitch, and let's just make sure that
| | 00:52 | we've got round caps,
and there's our Sequin.
| | 00:55 | Now we can go ahead
and make a brush out of it.
| | 00:57 | For this brush, we're going to
go ahead and make a pattern brush,
| | 01:00 | so select the sequin that we just created,
open the Brushes panel, click on New,
| | 01:04 | and we're going to make a
Pattern Brush, click OK.
| | 01:07 | Let's name it Sequin, and click OK.
| | 01:11 | That's all there is to it.
| | 01:12 | Grab the Pen Tool, draw a path, and apply the
brush, and that's how you make a sequin brush.
| | 01:17 | If you want to make it in colors, I
recommend making a second brush, and
| | 01:21 | filling it with medium gray, and then we can
change the setting on it to adjust the colors.
| | 01:26 | The best way to do that is to go back to
the sequin; we'll change the Fill color
| | 01:30 | from white to 50% gray, and that's
going to be this gray right here. You'll
| | 01:35 | notice that the K is at 50%;
that's 50% gray.
| | 01:39 | We'll select it, we'll go ahead and make a
new brush, again, a Pattern Brush, click OK.
| | 01:44 | We can call this Sequin Color, and
we're going to go ahead and change the
| | 01:49 | Colorization Method.
| | 01:50 | Instead of None, we're going to change
it to Tints and Shades, and click OK.
| | 01:55 | Now the color of this brush is going
to be controlled by the stroke color.
| | 02:00 | So, we'll go ahead and duplicate
this path, I'm just Alt+Dragging -- oops!
| | 02:03 | Alt+Dragging to duplicate.
| | 02:06 | Now let's apply this brush.
| | 02:07 | You'll notice its reading is black
instead of gray, and that's because my stroke
| | 02:11 | color is currently set to black, but I
could easily change that stroke color to
| | 02:15 | orange, pink, yellow, green; any color
I like in order to get a colored sequin.
| | 02:21 | So, let's apply the brush now.
| | 02:23 | I've gone ahead and opened the file
with a dress in it, so let's take a look at
| | 02:27 | this dress, and apply some sequins to it.
| | 02:29 | I already copied these two paths here,
| | 02:33 | so let's go ahead and click on that
sequin brush, and let's do something fancy;
| | 02:38 | how about purple sequins?
| | 02:40 | And that is how you make a sequin
brush and apply sequins to a flat.
| | Collapse this transcript |
| Creating fancy sequins| 00:00 | Now that we've done a basic
Sequin, let's do a really fancy one.
| | 00:03 | We're going to start with the Ellipse
Tool again, click on the page, and draw a
| | 00:07 | circle that's 3 points by 3 points.
| | 00:09 | Then we're going to draw a line
segment that is 10 points, and 58 degrees.
| | 00:14 | I realize that's sort of an odd angle; I
went ahead and figured it out for you. Click OK.
| | 00:19 | The last thing we need is a polygon,
| | 00:22 | so click on the Polygon Tool, click on
the page, this is going to be a polygon
| | 00:27 | with a 1 point radius,
and 6 sides, and click OK.
| | 00:30 | So now we have our three
tiny little shapes here.
| | 00:33 | Let's zoom in closer to them.
| | 00:35 | We'll need to select all of them, and
make the line weight much smaller, and in
| | 00:40 | this case, rather than 0.25, we're
actually going to type in 0.2; make it even a
| | 00:46 | little bit smaller.
So there's our line weight.
| | 00:49 | Now what we're going to do
is align all these together.
| | 00:53 | So, we could go to Align,
and align them center-center.
| | 00:55 | Notice how the line segment goes
from corner to corner of the polygon?
| | 01:01 | Well, we need to rotate this line
segment two more times, so it hits these two
| | 01:05 | corners, and these two corners.
| | 01:06 | So, what we need to do is take the circumference
of the circle, and divide it by 3.
| | 01:11 | So, we're going to select the line segment,
we're going to double-click on Rotate,
| | 01:16 | and we're going to let
Illustrator do the math for us.
| | 01:19 | We'll type in 360 degrees, and we're
going to divide it by 3, and to divide, all
| | 01:24 | you need is a forward slash, and then
the number 3, and since we actually want
| | 01:29 | to duplicate this,
we're going to click Copy.
| | 01:32 | So, notice how that
lined up perfectly?
| | 01:34 | Now we're going to do it one
more time; Ctrl+D to duplicate.
| | 01:38 | For the moment, I'm going to move the
polygon out of the way. We're going to
| | 01:42 | select the line segments, and the circle,
we're going to go to Pathfinder, and Divide.
| | 01:46 | So, we've just kind of sliced up this
circle in a bunch of little pie-shaped slices.
| | 01:51 | Now we can go ahead and fill them.
| | 01:52 | I'm going to open my Swatches, and we're
going to fill these with shades of gray.
| | 01:56 | Rather than ungroup this, we can
switch to the Group Selection Tool, which
| | 02:01 | is the white arrow with the plus sign, so we
can select individual little pie swatches here.
| | 02:06 | They don't have a fill on them
right now, so it's being difficult.
| | 02:10 | So, we'll select one and we'll give it
the lightest shade of gray. I'll select
| | 02:15 | the next one, and give it sort of a
medium shade of gray, a darker shade of gray.
| | 02:19 | I'm just randomly selecting
different gray shades to fill this with.
| | 02:23 | Let's give it one really dark gray, and
maybe another light gray here, so that
| | 02:28 | I'm going to add some
sparkle to my sequin.
| | 02:31 | I'm going to take the polygon, and
fill it with one of the lighter grays.
| | 02:35 | Now I can select all of this stuff and
align it again, center-center, so that
| | 02:40 | the polygon is now sitting
on top of everything else.
| | 02:44 | We'll select it, and we're going to do
one more thing, and that's change the
| | 02:48 | stroke, all of these strokes,
to a slightly lighter color.
| | 02:50 | So, instead of black, we're going to
make them one of the lighter shades of
| | 02:54 | grays, and I'm going to rotate this just
a little bit, so that none of the lines
| | 02:59 | are horizontal, or 0 degrees.
| | 03:01 | We're going to add one more circle, because
we need a hole in the center of the sequin.
| | 03:06 | So, with the Ellipse Tool, we're going to draw
one more circle that is 0.5 by 0.5. Click OK.
| | 03:12 | This one is going to have no
stroke, and a darker gray fill.
| | 03:17 | We can also align that one, so it's
centered in the midst of our sequin.
| | 03:23 | The last thing we need is another line
segment, so grab the Pen Tool, and we're
| | 03:27 | going to draw a line segment that goes
from the center, and then you can hold
| | 03:32 | the Shift key, and to the left, and it
should end just about at the end -- oops, I
| | 03:37 | made an anchor point instead
of drawing a path; there we go.
| | 03:40 | We're going to give it a medium color,
and also change the Weight to 0.25, because
| | 03:46 | that's the weight of our
thread and round caps.
| | 03:49 | I don't want the color to be
the same color as my circle,
| | 03:52 | so let's lighten that up
just a little bit;
| | 03:54 | let's pick a lighter shade
of gray; how about that one?
| | 03:58 | We'll go one lighter, and
that's our fancy sequin.
| | 04:01 | Now we can make a brush out of it,
| | 04:03 | and this time, we're going
to make a Scatter Brush.
| | 04:05 | So, select it, open the Brushes, click on
New, select Scatter Brush, and click OK.
| | 04:10 | We'll call this one
Fancy Sequin, and click OK.
| | 04:14 | Before we can do any other setting, we
need to draw a path, and apply the brush,
| | 04:19 | and then we can change
some of the other settings.
| | 04:21 | So, we'll draw a path, we'll apply the
brush, and now double-click on the brush
| | 04:26 | in the Brushes, so we can
make a couple of little changes.
| | 04:29 | One is that we want to make the rotation
is relative to the path, and not the page.
| | 04:35 | We also need a little bit of overlap,
so we can go to the Spacing slider, and
| | 04:39 | let's make it maybe early 80s, or low
80s, so there's just a little bit of
| | 04:44 | overlap between our pieces.
| | 04:46 | The last thing we want to do
is be able to adjust the color.
| | 04:50 | So, we want to change the color Method
to Tints and Shades, and click OK,
| | 04:54 | and apply the strokes.
| | 04:56 | Now we can go ahead
and try out our brush.
| | 04:59 | So, let's zoom out, and I
don't need this one anymore.
| | 05:03 | Let's select these purple ones we were
playing with before, and apply the new
| | 05:07 | sequin, and now we have super fancy
purple sequins, with facets on them, rather
| | 05:14 | than just the plain flat type of sequin,
which just gives a little more depth, and
| | 05:18 | interest, and detail to our flats.
| | Collapse this transcript |
| Creating rhinestones| 00:00 | Now that we have two sequin brushes,
how about we make some rhinestones?
| | 00:03 | It's really easy to turn a
sequin into a rhinestone.
| | 00:07 | Let's go to the Brushes Panel, click
on the Sequin Brush, and drag it out.
| | 00:11 | We're going to change
it into a rhinestone.
| | 00:13 | We'll zoom in, so we can
see what we're doing.
| | 00:15 | First thing we need to do is delete a
few of the elements that we aren't going
| | 00:19 | to need for a rhinestone.
| | 00:21 | With the Group Selection Tool -- that's
the white arrow with the plus sign --
| | 00:24 | we'll select and delete the piece of
thread line segment, the little hole in the
| | 00:28 | center, and we also can select and delete --
see this bounding box here? It's what
| | 00:34 | came with the sequin when we
dragged it out of the Brushes box.
| | 00:39 | We're going to want to get rid of
that piece as well, so we'll delete that.
| | 00:43 | Now we're going to select the whole
sequin, and we're going to turn it into a
| | 00:47 | rhinestone by changing the Stroke
color from that light gray to black.
| | 00:51 | We're also going to change the
color of some of these facets.
| | 00:54 | So, again, with the Group Selection
Tool, we're going to change the center
| | 00:57 | facet to white, and a couple of the other light
facets, we're going to change to white as well.
| | 01:04 | We'll make that one white, and let's make
one over here white as well, and there we go.
| | 01:11 | So, now it's a rhinestone, so
let's do a couple of things with it.
| | 01:14 | First, let's make a
rhinestone pattern brush.
| | 01:17 | We'll select it, we'll go to Brushes,
click New, Pattern, click OK, and we'll name
| | 01:22 | it Rhinestone. And let's change the
Spacing on this to 100%, so that the
| | 01:27 | rhinestones don't butt right up against
each other, and we'll also, while we're
| | 01:31 | here, change the Colorization
Method to Tints and Shades. Click OK.
| | 01:36 | Now let's apply the brush.
| | 01:38 | We can grab the two paths that I have
up here, and apply it, and get a little bit
| | 01:42 | of a rhinestone trim.
| | 01:44 | Now, in this case, it's sitting right
on the seam, and I would like it to be
| | 01:47 | a little bit below.
| | 01:48 | So, this is a really good instance to
try that little trick that I showed in an
| | 01:52 | earlier video on how to adjust the
placement of the brush tile along the path.
| | 01:59 | So, instead of having the path center
through this rhinestone here, why don't
| | 02:03 | we go ahead and add a point right at
the bottom, and make sure that point has
| | 02:08 | no stroke, and no fill.
| | 02:10 | While we have it selected, we'll go to
our Reflect Tool, click once on Reflect,
| | 02:15 | Alt+Click at the top of the
rhinestone, Horizontal, and Copy.
| | 02:20 | So, we've just made this tiny, little
point with no stroke, and no fill up here
| | 02:24 | where we can't see it.
| | 02:26 | We'll select both the rhinestone, and
that point, go back to Brushes, New, we're
| | 02:32 | making a Pattern Brush, click OK, and
we'll call this Rhinestone 2, and we might
| | 02:39 | as well get everything else straightened
out; Tints and Shades, and we'll do
| | 02:42 | that 100% Spacing again. Click OK.
| | 02:46 | Now, when I swap out the brush, watch what
happens. Let's zoom back over to where we were.
| | 02:51 | So, instead of the brush sitting
centered on the path, I'm going to select
| | 02:56 | this new brush, so we'll select this,
and I'm going to swap out to the new
| | 03:00 | brush I just made, and now it's sitting
above, except I actually want it to
| | 03:04 | go in the other direction.
| | 03:05 | So, I will double-click on the brush, and
I'm going to Flip Across, so it goes in
| | 03:10 | the opposite direction over the path.
Click OK, Apply, and now it's sitting
| | 03:15 | below the path instead
of centered on the path.
| | 03:18 | So, it's a lot easier to
control the placement that way.
| | 03:22 | Now, my rhinestones are
sitting in the right place.
| | 03:24 | Let's do one other thing
with the rhinestone.
| | 03:27 | I would like a spattering of rhinestones
all over my dress, so it just sparkles
| | 03:32 | when our model walks down the runway.
| | 03:34 | So, I'm going to go ahead and select
the rhinestone, and I don't need that extra
| | 03:38 | point now; that's still here
somewhere. Yeah, let's get rid of that.
| | 03:41 | Let's select this rhinestone,
and make a spatter brush.
| | 03:45 | So, I'm going click on New Brush,
select Scatter, click OK, we'll call it
| | 03:49 | Rhinestone Sparkle, and we'll click OK.
| | 03:53 | Again, in order to set the settings
for the scatter brush, I'm going to need
| | 03:57 | to draw a path first.
| | 03:59 | So, here's my path, we'll click on the
brush, double-click on it to go back into
| | 04:03 | the options, and we're
going to change a few things.
| | 04:06 | The Rotation needs to be relative
to the path; that's very important.
| | 04:10 | We'll change the Colorization Method to
Tints and Shades, and now we have a few
| | 04:14 | things to play within here.
| | 04:16 | One of the things I want to do is set
this up so that all my rhinestones are not
| | 04:21 | the same size; I want some
big ones and some small ones.
| | 04:24 | So, we're going to go here and
change this from Fixed to Random,
| | 04:27 | and then I'm going to leave my Maximum
size to be a 100%, but I'm going to change
| | 04:31 | the Minimum to 25%, so that I get a
few small rhinestones in the mix.
| | 04:36 | And let's turn on Preview, so
you can see what it looks like.
| | 04:40 | Now, you see I've got my full size
rhinestone, and I also have some small ones
| | 04:44 | thrown in there now.
| | 04:45 | I want to play with the rotation as well.
I don't want them all sitting in the
| | 04:49 | same direction. I want them to spin
around, so it gives the impression that they
| | 04:53 | are all catching the
light at different times.
| | 04:55 | So, the Rotation also should be set
to Random, and we're going to drag this
| | 04:59 | slider all they way to the left, and
this slider all the way to the right, so
| | 05:03 | I've got a full rotation on all of
these, and now they are all going in
| | 05:07 | different directions.
| | 05:08 | The last thing that we're going to do,
which is actually the fun part, is we're
| | 05:12 | going to play with Scatter.
| | 05:13 | We're going to change the Scatter
from Fixed to Random, and we're going to
| | 05:17 | Scatter from negative 500 to positive 500,
and go ahead and click OK.
| | 05:25 | So now, with one stroke, I get
this spattering of rhinestones.
| | 05:29 | So, here's how we're
going to use the brush.
| | 05:32 | Let me zoom back out, so we can take a
closer look at the dress, and I am going
| | 05:37 | to put a spattering of
rhinestones on the bodice of the dress.
| | 05:40 | I'm going to go over to my
Toolbar, and select the Paintbrush Tool.
| | 05:43 | Back over to my Brushes, and check the
Rhinestone Sparkle Brush, and now all
| | 05:47 | I have to do is paint right across the bodice,
and I get a lovely spattering of rhinestones.
| | 05:53 | And I think I'll go ahead and sparkle
the whole skirt, so we'll just draw some
| | 05:57 | rhinestones coming down here,
going up here.
| | 05:59 | So, now I have a wonderful little evening
dress full of shimmer, and sparkle, and
| | 06:03 | rhinestones all with just a brush.
| | Collapse this transcript |
| Creating studs| 00:00 | For those of you who like detail, but
not so much sparkle, in this video. I'm
| | 00:04 | going to show you how to
create a brush to do studs.
| | 00:07 | For our stud, we're going to start with
the Rectangle Tool, and we're going to
| | 00:11 | draw a square that is 4 points by 4
points, then click OK. Let's zoom into that.
| | 00:16 | We're going to change
the Stroke to 0.25.
| | 00:20 | Now we need a line segment, and this
line segment, we'll go with 10 points, but
| | 00:24 | this time the Angle needs to go from corner to
corner, which is going to be 45 degrees, and click OK.
| | 00:32 | And while we have it selected,
we can go ahead and reflect it.
| | 00:35 | So, I'm going to double-click on Reflect,
we're going to do a Vertical reflect,
| | 00:39 | Copy, and now we can select all of
these pieces, and align them center-center.
| | 00:44 | Now, just like we did with the rhinestone,
and the sequin, we're going to divide.
| | 00:50 | So, Pathfinder > Divide.
| | 00:51 | And let's change our Caps to round, and
round joins; that will look much nicer.
| | 00:56 | And now we can recolor the facets, so
let's grab the Group Selection Tool, and
| | 01:01 | we'll select the top facet, and make
sure it's filled with white, the left
| | 01:05 | facet we'll do a dark grey, bottom
facet we'll do a really dark -- oops, didn't
| | 01:11 | select. There we go.
| | 01:12 | I'm not clicking hard enough, apparently.
| | 01:15 | The bottom facet we'll do an even
darker gray, and we'll do a light one on the
| | 01:19 | side over here, and I think
this side one's a little too dark.
| | 01:23 | Let me go ahead and lighten this gray
just a little bit, something like that, and
| | 01:28 | there it is, a stud. Really easy now
after you've done the rhinestones, right?
| | 01:33 | So, we'll select it, we'll go to the
Brushes, click on New, we're going to make a
| | 01:37 | Pattern Brush out of this one. Click OK.
| | 01:40 | We'll name it Stud, and we're going
to change the spacing on this one,
| | 01:44 | let's go with 50%, and I'm going to change
the Method to Tints and Shades, and click OK.
| | 01:50 | So, let's see what it looks like when
we apply this to the flat I've got here.
| | 01:54 | Got a pair of shorts, and I thought
some studded trim around the pockets would
| | 01:58 | look nice, so let's select the path
that I've already drawn, and apply my Stud
| | 02:03 | brush, and now I've got a stud detail
on my shorts. Super fast; one click of
| | 02:08 | the brush.
| | Collapse this transcript |
| Making a fringe| 00:00 | In this movie, I'm going to show you how
to make a fringe brush for projects that
| | 00:05 | have leather trimmings.
| | 00:07 | Let's start with a rectangle.
| | 00:09 | I'm going to zoom in,
so we can work closer.
| | 00:12 | We're going to draw a rectangle
that is 1.5 points by 30 points.
| | 00:17 | You can make yours as long as you like, but
for this particular project, this is a good size.
| | 00:23 | Now we need to make a number of these
rectangles, and we're going to do this by
| | 00:28 | Alt+Dragging or Option+Dragging them.
| | 00:29 | So, you're going to grab the rectangle,
hold down your Alt or Option key, and your
| | 00:33 | Shift key, and drag it till it
snaps right next to itself, and release.
| | 00:38 | And we want a bunch of them, so we're
going to duplicate by Ctrl+D on the
| | 00:42 | keyboard, so Ctrl+D, and make a bunch
of them; 10 or 12 will work very nicely.
| | 00:49 | I'm going to select this whole bunch, and
change the line weight to 0.5, so it's a
| | 00:54 | little bit easier to work with.
| | 00:55 | The next thing I want to do is delete
the top edge of each of these pieces.
| | 01:00 | We're going to do that with
the Direct Selection Tool.
| | 01:03 | So, grab that white arrow, and
click the top line segment.
| | 01:07 | Hold your Shift key, and click the next
one, and you're going to select the top
| | 01:11 | line segment of each of
these little rectangles.
| | 01:16 | And now that I'm doing this, I realize that
there was an easier way we could have done that.
| | 01:21 | If you were thinking -- and obviously, I
wasn't -- you could've made one rectangle,
| | 01:26 | deleted the top line segment, and then
held your Alt or Option key, and your Shift
| | 01:30 | key, drag into place, and then duplicate,
saving you the trouble of selecting the
| | 01:37 | top line segment of every rectangle.
| | 01:38 | Okay, so now I'm going to select this
whole group, and we're going to use a
| | 01:43 | command that I particularly like:
| | 01:45 | Object > Transform > Transform Each. It's
a way of moving a bunch of objects, but
| | 01:51 | doing it in one fell swoop,
instead of moving each one individually.
| | 01:55 | In Transform Each, we're going to
rotate each of these 8 degrees.
| | 02:00 | You're going to check the Random
button, so that it rotates each of them in a
| | 02:04 | slightly different direction, and down
here, there is this little box full of
| | 02:08 | squares. We want to check the top one.
| | 02:11 | This controls where it rotates from,
and I want it to rotate from the top.
| | 02:15 | We could check the bottom, and now you can see
that the bottom stayed put, and the top moved.
| | 02:20 | We could rotate from the side, from
the middle, but in this case, I want
| | 02:24 | everything to rotate from the top,
| | 02:26 | so we're going to check that
top button, and click OK.
| | 02:29 | So, now I've got my fringe rotated in a
bunch of different directions, but I do
| | 02:35 | need one more piece, so I need one more
rectangle, the same size, and we'll get
| | 02:39 | rid of that top segment.
| | 02:41 | I need this one to stay perfectly
straight, and this is going to go on either
| | 02:46 | end, so that when the brush lines up,
and repeats itself, we have a clean
| | 02:51 | vertical on both ends.
| | 02:52 | It'll make a much nicer looking brush,
and maybe we'll take this one, and send it
| | 02:57 | to the back, so it's behind.
| | 02:59 | This is just going to help
the brush repeat much nicer.
| | 03:02 | Now I can select all these pieces,
right-click, and join them together.
| | 03:07 | Now they're all connected, and
there is a bunch of funny little tweaky
| | 03:10 | pieces here, but that's okay; we can fix that
by changing it to round caps, and round joins.
| | 03:16 | We're going to switch to the white arrow,
the Direct Selection Tool, and select
| | 03:20 | the anchor point on the two ends.
| | 03:22 | And with your arrow key on your keyboard,
move them up two or three clicks, and
| | 03:26 | then right-click > Join.
| | 03:28 | So, now we have one whole closed piece, with
our fringe kind of flowing back and forth.
| | 03:34 | We're going to go ahead
and give this a color fill.
| | 03:37 | We're going to do it white in the end,
but for now, I'm going to fill it with
| | 03:41 | yellow, so that I can just make it a
little bit easier for you to see what I'm
| | 03:46 | going in the next step.
| | 03:47 | We're going to fill it with a color, and
we're going to remove the stroke, so we
| | 03:51 | have a yellow Fill,
and a Stroke of None.
| | 03:53 | Now I'm going to copy this, and
paste in front; Ctrl+F, for front.
| | 03:57 | The one that's in front, we're going to
remove the fill, and restore the stroke
| | 04:01 | to black, and 0.5, and round;
apparently we lost that. Okay, much better.
| | 04:07 | So, now what we need to do is remove
this little piece of stroked path on either
| | 04:12 | side, so that this tile will repeat
cleanly, and we're going to do that
| | 04:18 | consistently by turning on the rulers.
| | 04:20 | So, go up to View, and you're going
to click on Rulers > Show Rulers.
| | 04:24 | Click on the ruler, and drag down a
guideline that lines up with the top anchor
| | 04:28 | point of all those little pieces there.
| | 04:31 | Select the black stroke, and now switch
to the Pen Tool with the plus sign, which
| | 04:36 | is the Add an Anchor Point Tool, and add
an anchor point right in line with the
| | 04:40 | guideline that we just
drew on either side.
| | 04:42 | And now switch to the Direct
Selection Tool, and select and delete that
| | 04:46 | little line segment.
| | 04:47 | Click on the artboard to release it, and
then select and delete that little line
| | 04:51 | segment on the other side, and we can
go ahead now and select and delete the
| | 04:55 | guideline as well, because
we're done using it for now.
| | 04:57 | Alright, a couple of more
little things, and then we're done.
| | 05:00 | Grab that line segment on top, and
change it to Butt Caps, so that when this
| | 05:05 | aligns to the next piece,
they'll match up nicely.
| | 05:08 | We won't have little
rounded edges in the way.
| | 05:10 | So, this is basically what our side tile
looks like, and now we need to do two end
| | 05:15 | tiles to go along with it.
| | 05:16 | But before I get to the start and end
tiles, I do want to point something out.
| | 05:21 | This is the kind of trim that we want
to really control the way that it sits
| | 05:26 | on the path, and right now, if I define
it as a brush, it's going to sit on the
| | 05:30 | path like this, right?
| | 05:31 | It'll be centered on the path.
| | 05:33 | But it will be much more useful trim to
me if it's set up so that the path sits
| | 05:38 | here, and it hangs down from the path.
| | 05:40 | Let's go ahead and set that up now, and
save us the trouble of doing it later.
| | 05:45 | Hopefully you remember from an
earlier video in chapter 2 how to do this.
| | 05:49 | We're going to grab the Pen Tool. We're
going to click on the bottom, just along
| | 05:54 | the bottom edge somewhere, and make a
point, and we want this point to have no
| | 05:58 | fill, and no stroke, so it's
basically an invisible point.
| | 06:01 | Then we're going to reflect it.
| | 06:04 | We're going to click once on the Reflect
Tool; Alt+Click on the point that we
| | 06:09 | want the path to align with our tile.
| | 06:11 | I'm going to Alt+Click right on top here,
select Horizontal, and Copy, and it just
| | 06:16 | made a copy of that point
all the way up there.
| | 06:19 | So, don't forget that it's there; can't
see it, because it has no stroke, and no
| | 06:23 | fill, but it is going to be key.
| | 06:25 | So, let's select this whole piece;
the fringe that we just created along
| | 06:29 | with this anchor point.
| | 06:30 | It just occurred to me that before we do
that, there is one more thing we want to do.
| | 06:35 | Let's go ahead and add stitching to
this too, to save us a step later on.
| | 06:39 | It'll save us from adding stitching.
| | 06:40 | I'm going to grab the black arrow, and
grab that top line segment, copy, paste it
| | 06:45 | in front, and nudge it down one click.
| | 06:48 | Change it to 0.25, and turn on the
dash line, so it's set up as stitching,
| | 06:53 | just like all the other stitching that we've
been doing. And let's make that round caps too.
| | 06:58 | I think stitches look
much nicer with round caps.
| | 07:00 | So, now we can select our fringe, along
with that anchor point that we made up
| | 07:07 | on top, that tiny little invisible one,
and we're going to duplicate this twice,
| | 07:11 | because although this is our side tile, I still
want to start and an end tile to go along with it.
| | 07:16 | So, I'm just going to Alt+Shift and drag
to make a duplicate, and then Ctrl+D to
| | 07:20 | do it a second time.
| | 07:22 | A couple of more things, and we're done.
| | 07:24 | Let's join this into a start tile.
| | 07:26 | My start tile needs to have a
closed path on the left side,
| | 07:29 | so with the white arrow, I'm going to
select this anchor point, and just drag it
| | 07:33 | all the way up, so it aligns with that
top line segment, and now it's closed.
| | 07:38 | And while I'm here, I'm going to
select a few of these anchor points on the
| | 07:42 | bottom, and with my arrow key, nudge
them over to the left a couple of clicks.
| | 07:47 | I think that's too many, so maybe we'll take
one of them, and move it back a little bit.
| | 07:51 | And this is where you as the artist
will just have to finesse what you're
| | 07:55 | working on to make it work for you.
| | 07:57 | I'll move over to this tile
over a little further over here.
| | 08:00 | This is going to be my end tile, which
means that the right side is the side that
| | 08:04 | needs to be the solid closed line.
| | 08:06 | So, I'll grab this anchor point, and
drag it up to make a nice closed path.
| | 08:11 | And over here as well, I'm going
to nudge a couple of these out.
| | 08:15 | So, I'll give a nice looking flared finished
edge to my fringe when I apply it to my garment.
| | 08:21 | So, those are all my pieces, and now
we're ready to define them as brushes.
| | 08:26 | So, the first thing we need to do is open
the Swatches, and drag the start and the
| | 08:30 | end tile into the swatch panel.
| | 08:32 | So, we'll start with the start tile,
making sure that I get that little
| | 08:35 | anchor point up on top.
| | 08:36 | Drag it into my Swatches. We'll grab
the end tile, along with the anchor point,
| | 08:41 | drag it into my Swatches, and now I can
select my side tile with the anchor point,
| | 08:46 | and let's make a new pattern brush.
| | 08:49 | So, I'll select Pattern Brush, click OK,
we'll call it Fringe, and we don't want
| | 08:54 | any spacing between the pieces.
| | 08:56 | We need to add our start tile, which
is the first one I dragged in, so it's
| | 09:00 | going to be 12 here, because
I've made a bunch of other brushes.
| | 09:04 | Yours might say 1, 2, 3, 4;
| | 09:06 | every time you make a new pattern
swatch, it's going to change the number.
| | 09:09 | Just your lower one, the first one you
dragged in, is going to be your start tile,
| | 09:14 | and the second one, the higher
number, is going to be your end tile.
| | 09:18 | We'll change the color to Tints and
Shades, and click OK, and now that I've done
| | 09:23 | that, I realize that I forgot one step.
| | 09:26 | What I want to do is get rid of
the yellow before we make it a brush.
| | 09:30 | So, I'm going to grab the magic wand,
and I'm going to click on the yellow area,
| | 09:35 | and that didn't get what I wanted,
so let me zoom in a little closer.
| | 09:39 | Grab the Magic Wand, click on the
yellow to select all of the yellow, and we're
| | 09:43 | going to change it back to white,
because I don't want my brush to be yellow;
| | 09:47 | I want it to be white.
| | 09:48 | And now we're going to do
that swatch process again.
| | 09:51 | So, I'm going to go back to my Swatches,
and I'm just going to get rid of the two
| | 09:56 | that I already dragged in there.
| | 09:57 | I'll delete them. Yes,
and we'll do that again.
| | 10:00 | We'll select my start tile, and drag it
in; I'll select my end tile, and drag it
| | 10:04 | in; select my side tile, go to my
Brushes, make a new Pattern Brush, and this is
| | 10:11 | Fringe, and it's probably going to tell
me I already have a fringe brush, so we'll
| | 10:16 | call it Fringe 2 this time.
| | 10:18 | No Spacing, Pattern Swatch for my
start tile, next one for my end tile,
| | 10:23 | Colorization will be Tints and Shades, click
OK, and hopefully now let's try out the brush.
| | 10:29 | We'll select this path that I already
had set up, click on my brush, and there
| | 10:35 | you've got fringe, and you can see how
nicely my start tile started it off, and
| | 10:40 | ended, and my stitching is included, and it's a
much faster way to add details to a project.
| | 10:47 | You can also do this fringe
in a slightly different style.
| | 10:50 | Instead of fringe like this that's
dangling from the top, you could sew
| | 10:54 | fringe in the center.
| | 10:56 | So, let's do one more
rectangle, and this time -- zoom in.
| | 11:01 | I'm going to take, and again, Alt+Drag,
duplicate a bunch of them, change the line
| | 11:06 | weight to 0.5, go back up here to
Object > Transform > Transform Each,
| | 11:12 | but this time, instead of transforming
from the top, I'm going to click this
| | 11:16 | middle button, so that it's
happening from the center. Click OK.
| | 11:21 | We can add a path along the center for
stitches, so this one would be sewn along
| | 11:27 | the center, and define it -- oops!
| | 11:30 | Let's make sure that this
has a white fill. There we go.
| | 11:35 | Now I've got a fringe that's sewn in on the
center, and is sort of loose on either edge.
| | 11:39 | You can get really fancy with
it, and do a double layer also.
| | 11:42 | I'm going to group this together, Copy,
Paste in front, and let's hold the Alt
| | 11:48 | key, so it does this from the center.
| | 11:50 | Shorten it a little bit,
| | 11:52 | reflect it, so it's going in the other
direction, and maybe reflect Horizontal
| | 11:57 | also, so it's really moving.
| | 11:59 | Nudge it over a tiny bit, and I'm seeing
that this top is sticking out beyond the
| | 12:04 | bottom, so I'm going to
delete this one on the end.
| | 12:07 | And now I can make a brush
out of this; New > Pattern Brush.
| | 12:12 | This is just to give you an idea of all
the different types of brushes you can
| | 12:17 | do, and different looks you can get by
playing around with these techniques.
| | 12:20 | Use your imagination, and see
what else you can come up with.
| | Collapse this transcript |
| Creating a beaded fringe| 00:00 | Let's turn a basic tank top into a
modern day flapper top by making a
| | 00:05 | beaded fringe brush.
| | 00:07 | We'll start by drawing a
couple of line segments,
| | 00:09 | so let's grab the Line Segment Tool.
| | 00:11 | We'll make one that's 10 points, and 90
degrees, and we'll make a second one that is
| | 00:17 | 25 points, and 90 degrees.
| | 00:19 | We're also going to need to make a
little bead, and that is going to be made
| | 00:24 | using the Rectangle Tool.
| | 00:25 | We need a rectangle
that is 1.5 by 1.5 points.
| | 00:31 | So, let's zoom in to this
stuff, and do something with it.
| | 00:34 | Alright, we'll start with
this little rectangle.
| | 00:37 | Let's rotate it 45 degrees.
| | 00:39 | We'll grab the Rotate Tool, double-click
on it, type in 45 degrees, and click OK.
| | 00:44 | And now we're going to switch to
the Selection Tool, go up here to
| | 00:48 | Object > Transform,
and Reset Bounding Box.
| | 00:52 | Now it will be easier to click on the
bottom, and drag it out to make sort of an
| | 00:57 | elongated triangular bead.
| | 00:59 | Let's take that bead now, we'll fill it
with a gray, and we'll change the Stroke
| | 01:03 | to 0.25, and we can do one more little
thing to it: let's add a little detail.
| | 01:09 | I'm going to add, with the Pen Tool,
another little stroke, no fill on that, and
| | 01:14 | let's change the stroke color to
white, so it has a little highlight.
| | 01:18 | And then we'll select this whole bead,
go to the Stroke panel, and make sure
| | 01:22 | everything has round caps, and round
corners, and let's select the whole thing, and
| | 01:29 | go ahead and group it together, so
we have a little bead to play with.
| | 01:33 | Now let's get back to the line segments.
| | 01:35 | Let's select both line segments, align
them -- so let's grab the Align panel --
| | 01:39 | align them, so that their tops are
aligned, and let's change the point size to
| | 01:45 | 0.5, and round caps.
| | 01:48 | We'll place one bead at the bottom of
one of them, and I'm going to Alt+Drag to
| | 01:53 | make a duplicate of the bead, and we'll
place it on the other one, and let's group
| | 01:58 | each one with its bead.
| | 01:59 | Now we're going to use the
Blend Tool to do the next step.
| | 02:02 | Actually, I want it to go in this direction,
so I'm just going to move this over
| | 02:07 | a little bit, and I guess I should realign it.
I just messed up my alignment; there we go.
| | 02:12 | We're going to blend these two, so that
we get a gradation, or we go from small to
| | 02:16 | large, and I want all the
little sizes in between.
| | 02:19 | And to do that,
we can use the Blend Tool.
| | 02:21 | Object > Blend > Make, and look
how nicely it does that for us.
| | 02:27 | If it gave you too many or too few, you
can easily make an adjustment by going
| | 02:31 | back up to Object > Blend > Blend Options,
and if you change to Specified Steps you
| | 02:37 | can type in any number you'd like.
| | 02:39 | If you turn on Preview,
you can see the difference.
| | 02:42 | You can type in any number you'd like, and
put as many or as few beads as you want.
| | 02:47 | I kind of like the way it looked when we
first did it, so I think 7 works pretty
| | 02:52 | well for me. I'm going to click OK.
| | 02:54 | And then I'm going to go up
to Object, and Expand this.
| | 02:58 | Not the Fill or the Stroke,
only the object, and click OK.
| | 03:01 | So, now it's no longer treating it as
a blend; it's treating it as a group
| | 03:05 | of individual objects.
| | 03:06 | We're going to make this a little
more elaborate, though, by reflecting it.
| | 03:10 | So, I'll select it, click once on
Reflect, Alt+Click on the center of the last
| | 03:16 | segment here, select Vertical, and Copy.
| | 03:20 | So, I basically just mirrored this,
and now I'm going to switch to my Group
| | 03:24 | Selection Tool, select the last four,
and delete them, and I'm also going to
| | 03:29 | select this one in the center here;
I had to click three times to get the
| | 03:33 | whole object ,and delete that, because
I used that as my reflection point, so
| | 03:38 | there were actually two.
| | 03:39 | Now I'll select this whole group
again, and I'm going to reflect it one more
| | 03:43 | time, so once on Reflect, Alt+Click again
on my last line segment, Vertical, Copy,
| | 03:52 | and again, with the Group Selection Tool,
I'm going to select the one that I have
| | 03:57 | a duplicate of, and I'm also going to
select the very last one, so that we have a
| | 04:02 | nice even repeat when we create the
brush. Zoom out just a little bit.
| | 04:07 | The next thing we need to create is
some sort of bias trim that's going to
| | 04:12 | hold all of this together, because we
right now have a lot of random pieces.
| | 04:16 | We can do this by drawing a rectangle,
and you want to make sure that the
| | 04:19 | rectangle goes from the outer edge of
the bottom beads to make sure that there's
| | 04:23 | no spacing in the brush.
| | 04:25 | So, we're just going to go ahead and
let the smart guides kind of help us
| | 04:28 | determine where that is, and click and
drag, and how wide you make this bias
| | 04:34 | trim is up to you. It's a design choice.
| | 04:37 | So, I think I'll make this a little bit
wider, and move it up just a little bit.
| | 04:43 | I'm going to change the point to 0.5.
| | 04:46 | So, now I've got a white
piece with a black stroke.
| | 04:49 | But I need to get rid of this two end
caps, so that this works as a side tile, and
| | 04:54 | gives me a clean repeat for my brush.
| | 04:56 | So, like we did in an earlier video, I'm
going to turn off the stroke, I'm going
| | 05:01 | to Copy this, paste in front, and this
new one now, I'm going to turn the Stroke
| | 05:06 | back on, and I'm going to turn off the
Fill, and let's get this point size back
| | 05:11 | to 0.5, switch to the Direct Selection
Tool, and now we can click, and delete
| | 05:17 | these two little end cap pieces.
| | 05:19 | One last thing we need is stitches,
so we can save ourselves the trouble of
| | 05:23 | having to add them later.
| | 05:25 | So, I'm going to select this bottom line
segment, Copy it, paste in front, move
| | 05:30 | it up with the arrow key, and go ahead
and change it to a dashed line, so that I
| | 05:36 | have my stitches. And we're almost ready
to turn this into a pattern brush. Let's
| | 05:40 | make that round caps.
| | 05:43 | I want to change where it's
going to sit along my path.
| | 05:46 | Right now the path would be centered,
but that's not a very good way for
| | 05:50 | this brush to work.
| | 05:51 | So, like we did with an earlier brush,
I'm going to grab the Pen Tool, add an
| | 05:55 | anchor point at the lowest point of
this brush, which is right there, make sure
| | 06:00 | it has no Stroke, and no Fill, so it's
an invisible anchor point. Reflect it;
| | 06:04 | click once on Reflect. Alt+Click where
you want the path and the brush to align,
| | 06:09 | so we'll do it right there, Horizontal,
Copy, and it just made an invisible point
| | 06:16 | up about here somewhere. Let's
see; where is it? There it is.
| | 06:20 | So, we'll select that point, and
the brush element that I just made.
| | 06:24 | We're going to go to Brushes, click New,
and this is going to be a pattern brush,
| | 06:29 | so Pattern Brush, and click OK.
| | 06:31 | We'll call it Beaded Trim. We don't
need any Spacing on this particular brush.
| | 06:36 | It's a good idea to set the Colorization
Method to Tints and Shades, and click OK,
| | 06:41 | and now let's apply the
brush, and see what happens.
| | 06:44 | I've drawn a few paths here, so I'm
going to go ahead and select these paths.
| | 06:49 | I've drawn and I've grouped them
together for an easy selection.
| | 06:52 | Let's see what happens.
There you go; beads!
| | 06:55 | And it might be nice to put some
around the neckline as well, but that's
| | 06:59 | a little bit large,
| | 07:00 | so if I go to my Strokes, and I
change the point size on that to something
| | 07:04 | smaller, like 0.5, there we go.
| | 07:07 | So, by making a beaded brush, with just a
couple of clicks, I can turn this plain
| | 07:13 | old tank top into a little flapper top.
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| Creating fur| 00:00 | Let me show you how to create
the look of fur in Illustrator.
| | 00:03 | There are a number of ways to do it.
| | 00:05 | I've noticed that a lot of artists will
create fur by using an effect, and that
| | 00:10 | effect is Effect > Distort & Transform >
Roughen, and the way you would apply this is
| | 00:15 | turn on Preview, and kick up the Size
here to as long as you would like your fur
| | 00:21 | to be, and then take the Detail slider
all the way up to maximum, and click OK, and
| | 00:26 | you get something that looks like fur.
| | 00:28 | Not too bad, but I've been playing
around with the brushes, and I think I have
| | 00:32 | found a solution that is even better.
| | 00:34 | So, let me show you how
to do my version of fur.
| | 00:37 | We're going to start with a line segment,
and that line segment is going to be 5
| | 00:41 | points, and an Angle of 0 degrees. Click OK.
| | 00:44 | We want the line weight of that
segment to be 0.5, and we're going to add this
| | 00:49 | profile here, Width Profile 5,
so it's look like this.
| | 00:52 | Make sure it has no fill, and now we
can go ahead and define it as a brush.
| | 00:57 | So, we'll click on New Brush, we're
going to make a Scatter Brush, click OK,
| | 01:01 | we'll name it Fur, and click OK.
| | 01:04 | Now, as in all the scatter brushes, we
can't adjust the settings until we apply it
| | 01:08 | to something, so I'm going to go ahead
and draw an ellipse, apply my scatter
| | 01:12 | brush, which currently does not look
like fur, but we're going to adjust that.
| | 01:16 | Double-click on the icon, and we're going to
make the following changes to the settings.
| | 01:20 | We'll leave the Size as is, because 100%
works well. We already made this the size we want.
| | 01:25 | The Spacing needs to be adjusted, and
we're going to leave it Fixed, but we're
| | 01:29 | going to change it to 12%.
| | 01:31 | The Scatter we're going to change
to Random, so it scatters in multiple
| | 01:37 | directions, and we're going to type in
52 for the first one, and here is where
| | 01:41 | that negative 12 comes in,
over here for the Scatter.
| | 01:45 | The rotation is also going to be Random,
because we want our fur to go in lots of
| | 01:49 | different directions, and the numbers
that work well are -113, and -45, and you can
| | 01:57 | see this is starting to look like fur,
but the last thing we have to change is
| | 02:01 | Rotation Relative to Path, so it follows
the path, and not the page. Click OK, and
| | 02:07 | this is my version of a fur brush.
| | 02:09 | I think it's a little more
realistic looking than the Effect version,
| | 02:13 | but they both have their place.
| | 02:15 | It depends on the type of garment you're
drawing, and what you want it to look like.
| | 02:19 | Now, the numbers I came up with kind of
seem like random numbers, but I found
| | 02:23 | them by just playing around with the
sliders until I liked the way it looked.
| | 02:27 | You're welcome to experiment on your own, and
come up with different versions of this fur.
| | 02:31 | Let's apply it now to this flat.
| | 02:34 | I've got a path here to apply my fur too,
but I'm also going to take this path
| | 02:39 | below it that has a white fill, and get rid of
the stroke, so that it doesn't get in the way.
| | 02:44 | We'll move this back into place, and of
course, that's hard to do, because I turned
| | 02:49 | off the stroke, but that's alright.
| | 02:50 | We'll click to turn on that fur
brush, and now I have a lovely faux
| | 02:55 | fur collar on my cape.
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| Creating fur trim| 00:00 | Let's use the fur brush we just
made to create a fur trim brush.
| | 00:04 | We'll start by making a
circle that's 5 points by 5 points.
| | 00:08 | It should have a black Stroke,
and no Fill.
| | 00:12 | And go ahead and apply
the fur brush we just made.
| | 00:15 | We are going to go up to Object >
Expand Appearance, and then with the Direct
| | 00:20 | Select Tool, we're going to select
one of these bounding boxes. Go up to
| | 00:25 | Select > Same > Fill & Stroke, and
then go ahead and delete them.
| | 00:29 | Now we just have a
bunch of little fur pieces.
| | 00:32 | We'll select this whole group, and
we're going to go to Pathfinder > Unite to
| | 00:36 | make them one shape.
| | 00:38 | This will make the brush a little
less cumbersome for the computer.
| | 00:41 | So, now we're going to take this
little clump of fur, and rotate it.
| | 00:45 | So, double-click on Rotate, we're going to
type in 40 degrees, Copy, and now we can change
| | 00:50 | the color to a nice dark
gray, so maybe this one.
| | 00:54 | We'll rotate again;
| | 00:56 | double-click on Rotate, 40 degrees, Copy
and an even lighter shade of gray.
| | 01:01 | We're going to do it one more time; double-click
on Rotate, 40 degrees, Copy, an even
| | 01:07 | lighter shade, and this time we're going
to scale this top one to 75%, and click OK.
| | 01:14 | And now we can make a new
scatter brush out of this little clump.
| | 01:18 | So, I'll select it New > Scatter Brush,
click OK, we're going to call it Fur Trim,
| | 01:24 | and we're going to click OK, because
we're going to need to apply the brush
| | 01:29 | before we can adjust the settings.
| | 01:31 | So, let's zoom back out. I just so happen
to have a perfect place for a fur trim brush.
| | 01:37 | We'll select this, apply the brush, and
let's open up the brush, and play with
| | 01:43 | some of these settings.
| | 01:44 | For starters, we need the Size to be a
little bit bigger, so let's change that to 200%.
| | 01:48 | The Spacing needs to come a little bit
closer, so we're going to change that to 60%.
| | 01:54 | Now for the Scatte. This is what's going
to make the brush look more interesting.
| | 01:58 | We're going to change it to Random;
| | 02:00 | we're going to do -20,
and 20 on the other side.
| | 02:05 | And for the Rotation, we're going to drag
this slider all the way to the left, and
| | 02:10 | we're going to change it to Random, and
we're going to drag the slider to the
| | 02:14 | right to about 104,
actually, I think will work nicely.
| | 02:18 | And Rotation relative to Path, don't
want to forget that; click OK. Apply to
| | 02:23 | Strokes, and now we have a
pretty great looking fur trim brush.
| | 02:27 | Let me select the rest of the paths
here that need fur, and apply the brush, and
| | 02:34 | this piece actually should
Send to Back, and pretty cool, huh?
| | 02:39 | Let's look at it on another garment.
| | 02:41 | I've actually got a blazer over here,
and we can go ahead and select these two
| | 02:47 | paths that I've drawn.
| | 02:49 | Go to the Brushes, and apply it,
and there's a great little fur trim.
| | 02:54 | Let's move it over a little bit;
my placement wasn't the greatest.
| | 02:58 | There you go! So, fur trim.
| | 03:01 | It also makes kind of a
neat little pom-pom too.
| | 03:04 | You could draw a circle, click on it,
and get a great little fur pom-pom for
| | 03:09 | topping hats, and other assorted things.
| | 03:12 | You can play around with
the coloring of these two;
| | 03:14 | we could double-click on the brush, and
change the Colorization to Hue Shift,
| | 03:20 | click OK; Apply to Brushes.
| | 03:22 | Now they turned really dark, because all
of these are currently black, but we can
| | 03:27 | play around with some other
colors, and get some different looks.
| | 03:31 | So, let's try changing the Stroke color
to brown. That might be a little dark. How
| | 03:36 | about a medium brown? And we can get
a more realistic looking fur trim.
| | 03:41 | I really love experimenting with brushes.
I think it's a lot of fun, and I hope
| | 03:46 | this of course is inspiring you to
do some experimenting of your own.
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| Making a pom-pom fringe| 00:00 | For the final brush in this chapter,
I thought we'd do something kind of fun,
| | 00:04 | so how about a
vintage pom-pom brush?
| | 00:06 | Let's start by making the pom-pom.
| | 00:08 | We are going to need a circle
that is 14 points by 14 points.
| | 00:13 | Now, in order to make this circle look
like a pom-pom, we need to run an effect,
| | 00:17 | so that the edges are a
little bit spiky, like a pom-pom.
| | 00:20 | So, we'll go up to Effect > Distort &
Transform > Roughen, and we're going to set
| | 00:25 | this to 5%, Relative.
| | 00:27 | We'll turn on Preview, kick the
Detail all the way up to 100, and we want
| | 00:33 | this to be on Smooth, so it looks like a soft
pom-pom, instead of a dangerous, spiky pom-pom.
| | 00:38 | Click OK.
| | 00:39 | We need to go up to Object > Expand
Appearance, so that we can remove the effect,
| | 00:43 | and just have a path
with a lot of anchor points.
| | 00:46 | Let's change the color to a
very dark gray, and lose the stroke.
| | 00:51 | We need a second pom-pom now
that's much smaller than the first.
| | 00:55 | So, let's go to the Scale Tool, and
we'll scale this to 30%, and make a copy,
| | 01:00 | and let's change this copy to white.
| | 01:03 | We'll move the white copy to offset it
just a little bit, and now we're going to
| | 01:07 | use the Blend Tool.
| | 01:08 | Now, normally, to get dimension on
something, I would use a radial gradient,
| | 01:13 | but since you can't make a brush out
of something that's been filled with a
| | 01:17 | radial gradient,
that makes things difficult,
| | 01:18 | so here's my workaround for that.
| | 01:20 | I'm going to select both of these pieces,
go up to Object > Blend > Make, and we're
| | 01:25 | going to kind of generate our own
gradient by using the Blend Tool.
| | 01:29 | Now, I want a little
more variation in here,
| | 01:31 | so I'm going to go up to Object > Blend > Blend
Options, and we're going to make a few adjustments.
| | 01:37 | Drop down to Specified Steps, and
we're going to try 3, turn on Preview,
| | 01:42 | and that works for me.
| | 01:44 | I know you can still see the change in
colors, but this is going to be reduced,
| | 01:48 | and I think it will be enough.
| | 01:50 | So, I'm going to click OK, and we
need to expand this one more time.
| | 01:54 | So, Object > Expand, just the object,
not the fill, so that it's not a blend
| | 01:59 | anymore, it's just a bunch of
individual shapes that are grouped together.
| | 02:03 | Last thing we need to is reduce this,
because it's really too big, as small as it is.
| | 02:08 | So, we're going to reduce
this down by 50%, and click OK.
| | 02:14 | Now, why didn't we just make it this
size to begin with, you might be thinking?
| | 02:17 | Excellent question!
| | 02:18 | The reason that we didn't start with it
at this tiny size was because if we had
| | 02:23 | tried to run the Distort & Transform
Effect on this, we wouldn't have had a
| | 02:28 | very good result at this really tiny size, so
we had to make it bigger, and then reduce it.
| | 02:33 | Let's zoom out a little bit, and
work on the rest of the brush.
| | 02:36 | We need some sort of
binding to attach the pom-pom to.
| | 02:40 | We're going to do that by drawing a
rectangle that is 12 points by 2.7
| | 02:45 | points, and click OK.
| | 02:46 | Let's fill this with gray.
| | 02:49 | Now, with the Direct Selection Tool, go
ahead and select the top line segment,
| | 02:52 | hold your Shift key, select the bottom
line segment, and we're going to copy
| | 02:57 | those Ctrl+C, and paste in front, which
is Ctrl+F, and let's add a black stroke
| | 03:03 | to that, and remove the gray fill.
| | 03:05 | So, now we just have two
line segments. Getting closer.
| | 03:10 | We need stitching now,
| | 03:11 | so select the top line segment;
| | 03:13 | Copy, paste in front, and use the
arrow key to nudge it down one click.
| | 03:18 | We'll change that to 0.25, turn on
the Dashed Line, and round Caps, and now
| | 03:24 | we've got some stitching.
| | 03:26 | But I want to make a few
adjustments to the stitching.
| | 03:29 | Go up to Object, and we're going to
expand this as well, and again, not Fill, just
| | 03:34 | the Stroke; click OK.
| | 03:36 | And now we've got three individual paths,
as opposed to a dashed line, and we can
| | 03:41 | just nudge it over a
little bit with the Nudge Tool.
| | 03:44 | Now, we need to attach
the pom-pom to the trim.
| | 03:47 | So, let's move the pom-pom up in place,
and all we need to do is grab the Pen
| | 03:51 | Tool, and draw a little sort of V shape;
| | 03:54 | something like this, very loose.
| | 03:58 | Let's swap this, so we
have a stroke, and no fill.
| | 04:00 | I think 1 point is
probably a little bit thick,
| | 04:04 | so let's lower this to 0.75.
That's better.
| | 04:08 | And we can send it to the back, so
right-click, Arrange > Send to Back, so it's
| | 04:13 | behind the pom-pom, and
behind the trim. We're close.
| | 04:17 | The only thing left to make
now are the start and end tiles.
| | 04:21 | We really only need one,
| | 04:22 | so use the Direct Selection Tool to go ahead
and click on the right edge of the rectangle.
| | 04:26 | We're going to copy,
and then paste in front.
| | 04:30 | We'll switch that to a black stroke with
no fill, and we'll change the Caps to round,
| | 04:38 | and now we need to move it out of the way.
| | 04:40 | So, hold your Shift key, and use the
arrow on your keyboard to nudge it a little
| | 04:44 | bit away, just to make it
easier to select things.
| | 04:47 | Now, we need to adjust
the alignment of the brush.
| | 04:50 | Now, I want the brush to
sort of dangle from the path,
| | 04:53 | s, we're going to grab the Pen Tool,
add a point down below the pom-pom. Make
| | 04:58 | sure there's no stroke, and no fill.
Click once on Reflect, Alt+Click exactly
| | 05:03 | where I want my path to hit, which
is right there, Horizontal; Copy.
| | 05:08 | I'm going to switch the view to Outline,
so we can see those little anchor points.
| | 05:12 | So, there's one up there, and I'll hold
my Shift key, and grab the one down here.
| | 05:17 | We'll group them together, and I'm also
going to hold my Alt, and Shift key, and
| | 05:23 | drag a copy over to my line segment.
| | 05:27 | We'll select both those anchor points,
along with my line segment, and align them
| | 05:32 | center, and group them together.
| | 05:35 | We'll select the anchor points, and the
pom-pom, and everything that goes with
| | 05:39 | the pom-pom, and right-click;
group that together as well.
| | 05:42 | Let's change the view back to Preview,
and grab the white arrow again. Select
| | 05:48 | the gray, and let's restore that to white.
| | 05:50 | And now we're ready to start
putting our brush together.
| | 05:53 | So, let's go to the Swatches, grab
this line segment, and drag it into the
| | 06:00 | swatches to create our
start and end tile.
| | 06:03 | Grab the trim piece, Brushes,
new Pattern Brush, click OK;
| | 06:08 | let's call this Pom Pom,
| | 06:10 | and we're going to add start tile, and the
end tile, which are the same one in this case.
| | 06:16 | Click OK.
| | 06:18 | So, let's apply our brush
and see how we did.
| | 06:20 | I've got a couple of line
segments ready to go,
| | 06:23 | so let me select them, and
click on our new Pom Pom Brush.
| | 06:27 | So, there it is; a lovely
little vintage Pom Pom Brush.
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|
|
6. Lace and SparklePrepping a JPEG image to use as a brush in Illustrator| 00:00 | So, here I have an actual lace swatch that I
found, and I scanned, and opened in Photoshop.
| | 00:05 | I want to make a brush out of it in
Illustrator, but we need to do a little prep
| | 00:10 | work in Photoshop first.
| | 00:11 | Let me show you what needs to be done.
| | 00:13 | The first thing we have to do is turn
this into a grayscale image, and get rid of
| | 00:17 | the color information.
| | 00:18 | So, we're going to go up to Image > Mode,
and change it from RGB to Grayscale.
| | 00:22 | It's going to ask you about discarding
the color information, and yes, we
| | 00:27 | want to discard it.
| | 00:28 | Now we need to crop the image
into the smallest possible component.
| | 00:32 | This is a lot of lace, and it's a lot of
information for the computer to have to
| | 00:37 | deal with, and we really only
need one segment of this lace.
| | 00:40 | So, in order to crop it,
I've got my Rulers turned on,
| | 00:44 | and you can do that by going
up to View, and click on Rulers.
| | 00:49 | And this is going to allow me to
drag out guidelines, so I can figure out
| | 00:53 | where the repeat is.
| | 00:54 | All I need is one section here,
| | 00:56 | so I need an area that's about this much:
| | 00:58 | one scallop, one flower.
| | 01:00 | So, I'm going to go ahead and click
here on the ruler, and drag a guideline to
| | 01:04 | my first point, and drag
a second guideline here.
| | 01:08 | So, all I'm doing is trying to gauge
where I think the repeat is going to be,
| | 01:13 | and this looks pretty good to me.
| | 01:15 | I'm looking at the split of where these
pieces kind of hit here, and where the scallop is.
| | 01:21 | Now I'm going to take the Rectangle
Marquee, and go ahead and select the area
| | 01:25 | within those guidelines, because
that is going to be my repeat.
| | 01:30 | I can go ahead and crop it to that, and
then just hit Enter to accept the crop.
| | 01:35 | And there is my cropped image that I
can now do a little bit more work on, so I
| | 01:39 | can bring it into Illustrator.
| | 01:41 | The next thing I need to do on here -- and
let me get rid of those guidelines; I'm
| | 01:46 | just going to go to Extras,
and turn them off, because
| | 01:48 | these are a little distracting at the moment.
| | 01:50 | And now what I need to do is bring up
the contrast a little bit stronger here,
| | 01:55 | so that when I go to do the live trace in
Illustrator, I'll have a better image to work with.
| | 01:59 | So, we're going to use
Levels in order to do this;
| | 02:02 | Image > Adjustments > Levels.
| | 02:04 | Levels opens this little window here,
| | 02:07 | and you only need to know
a couple of things.
| | 02:10 | You need to be aware of
these three little arrows;
| | 02:13 | the black arrow, the gray
arrow, and the white arrow.
| | 02:16 | The black one will make all
the black in your image blacker.
| | 02:19 | So, if I click and drag it towards
the center, you can see that all my
| | 02:22 | black just got darker.
| | 02:24 | The white arrow, if I click and drag towards
the center, will do the same for the white.
| | 02:28 | It will make the white whiter.
| | 02:30 | And then the gray one will allow me to
make subtle adjustments one way or the other.
| | 02:35 | And it's up to you as the designer to
decide how you want this to be viewed,
| | 02:39 | but basically, I want to get crisp lines
between the black and the white, so that
| | 02:43 | it will read well in Illustrator.
| | 02:45 | The last step is, I need to invert this.
| | 02:48 | So, I'm going to go up to Image >
Adjustments, and then down here to Invert.
| | 02:54 | So, it just flipped it, so the white is
the background, and my image is now black.
| | 02:58 | And now that I look at it, I think
maybe I need a little more of my image here,
| | 03:03 | so I'm going to go back to Image >
Adjustments > Levels, and I'm going to kick
| | 03:07 | up the black a little bit more now
that it's inverted, and I want to see a
| | 03:12 | little bit more of it. Click OK.
| | 03:13 | And now I can save this,
so I will do so,
| | 03:17 | and then I'll meet you in Illustrator.
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| Making mock lace| 00:00 | In this movie, I'm going to show
you how to make a mock lace brush.
| | 00:03 | I call it mock lace, because it's sort
of a place holder lace that I use when I
| | 00:08 | haven't sourced the
lace for a garment yet.
| | 00:10 | It's really fast, and a lot
of fun to do. I use Type.
| | 00:13 | I'll grab my Type Tool, and start by
typing in a letter, usually a lower case
| | 00:17 | g, or y. They seem to work out
nicely, because they tend to have a lot of
| | 00:22 | little curls to them.
| | 00:23 | And for this particular one, I'm
going to go with this font here, it's
| | 00:26 | Baskerville Old Face.
| | 00:27 | So, let's zoom in
and take a closer look.
| | 00:30 | The first thing we need to do
is turn the font into an object.
| | 00:33 | So, if we go up to Type, and select Create
Outlines, now it's a shape, and not a font anymore.
| | 00:39 | I'll rotate it just a little bit and
then reflect it, double-click on Reflect,
| | 00:44 | Vertical, and select Copy.
| | 00:46 | And now I have an interesting little
shape that I can play around with by
| | 00:50 | nudging one of the pieces over with my
nudge arrow on the keyboard until I'm
| | 00:55 | happy with the shape I have, and I
think that looks pretty interesting.
| | 00:59 | So, I'll go ahead and select both of
those pieces, and unite them together, and now
| | 01:03 | I have a little motif that I
can use to make a brush out of.
| | 01:06 | We'll select it, go to my
Brushes, and make a new Pattern Brush;
| | 01:09 | we'll call it Mock Lace, and click OK.
| | 01:13 | Let me zoom out a little bit, so you
can see what this looks like. What I'll
| | 01:18 | do is select the path I've got waiting
here already at the bottom of the corset,
| | 01:21 | and apply the Lace Brush, and there's a
little mock lace for the bottom of the corset.
| | 01:26 | You can do some really cool things
with this, too. If you draw an ellipsem or a
| | 01:30 | circle, and apply it, you can create
some really cool little lace images, and it
| | 01:35 | also works very nicely as a scatter brush.
| | 01:37 | I'll select the same image, make a new
brush; this time we'll select Scatter.
| | 01:42 | Click OK, let's call this one Mock Lace 2,
and now we'll apply it, so we'll switch
| | 01:48 | the Scatter Brush, and now double-click,
so we can make some adjustments.
| | 01:52 | As with all the scatter brushes, we
want the rotation relative to the path, and
| | 01:56 | now we can watch while we play with the
spacing, and see if we'd like it to overlap
| | 02:02 | itself a little bit.
| | 02:03 | If I slowly drag the Spacing in
closer, it will make a denser version of
| | 02:07 | this lace with more overlap, and I might
possibly find something a little more interesting.
| | 02:13 | So, let's try that, and apply.
| | 02:15 | So now, I have two different styles of
lace that I've made with the same little
| | 02:21 | letter. It works really well using other
letters, or combination of letters.
| | 02:25 | It's actually a lot of fun,
and it's really easy,
| | 02:28 | so give it a shot, and see
what you can come up with.
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| Creating lace from actual lace| 00:00 | Let's make a lace brush
from an actual piece of lace.
| | 00:04 | I've gone ahead and prepped this lace in
Photoshop, and then place the image in Illustrator,
| | 00:09 | and you can find the prepped
image in the Exercise Files.
| | 00:12 | I'm going to go ahead and select it. Whenever
you place a raster image in Illustrator;
| | 00:17 | you automatically get the option Of
Image Trace up here in the control panel.
| | 00:22 | So, go ahead and click on it, and we're
just going to let it use its default
| | 00:26 | setting, which for this is
going to work perfectly.
| | 00:28 | After you trace it, it's really
important to click the Expand button. We'll
| | 00:32 | click on the page to release, and now we
have one more step, and that is to select
| | 00:36 | the Magic Wand, click on the
white background, and hit delete.
| | 00:40 | So, I've actually deleted the background area
now. Let me drag this into the gray to show you.
| | 00:45 | So, its actually got cutout areas
the way an actual piece of lace would.
| | 00:51 | We're going to do one other thing to
this, though, and that is to create a start and
| | 00:55 | an end tile before we
turn it into an actual brush.
| | 00:59 | Before we do any other work on this, I
want to reduce the image, so that we don't
| | 01:03 | make a huge brush that has to
be reduced down to 1% or 2%.
| | 01:07 | So, let's select this, double-click on
scale, we're going to scale it down to
| | 01:11 | 25%, click OK, and work on an image
that's closer to the size we're actually
| | 01:15 | going to be using it in.
| | 01:17 | So, here's our side tile, and for the lace,
it's another one of those things that
| | 01:22 | we want to control the placement of, so
let's go ahead and add an anchor point
| | 01:26 | down at the bottom, with no stroke, and
no fill, click once on Reflect, Alt+Click
| | 01:32 | at the top of this lace piece, select
Horizontal, Copy, and now we've got that
| | 01:37 | little anchor point up there that's
going to control the brush placement, so that
| | 01:41 | it aligns to the top of the path.
| | 01:43 | Let's select this, and duplicate it twice.
Once, and then Ctrl+D to duplicate it again.
| | 01:49 | I want to create my start and my end tile.
| | 01:52 | The start tile for this brush just
needs to have a line segment added that goes
| | 01:57 | from the top to the bottom, and let's
make sure that that is a one point stroke
| | 02:03 | in black. We can use round caps,
| | 02:06 | just so it finishes off the edge of the
lace, and it doesn't look unfinished when
| | 02:10 | we use it on our flat.
| | 02:11 | Well, we can do the exact same thing for
the end tile, which is going to do it on
| | 02:16 | the opposite side. I'm going to click,
and draw a path from here down to here,
| | 02:20 | round caps, 1 point,
and there's our end tile.
| | 02:23 | So, let me zoom back out. We'll drag
these tiles into our Swatches, and then
| | 02:28 | we can make our brush.
| | 02:29 | So, we'll select the start tile with
the anchor point, drag it in, the end
| | 02:33 | tile, along with the anchor point, drag it in
and now the side tile, along with the anchor point.
| | 02:39 | Let's go to Brushes; we're
going to make a new pattern brush.
| | 02:43 | Let's add our start tile, and our end
tile. We'll call this Actual Lace, and we
| | 02:51 | don't need any spacing> We can go
ahead and do Tints and Shades; actually, in
| | 02:55 | this case, we're going to want to do
just tints, because the black is the only
| | 02:59 | thing we have to change
color, and click OK.
| | 03:02 | Now, it's still going to be a little
too big for this particular garment, I'm
| | 03:05 | sure, but let's take a look. We'll just draw a
path, and apply our brush, and see how it works.
| | 03:11 | Looks pretty good, but it think
still a little bit large for this
| | 03:14 | particular garment,
| | 03:16 | so I'm going to go ahead to my Brushes,
and scale this down a little smaller.
| | 03:22 | Maybe 75% would be about the right
size. Let's click OK. Apply the strokes.
| | 03:28 | That looks pretty good, so let's grab a
path, and apply some lace to the bottom
| | 03:33 | of this corset, and since I changed it to
Tints, if I want to change the color of
| | 03:39 | this lace, what I can do is change my
stroke color to a different color, and have
| | 03:44 | a contrast lace trim.
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| Creating eyelet lace| 00:00 | In this movie, I'll show you
how to make some eyelet lace trim.
| | 00:03 | Let's start by drawing a square that is
10 points by 10 points, an ellipse that
| | 00:10 | is 10 points by 5 points, and one more:
a circle that is 3 points by 3 points.
| | 00:17 | These are the shapes we're going to need
to make this little bit of eyelet lace.
| | 00:21 | So, let's zoom into them.
| | 00:23 | Take the ellipse, and align it until
it snaps in place at the bottom of the
| | 00:28 | square. Select both pieces.
| | 00:31 | Let's grab Pathfinder,
and unite them together.
| | 00:34 | So, now we have this piece
with a little scallop on it.
| | 00:37 | We're going to need two of these,
so I'm going to Alt and drag till it
| | 00:41 | snaps right next to the first one, and
select both of these pieces, and unite
| | 00:45 | those together as well.
| | 00:46 | So, now I have my little swatch piece; this is
what's going to make up my side tile for the lace.
| | 00:52 | Let's play with these circles now.
| | 00:54 | Let's zoom in a little closer too.
| | 00:56 | Alright, circles;
I'm going to need three total.
| | 00:59 | So, let's Alt+Drag to make a copy, and
then Ctrl+D to do it again. We'll select
| | 01:05 | two of those, and group them together.
| | 01:08 | We'll select all three now, go to
Align, and let's align them to make sure
| | 01:13 | they're centered properly.
| | 01:14 | And actually, I think I want them a
little closer together; that's better.
| | 01:18 | Make sure they're aligned.
| | 01:19 | We can group those, and now we want them
to sit about here, and we'll select both
| | 01:25 | pieces -- these circles, and the little
scallop piece -- and we'll align to make sure
| | 01:29 | those are centered,
and that looks pretty good.
| | 01:31 | All right, the next thing we're going to
do is select the three circles, and copy
| | 01:35 | them, Ctrl+C, and just
hold them in the clipboard.
| | 01:38 | We can select everything now.
| | 01:40 | Go to Pathfinder,
and click on Exclude.
| | 01:42 | So, what we just did was we punched these
holes into this little swatch here, and
| | 01:47 | it's a little hard to see looking at
white on white, but if we change the fill to
| | 01:51 | a color, and we turn off the stroke,
you'll see that we actually just punched
| | 01:56 | those holes into the yellow piece.
| | 01:59 | Now we can re-paste the
circles that we copied.
| | 02:02 | So, Ctrl+F to paste in front, so we put
them exactly in the same place, and now
| | 02:08 | let's get rid of the fill. We'll change
the stroke to 0.25, and we are going to
| | 02:14 | add an effect to this.
| | 02:15 | So, go up to the Menu bar, and select
Effect > Distort & Transform > Zig Zag.
| | 02:22 | What we're going to do is add a zig
zag effect to give the look of embroidery
| | 02:26 | around these little circles.
| | 02:27 | We'll turn on Preview, which looks
kind of horrifying to start, but that's
| | 02:31 | okay. Check Relative, and 10% is what
we want, and now we need to adjust the
| | 02:36 | number of Ridges per segment.
| | 02:38 | And probably somewhere around 11, 10, 11
is going to be about right. There's 12;
| | 02:44 | looks pretty good, actually.
| | 02:45 | And I'm going to change
this to Smooth, and click OK.
| | 02:49 | Now, I have the look of little
embroidered stitching around my circles.
| | 02:53 | We also need to get an
embroidered scallop on the bottom.
| | 02:57 | So, with the Direct Selection Tool,
click on one of these scallops, Copy it,
| | 03:01 | Ctrl+C, click on the page to
release, and then paste in front.
| | 03:06 | We're going to switch that to no fill,
and a black stroke, and we want it to be a
| | 03:11 | 1 point stroke this time, and we're
also going to change the Profile, which we
| | 03:15 | could do up here, and we're going to select
this one here, the Width Profile 1, so
| | 03:20 | we get this look that goes
from thin, to thick, to thin.
| | 03:23 | Now we're going to use the Scribble
effect, but before we can do that, we need to
| | 03:27 | expand this, and change it
from a stroke to an object.
| | 03:30 | So, up to Object > Expand Appearance, and
we've just changed it from a stroke to an
| | 03:36 | object, and now we can
apply the Scribble effect.
| | 03:39 | The sSribble effect is found up
here under Effects > Stylize > Scribble.
| | 03:44 | We're going to select Tight, change the
Angle to 90 degrees, the Stroke Width to 0.25,
| | 03:52 | the stroke Spacing to 0.3, and the
Variation to None, 0 points, because we want
| | 03:59 | it to be consistent, and click OK, and
now we've got this little embroidered
| | 04:04 | looking piece down here.
| | 04:05 | I'm going to go ahead, and select
that and copy it, so we can place it on
| | 04:09 | the second scallop.
| | 04:10 | And you can do that by just holding
down your Alt and Shift key, and dragging
| | 04:14 | until it snaps into place.
| | 04:16 | Getting closer;
just a couple more steps.
| | 04:18 | The next thing we need is a
single stroke across the top.
| | 04:22 | So, we'll grab the Direct Selection Tool,
select the anchor point on the very
| | 04:27 | top, Copy, click to release, paste in
front, and we're going to change that to no
| | 04:33 | fill, and a black stroke.
| | 04:35 | That is 1 point with flat
caps; butt caps on the end.
| | 04:39 | Alright, two more steps.
| | 04:41 | So, now we need to remove the yellow.
| | 04:43 | The only reason we had it there was so
that you can see what I was doing with
| | 04:47 | exclude, but we don't need it anymore,
so let's select it, and change it from
| | 04:51 | yellow to white, and the last thing
we need to do is adjust the placement,
| | 04:55 | because again, we don't want the path
to go through the center of this tile.
| | 04:58 | We want it to sit right
here at the top of the tile.
| | 05:02 | So, with the Pen Tool, we will add an
anchor point down here at the bottom; make
| | 05:06 | sure it has not stroke, and no fill.
| | 05:09 | Click on the Reflect Tool, Alt+Click
right along the top path, Horizontal, Copy,
| | 05:14 | and now we have that anchor point
up there with no stroke, and no fill.
| | 05:18 | We'll Group this whole thing
together, and that's our side tile.
| | 05:21 | We're also going to need a
start and an end tile for this,
| | 05:24 | so let's go ahead and Alt+Drag to
make a copy, and then Ctrl+D to duplicate.
| | 05:29 | Let's turn this into our start tile.
| | 05:32 | All we need for the start tile is basically
to just close this one side with a path.
| | 05:38 | So, we'll go to default, we'll grab the
Pen Tool, and I'm just going to draw a
| | 05:42 | point that goes from
here down to my scallop;
| | 05:45 | we'll cut and paste it in front there.
| | 05:48 | Now, I can put the round on this one, but this
one here can have the butt cap; the flat one.
| | 05:54 | We're going to need to have the flat cap
there, so it butts nicely against the side tile.
| | 05:59 | Now, we need to do the
opposite for the end tile,
| | 06:02 | and I can do that,
actually, by just copying;
| | 06:04 | we'll Alt+Drag, and place it over here.
So, we'll zoom out, open the Swatches, and
| | 06:12 | let's go ahead and drag the start
and the end tile into the Swatches.
| | 06:15 | So, here's my start tile, and I will
drag that in. And here's my end tile,
| | 06:21 | we'll drag that one in,
| | 06:22 | so now they're ready to go.
| | 06:24 | Now I can select the side tile, click
on Brushes, make a new Pattern Brush,
| | 06:29 | we'll call this Eyelet, and go to my start
tile, and add that one; end tile, and add that.
| | 06:36 | Change the Colorization to Tints and
Shades, click OK, and now let's try it out.
| | 06:41 | We'll zoom back out.
| | 06:43 | I've got a couple of paths waiting here,
so we'll select the path at the hem, and
| | 06:48 | add a little lace, and why don't we
add a little bit on the top as well?
| | 06:53 | Let's grab the Group Selection Tool, so I
can grab this path up here, because it's
| | 06:58 | part of the corset that's
already been grouped together.
| | 07:00 | And I'll go ahead and apply the lace,
but I think I want it to go in the other
| | 07:05 | direction, so we'll click on this icon
here, which is Options of Selected Object,
| | 07:09 | and we'll just flip across,
so it goes the other way.
| | 07:12 | And I'll do the same on this side; select
the lace, get just that lace piece, and
| | 07:17 | apply the lace, and there is my corset.
| | 07:21 | We've got a couple of extra pieces
I don't need now, because the trim is
| | 07:24 | different, and actually, these
pieces will need to be extended.
| | 07:28 | They ended short, because
that's where the trim piece was.
| | 07:31 | So, let me go ahead and switch to the
Direct Selection Tool, and extend that piece
| | 07:39 | over to where I think it belongs. There
we go, and I'll do the same on this side,
| | 07:46 | and zoom back out, and now I
have a corset with eyelet trim.
| | Collapse this transcript |
| Making embroidered lace| 00:00 | In this movie, I'm going to show you
how to take the eyelet lace trim brush we
| | 00:04 | made in the precious movie, and
turn it into an embroidered trim.
| | 00:07 | So, we'll start by dragging it out of the
Brush panel, and let's zoom in for a closer look.
| | 00:12 | When we select it, you'll notice
they're grouped together, so Ungroup, and
| | 00:16 | delete the start and the end tiles; we
don't need those. We're just going to
| | 00:20 | work with the side tile.
| | 00:21 | All right so, we'll select this,
Ungroup it, and we can select and delete the
| | 00:28 | little embroidered pieces that we had
there, and I'm going to select the scallop
| | 00:31 | piece, and make it yellow again, so
we can see the cutouts we made.
| | 00:36 | We don't need them to be cut out
anymore, so we'll right-click, Release Compound
| | 00:41 | Path, and then we can
select them, and delete them.
| | 00:45 | Let's make some new circles
for this particular piece.
| | 00:48 | Grab the Ellipse Tool, and go ahead and
make a circle that's 2.5 by 2.5, and that
| | 00:55 | should be a good size for this, and I'm
going to zoom in a little bit closer.
| | 00:59 | All right, so there's our circle.
| | 01:01 | We need a second circle that's a little
smaller than this, so I'm going to the
| | 01:05 | Scale Tool. We'll scale this, oh, 25%
should work, and click on Copy, and now we
| | 01:10 | have a second circle that's much, much
smaller, but now that I look at it, I
| | 01:15 | think that's too small, so let's do
that again, but this time we'll try scaling
| | 01:19 | it to more like 40%, and
click Copy. That's a better size.
| | 01:23 | Let's change the colors.
| | 01:25 | I've got a little light lavender for
this one, and a darker lavender for the big
| | 01:30 | circle ,and we'll off set this
just a little bit.
| | 01:32 | We'll take the two circles, and we're
going to apply the Scribble effect to them
| | 01:37 | just like we did down here on the scallop.
| | 01:39 | So, Effect > Stylize > Scribble, and we're
going to use the same settings we used
| | 01:46 | before, only I've got the angle now on a
45 degree angle instead of 90 degrees, but we're
| | 01:50 | going to keep the Stroke Width at 0.25,
the Spacing down here to 0.3, and the
| | 01:56 | Variation at 0. Click OK.
| | 01:59 | And let's group this together, and I
need a couple more of these, so I'm just
| | 02:03 | going to Alt+Drag a couple of
extras, so now I've got three.
| | 02:06 | Now, I need a leaf to go with
my little sort of rose buds here.
| | 02:10 | So, I'm going to grab the Pen Tool, and
I'm going to draw a leaf with the Pen
| | 02:14 | Tool. I'm going to give it one click,
click, and drag on a 45 degree angle, click on
| | 02:19 | that second anchor point to release the
handle, click back where you started, and
| | 02:24 | drag on a 45 degree angle in the opposite
direction, and it'll give you a nice little
| | 02:28 | leaf shape, let's make this one a little
bit bigger, so the balance is nicer with
| | 02:33 | my flowers. That works.
| | 02:35 | I'm going to fill it with green, and
I'm also going to go and do the Scribble
| | 02:39 | effect, but let's move it in place first.
| | 02:41 | I think I want to put one over here, and
let's make a copy, and rotate it. We'll
| | 02:46 | put one down here, and maybe
we'll stick one over here.
| | 02:51 | So', I'll select all my leaves, and
Effect, and apply the same Scribble effect, and
| | 02:57 | that looks pretty good. Click OK.
| | 02:59 | So, now I've got my leaves, and my
little flowers. We'll select that whole
| | 03:03 | batch, Group them together, zoom out a
little bit, and move them in place right
| | 03:09 | here on my trim. Do something about like
that, and I think it would look nice too
| | 03:14 | if we changed the scribble on the
bottom here to match the color.
| | 03:18 | So, we'll select these, too, and I'm going
to change the stroke color to the same
| | 03:23 | green to match my leaves, and let's get
rid of this yellow now; we don't need it
| | 03:28 | anymore, so we'll go back to white, and
that is what our side tile is going to
| | 03:32 | look like. And since we have that anchor
point up here from before, we can just
| | 03:37 | group this whole thing back together.
| | 03:39 | So, there's our side tile, but we
still need to make the start and end tiles,
| | 03:42 | so I'm going to duplicate that by Alt
dragging, and then Ctrl+D to duplicate a
| | 03:47 | second one, and let's take
care of the start and end tiles.
| | 03:51 | Basically, we need a little line to
close it, just like with the eyelet.
| | 03:54 | This time I want the line to be green, so
that it matches my little bit of embroidery.
| | 04:00 | So, well change the Stroke to green, and
with the Pen Tool, I'm going to go ahead
| | 04:04 | and draw a stroke that goes from here
down to my scallop. I am going to make it
| | 04:10 | a little more interesting, though.
| | 04:11 | We're going to turn on the Profiles, and
I'm going to apply the same profile that
| | 04:15 | I applied to the scallop on the bottom.
| | 04:18 | We'll go up to Object, and Expand
Appearance, so it's a shape, and then we'll apply
| | 04:23 | our Scribble Effect click OK.
| | 04:25 | I'm going to take that, and Alt+Drag
a copy of it from my end tile over here.
| | 04:31 | And it looks like it's a little short,
so I'm going to just go ahead and drag it
| | 04:36 | a little longer, and I'll do that on
both sides. I think I lost a little bit of
| | 04:40 | length when I applied this scribble effect.
Let's get this one too. There we go.
| | 04:44 | All right, so, let's go ahead
and make a brush out of these.
| | 04:47 | First, we have to drag the start
and the end tiles into out Swatches,
| | 04:51 | so let's grab that tile, and drag it
into Swatches, and my end tile, drag it in
| | 04:57 | and now I can select my side tile. Go
to Brushes, New, we're making a Pattern
| | 05:02 | Brush, click OK, we'll call this
Embroidered Rose, and we're going to add our
| | 05:08 | start tile, and our end tile, click
OK, and that's all there is to it.
| | 05:14 | So, let's go back over to this
corset here, and see how it looks when we
| | 05:18 | apply these brushes.
| | 05:20 | So, we'll add a little lace to the
bottom, and I think we'll add some to the top
| | 05:25 | also. Put some there, and some here.
| | 05:28 | Now, notice what happened; when I
applied it to this side, it went upside down,
| | 05:33 | and that's because when I drew the corset,
I drew one side, and then reflected it
| | 05:37 | to the other side. Very easy fix.
| | 05:39 | We just take the one that's pointing
in the wrong direction, go back over to
| | 05:43 | the Brushes panel, and click on this icon on the
bottom; it's called Options of Selected Object.
| | 05:49 | If I change anything in this window, it
will adjust the brush I have selected,
| | 05:54 | but it won't mess with any of the
other instances of the brush on my page.
| | 05:58 | So, I just need to flip this across, so
that it's sitting on the correct side.
| | 06:02 | Click OK, and that's it!
| | 06:04 | That's how you turn the eyelet
brush into a little embroidered brush.
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ConclusionNext steps| 00:00 | I hope you enjoyed this
course on creating brushes.
| | 00:03 | If you'd like more information, please
check out my books. They're available
| | 00:07 | through my Web site, or at amazon.com.
| | 00:09 | You can visit my Web site at
adobeforfashion.com.
| | 00:13 | On my Web site, you'll find links to purchase
my books, free downloads, and great resources.
| | 00:19 | I also encourage you
to like my Facebook page.
| | 00:22 | I regularly post little tips and tricks,
and I would love to hear from you too.
| | 00:27 | Most importantly, check out my other
course on lynda.com called Illustrator
| | 00:32 | for Fashion Design: Drawing Flats.
| | 00:34 | It's full of great information.
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