Illustrator CS4 One-on-One: Advanced

Moving patterns without paths


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Illustrator CS4 One-on-One: Advanced

with Deke McClelland

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Video: Moving patterns without paths

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

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Watch the Online Video Course Illustrator CS4 One-on-One: Advanced
12h 54m Intermediate Jul 09, 2009

Viewers: in countries Watching now:

Knowing the fundamentals of drawing and reshaping paths is only part of the story. In Illustrator CS4 One-on-One: Advanced, the second of the popular One-on-One series, computer graphics expert Deke McClelland covers some of Illustrator's most powerful and least understood features. He shows how to merge simple shapes to create complex ones with the Pathfinder palette, as well as align paths to create schematic illustrations. Deke explains how to paint fluid, multicolor fills with blends, and the new and improved gradient tool. He explores seamlessly repeating tile patterns, blobs and brushes, and imported images. He also dives into one of the deepest features in all of Illustrator, transparency. Exercise files accompany the tutorial.

Recommended prerequisite: Illustrator CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Illustrator from the Exercise Files tab.

Topics include:
  • Working with compound shapes in the Pathfinder palette
  • Ghosting shapes with Fill Opacity
  • Understanding gradients and the gradient tools
  • Cloning and coloring a blended path
  • Saving tile patterns and applying them to a shape
  • Importing and linking images from other applications
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Moving patterns without paths

And this is the last exercise of the chapter. I'm going to show you how to move the tile patterns without moving the objects because the idea here is that we want to get one of these green stars right dead center in the middle of the circle, so the entire tile pattern appears to be emanating from the center of this artwork. Now, I'm still working inside Big pattern circles.ai and I'm going to go ahead and press Ctrl+A or Command+A on the Mac to select everything inside this roll of the dice layer right there and I'm going to go ahead and twirl the layer closed as well.

So you can see core design is not selected because it's hidden right now. And then go to the Appearance palette and notice that we have mixed objects, mixed appearances so that we've got tile patterns applied as Fills, we have got tile patterns applied as Strokes. We've got all kind of interactions going on, all kinds of blend modes, all kinds of dynamic effects, which I should say up front can mess up Illustrator a little bit. So, what we are about to do should work perfectly fine in one application without any hand holding but we are probably going to have to do a little bit of hand holding because things do get a little bit buggy sometimes.

But anyway, what do we do? Do we just start dragging the pattern around somehow? No, we can't do that, because if I dragged anyone of these selected shapes here, I'll go ahead and press Ctrl+K or Command+K to demonstrate, we would just move the objects because Transform Pattern Tiles is turned off inside the Preferences dialog box. So we would move the objects and we would leave the patterns unmoved which is exactly the opposite of what we want, because after all we don't want to move these objects at all, everything is centered inside of the artboard and that's exactly the way I want it. So I want things to emanate from the central point right there.

Now, one of the things, you should be able to do is press Ctrl+R, Command+R on the Mac in order to bring up the Rulers. And notice that my zero point is right about here for some reason inside of this artwork. I'm not sure why that is, but if I were to drag from the ruler intersection in the upper-left corner of the window and drop that zero point right there in the middle of my shapes, that's going to go ahead and adjust my tile pattern slightly. But it's not necessarily going to get things centered the way that I'm looking to get them centered. After all, that green star is not exactly where I want it to be.

So, I'm going to undo that modification, because it's just going to goof things up for me at this point. But I did want you to see how the zero point does effect the position of the title patterns inside of your artwork. All right, I'm going to press Ctrl+R, or Command+R on the Mac in order to hide those rulers once again. Here is what we need to do. We need to move the tile patterns numerically. So without moving the objects, we move the tile patterns only and we do it by going up to the Black Arrow tool and double-clicking on it or if you prefer you can go to the Object menu, choose Transform and choose the Move command.

So either way, will get you that Move dialog box but the simplest thing to do is just double-click on the Selection tool and then notice I have figured out that a horizontal movement of negative 27 points and a vertical movement of negative 19 points. So a Horizontal negative value moves things to left and Vertical negative value moves things down. This gets us exactly the effect we are looking for, but right now we are moving the objects not the patterns. We want exactly the opposite of that. So we turn on Patterns and wait for it because basically Illustrator has to render out all these live dynamic effects, which primarily involve Gaussian Blur because we have got drop shadows.

Then turn-off Object, so we are moving just the patterns and not the objects, we've got to wade through all the progress bars right here, all these applications of Gaussian Blur and then we've gone ahead and moved things exactly where we want them. So we have this green star right there dead center, in the middle of the circle and we can tell it's dead center because these other green stars are just barely touching the edge of this circle here and that's perfect. Now how did I figure out negative 27 and negative 19? Well I just clicked inside of these values and press the Up and Down arrows to nudge the patterns around, which takes some patience because you have to sit there and wait for the progress bars over and over again, which is why I decided to save you from the patience by going ahead and figuring out the exact values for you.

Anyway, go ahead and click OK in order to apply that modification. I've recorded this exercise a few times now. This time, everything worked out perfectly, insofar, as I can tell. I'm looking at these tile patterns and everything seems to line up just beautifully. If for some reasons, something is off for you, then what you need to do is click off the shapes in order to deselect them, click on the offending object, which in the past has been this guy for me. The one that has the gradients applied to it, this compound shape, and if you end up seeing a problem, which would occur if the pattern did not move.

So basically, what can happen is most of your patterns move but one doesn't and it could be the background object here, which could throw things out of alignment or it could be this compound path. Whatever it is, identify it, select it with the Black Arrow tool, go to the Appearance palette, go ahead and isolate that specific attribute that has the tile pattern assigned, which would be stroke in this case and then double- click on the Black Arrow tool once again and apply that last applied modification and that should take care of your problem and everybody should once again be in alignment just as they are for me.

So there you have it. We have seen how to create and modify and exploit seamlessly repeating tile patterns inside of Illustrator. In then next chapter, I'll show you how to work with Blobs and Brushes. Stay tuned.

Find answers to the most frequently asked questions about Illustrator CS4 One-on-One: Advanced .


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Q: In the lesson on pressure sensitivity, exactly what kind of Wacom tablet is the instructor using?
A: The instructor is using a Wacom Intuos 3 tablet
 
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