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Precisely aligning angled logo artwork

From: Illustrator CC One-on-One: Mastery

Video: Precisely aligning angled logo artwork

In this movie I'll show you how to create these initials in the center of the art work, and once again all the segments are angled at either 60 degrees or 90 degrees. I've gone ahead and shaved off the excess miter joints and projecting caps. And most important of all, I've made sure that the initials precisely align with the zigzag path outlines at the top. So I'll start things out by returning to my art in progress. Go ahead and zoom out a little bit as well. And press Ctrl+semicolon or Cmd+semicolon on the Mac, to bring back my guide lines.

Precisely aligning angled logo artwork

In this movie I'll show you how to create these initials in the center of the art work, and once again all the segments are angled at either 60 degrees or 90 degrees. I've gone ahead and shaved off the excess miter joints and projecting caps. And most important of all, I've made sure that the initials precisely align with the zigzag path outlines at the top. So I'll start things out by returning to my art in progress. Go ahead and zoom out a little bit as well. And press Ctrl+semicolon or Cmd+semicolon on the Mac, to bring back my guide lines.

Now, you want to select the pen tool, once again. By pressing the P key if you like. And then click somewhere along this horizontal guide. And then move your cursor up so that you see align 60 degrees down there along that original guideline and the word intersect along the guideline above it. And then click at that location to create a line like so. And then drop down to that original guideline. Look for the words align 90 degrees up top and intersect down below and then click. And then click it about here.

As soon as you see a line 60 degrees down below, and intersect up at the top. And then drop down again until you see a line 90 degrees at the top, and intersect down below. Alright. Now press the v key to switch to the black arrow tool. And go ahead and click on this top anchor point right there. If you're working along with me. By the way, just in case. Make sure, in the view menu, that the bounding box is turned off. So this command here should appear as show bounding box, to indicate that it's currently hidden. That way you'll have an easier time grabbing anchor points and precisely aligning the paths.

And then go ahead and drag this anchor point until it snaps into alignment with the anchor point at the beginning of the black zigzag path, and you should see the words intersect, as well as a white snap cursor. Which indicates that everything is precisely aligned. Then drag from this anchor point, the top right one all the way over to this location. So that you're once again snapping into alignment, this time with the right side of the zigzag path. And then press and hold the alt key, or the option key on the Mac. And you should see a double white arrow cursor showing you that you have a snap and you're about to create a clone of the selected path, in which case go ahead and release the cursor in order to create a duplicate of that M.

Now I'll drag this guy over to a fairly random location like so and I'll press the alt key or the option key on a Mac. In order to create a copy. I also have the shift key down, by the way. So, I've got shift and alt down on the PC, shift and option down on the Mac. And then release when you get your artwork, you know, more or less here. And then you want to double click on the rotate tool, in order to bring up the rotate dialogue box. Set the angle to 180 degrees. It doesn't matter where the transformation origin is located. The fact that the W's off center is a problem that we'll solve in just a second, but make sure the Preview check box is turned on so you can see what you're doing and then click OK.

And now you want to press the V key to again switch to the Black Arrow tool and drag this upper right anchor point until it snaps into alignment at this point right there. And you'll get those letters exactly where they need to be. Alright, now we need another clipping mask in the form of a rectangle. So go ahead and select the rectangle tool from the toolbox, and then you should be able to move your cursor over to the right here until you see the lower right corner of the previous rectangular clipping mask. And you don't have to exactly align to it, but it's just a good idea if you want to keep things tidy and make the artwork a little easier to navigate in the future.

And then drag from this location down and to the left like so, until you snap into alignment like this, with the left side of the existing rectangular Clipping Mask. And then go ahead and release. And you should end up with this effect. In which case, switch back to the Black Arrow tool and then go ahead and marquee like so through the center of the bottom rectangle along with the three letters. And that should just select those four objects that you see selected here on my screen. Then, you want to go out to the object menu.

Choose clipping mask and choose make, and you will clip those letters like so. And you can see that we have everything precisely aligned, kind of. But we do have a little bit of a problem. I'll go ahead and press Ctrl+Shift+A, or Cmd+Shift+A on the Mac, to deselect the artwork. And then I'll press control semicolon, or command semicolon on the Mac. In order to hide the guidelines. And now I'll zoom in. And notice that we've got some weird little seams here. I'll take care of that problem in the next movie. But in the meantime, we've got some kind of weird alignment problems as well.

So the green is cutting down into the top of the M. But if you switch over to this location here, it's not coming down far enough. Because it's leaving part of that blue stroke in the background revealed. So, in other words, you have to make a design decision at this point. And what I recommend you do is press the A key to switch to the white arrow tool. And then just go ahead and marquee this region right there. The seam that is between the green and the white, and that's going to select the bottom edge of the top clipping mask and the top edge of the bottom clipping mask. Then you want to press Ctrl+K, or Cmd+K on a Mac to bring in the preferences dialog box and change the keyboard increment to one point as by default, and then click OK.

Now press the down arrow key, because you just have those two coincident horizontal segments selected. Press the down arrow key a total of three times in a row in order to produce this effect, here. And then you can click off the paths in order to deselect them, and notice that we have this nice intersection at this location. We don't have such a nice intersection over here, or in the case of the far right side of the art work. However, everything looks hunky dory over here, on the left hand side of the art work. So now what we've got to do is deal with these seams right here, as well as these choppy transitions.

And I'll show you how to fix those problems in the very next movie.

Show transcript

This video is part of

Image for Illustrator CC One-on-One: Mastery
Illustrator CC One-on-One: Mastery

85 video lessons · 8430 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 1m 58s
    1. Welcome to One-on-One
      1m 58s
  2. 45m 11s
    1. The smartest of guides
      1m 36s
    2. Setting up angular construction guides
      4m 59s
    3. Shaving off miter joins and projecting caps
      4m 53s
    4. Precisely aligning angled logo artwork
      5m 52s
    5. Covering up gaps and seams in your logo
      7m 9s
    6. Creating ornaments based on miter joins
      5m 9s
    7. Hand-drawing letters as stroked paths
      9m 34s
    8. Kerning and clipping hand-drawn type
      5m 59s
  3. 49m 33s
    1. The benefits of using symbols
      1m 3s
    2. How symbols and instances work
      4m 54s
    3. Creating and naming symbols
      6m 42s
    4. Introducing 9-slice scaling
      4m 31s
    5. Customizing the effects of 9-slice scaling
      7m 5s
    6. Acquiring, trading, and previewing symbols
      6m 5s
    7. Duplicating and replacing symbol instances
      5m 45s
    8. Using symbols to simulate master pages
      6m 54s
    9. Advanced symbol modifications
      6m 34s
  4. 1h 12m
    1. Shading objects with Gradient Mesh
      1m 18s
    2. Creating a gradient mesh
      4m 23s
    3. Adding and deleting lines with the Mesh tool
      4m 27s
    4. Assigning colors to mesh points
      6m 36s
    5. Finessing colors to add depth and shading
      6m 10s
    6. Creating a gradient with the Mesh tool
      8m 27s
    7. Wrapping gradients around circles
      4m 15s
    8. Working with slender, bending shapes
      8m 48s
    9. Creating soft and sharp transitions
      6m 17s
    10. Converting a linear gradient to a mesh
      7m 44s
    11. Converting a radial gradient to a mesh
      9m 16s
    12. Using gradients to cast shadows
      5m 10s
  5. 24m 23s
    1. Black conceals, white reveals
      1m 8s
    2. Introducing opacity masks
      6m 24s
    3. Assigning an empty opacity mask to a layer
      4m 45s
    4. Drawing inside an opacity mask
      4m 57s
    5. Fading artwork with a gradient opacity mask
      3m 3s
    6. Nesting one opacity mask inside another
      4m 6s
  6. 1h 6m
    1. Two ways to apply free-form distortions
      1m 6s
    2. Introducing the Warp tool
      7m 50s
    3. Brush size, Detail, and Simplify
      8m 20s
    4. Liquifying an isolated portion of a path
      9m 49s
    5. The Twirl, Pucker, and Bloat tools
      8m 37s
    6. The Scallop, Crystallize, and Wrinkle tools
      7m 6s
    7. Simplifying a path; creating a custom starburst
      6m 26s
    8. Applying an envelope-style distortion
      4m 34s
    9. Editing the contents of an envelope
      7m 40s
    10. Masking the contents of an entire layer
      5m 0s
  7. 30m 15s
    1. Transforming live and on the fly
      1m 44s
    2. Using the Free Transform tool
      4m 49s
    3. Transforming with respect to the center
      2m 24s
    4. Applying free-form and perspective distortions
      4m 16s
    5. Resetting the bounding box
      4m 37s
    6. Free transforming tile patterns
      3m 53s
    7. Using the Touch Type tool
      5m 12s
    8. Tweaking transformations numerically
      3m 20s
  8. 1h 14m
    1. Up to five tiles per pattern brush
      1m 12s
    2. Creating a basic pattern brush
      6m 29s
    3. Correcting a repeating pattern brush
      4m 6s
    4. Adjusting a pattern brush to match its path
      3m 21s
    5. Automating and designing a corner tile
      8m 52s
    6. Adding an angled loop to a corner design
      3m 44s
    7. Creating end tiles and tile perimeters
      6m 28s
    8. Cropping your designs inside your tiles
      4m 22s
    9. Assembling a seamless pattern brush
      5m 35s
    10. Adding a white buffer zone to a pattern brush
      6m 35s
    11. Reconciling very acute corners in a path
      8m 25s
    12. Creating a pixel-based-image pattern brush
      6m 20s
    13. Spacing and orienting pattern brushes
      8m 47s
  9. 43m 37s
    1. The pleasures and pitfalls of graphs
      1m 44s
    2. Importing and graphing numerical data
      7m 48s
    3. Modifying data to create a category axis
      4m 6s
    4. Reformatting text and values in a graph
      5m 40s
    5. Changing the Graph Type settings
      5m 27s
    6. Creating and applying a graph design
      8m 14s
    7. Repairing a broken pictograph
      2m 53s
    8. Re-creating a graph at the proper size
      7m 45s
  10. 37m 45s
    1. The five advantages of Illustrator in 3D
      1m 39s
    2. Introducing Illustrator's three kinds of 3D
      5m 6s
    3. Working in 3D space: Pitch, yaw, and roll
      5m 13s
    4. Lighting and shading a 3D object
      4m 13s
    5. Beveling the edges of a 3D extrusion
      4m 23s
    6. Creating live, editable 3D type
      4m 30s
    7. Adding cast shadows to 3D type
      3m 59s
    8. Assigning and editing a 3D Revolve effect
      4m 58s
    9. Mapping artwork onto a 3D object
      3m 44s
  11. 1m 10s
    1. See ya
      1m 10s

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