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Join Illustrator master Deke McClelland for the fourth and final installment of his signature One-on-One series on the vector drawing powerhouse, Adobe Illustrator. In this course, Deke shares step-by-step tutorials and expert-level insights on the most robust features, helping you achieve Illustrator mastery for yourself.
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.
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