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Shaving off miter joins and projecting caps

From: Illustrator CC One-on-One: Mastery

Video: Shaving off miter joins and projecting caps

In this movie, I'll show you how to shave away angle and bevel joints, as well as projecting caps using a clipping mask. And this is pretty simple stuff by now, frankly. But hopefully it'll give you a sense of how to create your own precisely angles schematic artwork. I'll go ahead and switch over to my illustration in progress. And I'll zoom in as well, so we can take in more of the artwork. And I'll click on this zigzag path outline to select it. Now what I want to do is cleave away these miter joints at an exactly horizontal angle. However, if I were to do so in the traditional manner by clicking on the word Stroke up here in the Control panel and then changing the corner to a bevel joint.

Shaving off miter joins and projecting caps

In this movie, I'll show you how to shave away angle and bevel joints, as well as projecting caps using a clipping mask. And this is pretty simple stuff by now, frankly. But hopefully it'll give you a sense of how to create your own precisely angles schematic artwork. I'll go ahead and switch over to my illustration in progress. And I'll zoom in as well, so we can take in more of the artwork. And I'll click on this zigzag path outline to select it. Now what I want to do is cleave away these miter joints at an exactly horizontal angle. However, if I were to do so in the traditional manner by clicking on the word Stroke up here in the Control panel and then changing the corner to a bevel joint.

You can see that I don't get the right effect at all. Instead what Illustrator's doing is, it is of course bevelling off the miters, but it's splitting the difference between the angles of the two neighbouring segments. And that's not what we want at all. So, we'll press Ctrl+Z, or Cmd+Z on the Mac, in order to undo that change. Now we're going to start things by adding a few path outlines based on the existing one. But first, I'm going to change the color of this stroke by clicking on the second color swatch and then switching out the standard black for a rich black so we get a nice, dark path outline.

And that'll help eliminate any trapping problems as well. Then I'll press Ctrl+C, or Cmd+C, on the Mac in order to copy this line. And now we want to create these little blue peaks up here at the top of the logo art. And I'll do that by switching back to my illustration in progress, clicking on a second color swatch right there and then changing it to this predefined shade of blue. And you can see that it's C65M15Y0K0. And we end up getting this effect here. Now go ahead and press Ctrl+F or Cmd+F on the Mac in order to paste in that original path outline.

And this time we want to add the green fill, which needs to be independent of the black stroke, for reasons that will become evident in a future movie. But for now, just go ahead and change the second stroke to None, and then change the fill swatch, the first one here, to this shade of green, which is C80M25Y100K0. And, you get this effect here. Alright, now let's go ahead and zoom back out here, by pressing Ctrl+0, or Cmd+0 on the Mac. And press the A key to switch to the Wide arrow tool, and then go ahead and click off of the path outline and select this lower left anchor point here.

Now it's very important that your smart guides are still turned on. Notice that you can see the word Anchor right there, when I hover over the Anchor Point. It's barely visible probably inside the video. But if you're working along with me you should be able to see a red word anchor against that green background on the left hand side. As you drag, you want to make sure that that red text changes to align 60 degrees so that we're keeping the angle of this line segment at exactly 60 degrees from horizontal. And then drag down until you intersect with the next horizontal guide down, and then release like so.

Then drag this lower right anchor point down, and you should see the words, align 90 degrees. Up there along that higher guideline. And then you should see intersect, along the bottom one. In which case, go ahead and release, in order to create this effect here. Now press Ctrl+F, or Cmd+F, yet again, in order to paste the final copy of that black zigzag line. Now you want to switch to the Standard rectangle tool, which you can get by pressing the M key. And draw a rectangle from this top horizontal guide down to the next guideline below it.

And make sure that you have plenty of room over on the right and left hand sides so that the clipping mask is as big as it needs to be. So, in other words, it's an over-sized clipping mask. We're only interested in clipping the top and the bottom precisely. Most likely, you'll end up with this big, thick, black stroke that doesn't actually matter. Just leave it there. Then press the V key in order to switch to the Black arrow tool. And Shift+click on the black zigzag line, and then Shift+click again, this time on the green filled path, in order to select them both.

And then you want to go up to the Object menu, choose Clipping Mask, and choose Make. And Illustrator will not only clip the paths below the rectangle, but it will also get rid of the stroke around that rectangle, and we end up with effect here. I'll go ahead and click in an empty region of the background to deselect the artwork. And I'll press Ctrl+; or Cmd+; on the Mac, in order to hide the guidelines. And then I'll go ahead and zoom in here. And notice that we have these exactly horizontal bevel joints as a result of that clipping mask.

And they're exactly where they want to be, and we end up with these blue peaks in the background as well. If you scroll down you'll see that we have some problems with the blue miter joints as well as projecting caps, but we'll end up resolving those issues in future steps. In any event, a clipping mask is all you need to shave away precisely angled bevel joints and projecting caps here inside Illustrator.

Show transcript

This video is part of

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

85 video lessons · 8482 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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