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Weaving a pattern throughout an illustration

From: Illustrator CS5 One-on-One: Mastery

Video: Weaving a pattern throughout an illustration

Over the course of this chapter, we're going to be creating this piece of artwork, which goes by the name Garment It's found inside the 26_brushes folder. And the idea is I wanted to created a large-format garment tag, so about four inches wide by three inches tall-- quite small by artwork standards of course, but quite large for a pair of, let's say, jeans. So I wanted the artwork to have a kind of fabric appearance associated with this. Now, about 90% of the effects work that you're seeing is a result of brushes, which are dynamic stroke effects, as we'll be seeing.

Weaving a pattern throughout an illustration

Over the course of this chapter, we're going to be creating this piece of artwork, which goes by the name Garment It's found inside the 26_brushes folder. And the idea is I wanted to created a large-format garment tag, so about four inches wide by three inches tall-- quite small by artwork standards of course, but quite large for a pair of, let's say, jeans. So I wanted the artwork to have a kind of fabric appearance associated with this. Now, about 90% of the effects work that you're seeing is a result of brushes, which are dynamic stroke effects, as we'll be seeing.

But before I show you how the Brushes panel works, I want to explore what's going on with this background. So we have this repeating tile pattern, just like the tile patterns that we learned about back in the Advanced portion of the series. And I also took a lot of care and effort to make sure all these tile patterns are aligned with each other. I scaled the tile patterns, I built them up and darkened them using other fill effects, and then I ended up taking the big background rectangle and duplicating it to the foreground in order to darken up the effect. Let me show you what I mean. If I go over to the Layers panel, there's a cap layer right here at the top.

Turn it off if you're working along with me, just to get a sense of what the underlying artwork looks like. So notice that, I think it looks pretty sharp and everything, but it also looks fairly garish, and if it were really imprinted on a garment tag, this would just be too bright and this white text wouldn't look right and so forth. And I want all of the various objects to appear integrated with each other, which is why I went ahead and repeated that rectangle and put it on top, like so. So again, before we dive into the Brushes panel, I want to show you how that works.

I am going to start off inside of this document. It's called The word is, and if you twirl open the base layer, scroll on down, you'll see this item called big rectangle. I want you to go ahead and meatball it, and I am going to zoom out so we can see that's this rectangle that covers up the entire artboard and goes out into the Bleed region. Now I'll switch over to the Appearance panel, and I want you to see that there's a series of three fills, only one of which is currently turned on. And if I click on that fill and then click its down-pointing arrowhead, you can see that it's a tile pattern that I've defined in advance. It's called Orange wedges.

Now, it may look yellow to you, but it's orange by comparison to the other ones-- red wedges and violet wedges, so variations on that same pattern. Now, let's say at this point I look at that pattern and I think, it's just too light, and I need to darken it up. Well, I have two options, one of which is to actually edit the tile pattern. So go up here to the Swatches panel, drag the tile pattern out, drop it into the pasteboard, let's say, and then modify it by hand--or using the Recolor Artwork function. But that still means you have to turn around and define a new version of the tile pattern and then apply it.

What a giant pain in the neck! Versus--check this out--I'll go ahead and delete that object, click on the outline of this rectangle once again. Notice that I have created this beige fill right there. I'll turn it on, so it's very light wash of beige--it's just solid beige by the way. And if you want to check out the color, you can take a look at the values up here in the color panel. Just go ahead and select this fill, go to the Transparency panel, which I have up on screen, and I'm going to change the blend mode from Normal to Multiply. That really transforms the color of that title effect. So check it out.

I'll turn it off, and then I'll turn it back on. Now let's say I want to add a vignetting effect--that is, dark corners going toward a lighter central area. Then I would add this fill, which in this case is a green-to-white radial gradient, and I would also, after selecting that fill, I would also go ahead and change it to the Multiply blend mode as well, in order to achieve this effect. So building these kinds of fill patterns on top of each other can be extremely effective. Now let's say that I take a look at these tiles, and I just think they're too dang small; I want to increase their size by 200%, let's say.

Well, what I'd like to be able to do, I guess, is go to the fill item here, inside the Appearance panel, twirl it open if necessary just so I can see what I'm adding, and let's say I want to scale just that fill. Well, of course, right, based on our knowledge of dynamic effects, you go up to the Effect menu, choose Distort & Transform, and then choose the Transform command, because it's so wicked great. So go ahead and choose that command, and then change, let's say, the Horizontal value to 200% and the Vertical value to 200% as well, and then turn on the Preview check box. And all I did was I grew the area that's covered by the tile pattern.

So it goes out into the pasteboard, but it does not change the size of the individual tiles. And there is no way, from this dialog box, to do that. So cancel out. This is not going to be a dynamic effect; instead what you do is you go over to your good old static Scale tool, double-click on it there in the toolbox, and change the Uniform value to 200%, like so. And then, we don't want to scale the strokes and effects, because there are none, quite frankly, and we don't want to scale the objects either; we want to scale just the patterns. So I will turn on Patterns and then I will turn off Objects, so that we're just scaling the patterns and nothing more.

So this check box on, these two both off, and then click OK. And if you have problems, by the way, turning any check box off, make sure you have the Pattern check box turned on first. Then go ahead and click OK in order to achieve this effect. I am going to go ahead and zoom back into 100%, so that we can see that artwork. This is before, by the way--this is what the tiny tiles look like--and this is after. So I will go over to the Layers panel, and I am going to create a new layer, but I want it to be up here, so I will click on type on path layer, which is the topmost visible layer, and I'll press Ctrl+Alt+L, or Command+Option+L on the Mac, in order to add a new layer, and I'll go ahead and call this guy cap.

I will change its color to, let's say, dark green, and then I'll click on the OK button. I really want it to be at the far top of the stack, so I will just go and drag it all the way upward. And I want to duplicate it to this cap layer. So there's my little selection square to the far right of the base layer. I'm going to Alt+Drag or Option+Drag it up to the cap layer in order to create a copy of it. And notice now we're covering up everything below. Go ahead and twirl closed the base layer. I am going to meatball the entire cap layer, because its one and only purpose is to darken up everything below it.

So I'll meatball that cap layer, and then I am going to change the blend mode for the entire layer to multiply in order to achieve this effect here, and then I'll go ahead and deselect my artwork by clicking randomly inside it with the Black Arrow tool. And finally, I'm going to go ahead and lock that cap layer down. And the result is a consistent texture throughout my entire artwork. In the next exercise, I'll introduce you to the Brushes panel inside Illustrator.

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This video is part of

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Illustrator CS5 One-on-One: Mastery

134 video lessons · 28150 viewers

Deke McClelland

Expand all | Collapse all
  1. 37m 22s
    1. Welcome
    2. Linking AI and EPS files to Illustrator
      6m 34s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 56s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 24s
  2. 1h 35m
    1. My favorite features in all of Illustrator
      1m 21s
    2. Introducing the Transform effect
      5m 30s
    3. Repeating the last effect you applied
      4m 52s
    4. Applying multiple passes of a single effect
      5m 21s
    5. The wonders of editing dynamic artwork
      7m 13s
    6. Applying effects inside effects
      5m 11s
    7. Assigning an effect to an entire layer
      5m 42s
    8. Building a complex bevel effect
      5m 44s
    9. Placing artwork as a Photoshop Smart Object
      4m 55s
    10. Editing that Smart Object in Illustrator
      4m 21s
    11. Rotating continuously overlapping objects
      5m 34s
    12. Adjusting a dynamic transformation origin
      6m 22s
    13. Vector vs. raster effects
      5m 46s
    14. Introducing the Scribble effect
      5m 23s
    15. Copying effects between layers
      4m 20s
    16. Introducing Graphic Styles
      6m 50s
    17. Controlling the Filter Gallery preview
      2m 28s
    18. Document Raster Effects Settings
      4m 31s
    19. Combining and saving styles
      4m 32s
  3. 1h 25m
    1. Airbrushing with points and handles
      1m 45s
    2. Introducing the gradient mesh
      6m 10s
    3. Working with the Mesh tool
      6m 12s
    4. Lifting colors from a tracing template
      5m 47s
    5. Finessing the colors of mesh points
      4m 17s
    6. Creating a mesh with the Mesh tool
      7m 19s
    7. Adding a gradient mesh to a circle
      4m 37s
    8. Adding a gradient mesh to a slender shape
      8m 7s
    9. Creating soft and sharp transitions
      6m 56s
    10. Converting a linear gradient to a mesh
      7m 29s
    11. Editing a linear gradient mesh
      5m 6s
    12. Converting a radial gradient to a mesh
      8m 19s
    13. Editing a radial gradient mesh
      8m 15s
    14. Creating credible cast shadows
      5m 32s
  4. 1h 15m
    1. The best of static and dynamic adjustments
    2. Adding wings to a horse in Photoshop
      6m 52s
    3. Introducing the Warp tool
      6m 29s
    4. Brush size, Detail, and Simplify
      8m 24s
    5. The Twirl, Pucker, and Bloat tools
      6m 13s
    6. The Scallop, Crystallize, and Wrinkle tools
      5m 55s
    7. Creating a mind-blowing custom starburst
      4m 29s
    8. Introducing Envelope Distort
      5m 21s
    9. Editing the contents of an envelope
      5m 20s
    10. Warping an envelope mesh
      5m 20s
    11. Liquifying the contents of an envelope
      7m 7s
    12. Creating and editing an envelope mesh
      7m 59s
    13. Blending an envelope into a background
      4m 35s
  5. 2h 1m
    1. Outlines along a path
      1m 13s
    2. Weaving a pattern throughout an illustration
      6m 24s
    3. Introducing the Brushes panel
      4m 21s
    4. Applying and editing a calligraphic brush
      8m 28s
    5. Applying and scaling art brushes
      6m 6s
    6. Applying and editing a scatter brush
      5m 29s
    7. Formatting and scaling brushed text
      5m 40s
    8. Editing the path outlines of an art brush
      6m 2s
    9. Replacing an existing art brush
      6m 46s
    10. Creating and refining an art brush
      8m 3s
    11. Tiling pattern vs. pattern brushes
      5m 12s
    12. Creating a pattern brush
      8m 20s
    13. Designing the perfect side pattern
      7m 1s
    14. Start, end, and corner tiles
      8m 58s
    15. Expanding and filling brush outlines
      6m 49s
    16. Text brushes vs. type on a path
      6m 55s
    17. Combining a text brush with the Width tool
      8m 43s
    18. Introducing the bristle brushes
      5m 43s
    19. Adjusting the hairs in a bristle brush
      5m 24s
  6. 1h 32m
    1. Charts can be beautiful
      1m 17s
    2. Adding a gradient mesh to a complex path
      8m 9s
    3. Importing and graphing data
      5m 22s
    4. Switching between the kinds of graphs
      6m 8s
    5. Changing the Graph Type settings
      8m 7s
    6. Correcting and editing data
      6m 51s
    7. Selecting and coloring graph elements
      6m 29s
    8. Making nuanced changes to a graph
      8m 6s
    9. The pitfalls of manual adjustments
      8m 45s
    10. Creating and applying graph designs
      6m 28s
    11. Making a basic pictograph
      6m 47s
    12. Assembling sliding graph designs
      8m 33s
    13. Making last-minute tweaks and edits
      5m 37s
    14. Composing and customizing a graph
      5m 44s
  7. 2h 6m
    1. Perspective is all about real life
      1m 44s
    2. Assembling an isometric projection
      8m 5s
    3. Introducing Illustrator's Perspective Grid
      6m 8s
    4. Drawing a basic perspective cube
      8m 1s
    5. One-point, two-point, and three-point perspective
      8m 25s
    6. Creating automatically scaling box labels
      4m 41s
    7. Setting up a Perspective Grid
      6m 45s
    8. Perspective Grid tips and tricks
      6m 39s
    9. Drawing and editing a perspective shape
      5m 20s
    10. Shifting between planes on the fly
      5m 24s
    11. Creating a freeform shape in perspective
      7m 8s
    12. Working with perspective symbols
      8m 57s
    13. Matching perspective with the Shear tool
      2m 50s
    14. Rendering an off-plane path in perspective
      5m 7s
    15. Replicating symbols in perspective
      8m 12s
    16. Mass-modifying perspective instances
      2m 56s
    17. Adding and editing perspective text
      5m 37s
    18. Duplicating perpendicular shapes
      7m 17s
    19. Adjusting multiple shapes on a single plane
      4m 48s
    20. Creating a perspective column
      9m 23s
    21. Duplicating a series of perspective paths
      3m 20s
  8. 1h 25m
    1. Just another dynamic effect
      1m 10s
    2. Introducing the 3D Revolve effect
      5m 1s
    3. The 3D Revolve settings
      7m 24s
    4. Fixing 3D rendering problems
      6m 32s
    5. Establishing symbols for 3D art
      6m 50s
    6. Mapping symbols onto 3D surfaces
      6m 14s
    7. Adjusting shading and light
      6m 25s
    8. Toning down 3D art in Photoshop
      5m 43s
    9. Adding a photographic texture
      7m 36s
    10. Converting from Illustrator paths to Photoshop masks
      4m 50s
    11. Making 3D droplets in Photoshop
      5m 58s
    12. Unifying textures with Smart Filters
      5m 48s
    13. Creating 3D type with Extrude & Bevel
      6m 44s
    14. Coloring and correcting extruded edges
      9m 15s
  9. 1h 3m
    1. Take action today, save effort tomorrow
    2. Introducing the Actions panel
      4m 16s
    3. Initiating a new action
      5m 33s
    4. Recording a practical action
      4m 56s
    5. Four ways to play an action
      4m 27s
    6. Streamlining by disabling dialog boxes
      5m 48s
    7. Editing an action set in a text editor
      7m 20s
    8. Inserting an unresponsive menu item
      6m 16s
    9. Match-processing a folder of files
      5m 42s
    10. Recording a transformation sequence
      6m 11s
    11. Editing and troubleshooting an action
      5m 6s
    12. Recording actions within actions
      7m 21s
  10. 1m 36s
    1. See Ya
      1m 36s

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