1. Chapter 6 Working with Patterns and Brushes

2. Using the Move Command The word offset refers to the distance an object is moved or copied from a starting location to an ending location. The Move command is the most effective method for moving an object at precise offsets.

3. Using the Move Command In the Move dialog box, you enter the horizontal distance and the vertical distance that you want a selected object to move; –a positive value moves the object horizontally to the right –a negative value moves it to the left

4. Using the Move Command On a vertical axis, a positive value moves the object down, and a negative value moves it up.

5. Using the Move Command An alternate (and seldom used) way to use the Move dialog box is to enter a value for the distance you want the object to move and a value for the angle on which it should move.

6. Using the Move Command Horizontal text box Vertical text box Distance text box Angle text box Move dialog box

7. Using the Move Command A simple pattern created using the Move command

8. Creating a Pattern In Illustrator you can design patterns to fill objects or stroke objects. You can design patterns that are simple or complex, abstract or specific, and you can save them for future use and applications. The Swatches panel comes preloaded with pattern swatches that you can modify.

9. Creating a Pattern You can use paths, compound paths, or text in patterns, but you cannot use gradients, blends, brush strokes, meshes, bitmap images, graphs, masks, or other patterns.

10. Creating a Pattern Patterns repeat. A pattern fills an object by repeating the original pattern, a process called tiling. The word is used intentionally as a reference to floor tiles.

11. Creating a Pattern Illustrator creates pattern fills in much the same way that you would use multiple tiles to cover a floor. Think of the pattern as the floor tile and the object to be filled as the floor. You design fill patterns by designing one tile.

12. Creating a Pattern The tile repeats to fill the object

13. Creating a Pattern Many times, you will create a pattern that contains no rectangular objects, such as a polka dot or line pattern. In these cases, you create a bounding box to define the perimeter of the pattern tile by positioning an unfilled, unstroked rectangular object at the back of the stacking order of the pattern tile.

14. Creating a Pattern The pattern in the following figure is composed of lines only. The square is used as a bounding box. It defines the perimeter of the tile, and the pattern is created by repeating only the elements that fall within the bounding box. Again, a bounding box must have no fill and no stroke, it must be a rectangle or a square, and it must be the backmost object of the pattern tile.

15. Creating a Pattern Bounding box Pattern Bounding box determines the perimeter of the pattern tile

16. Creating a Pattern By default, the pattern begins at the bottom-left of the artboard, not the bottom-left corner of the object. When you move an object that is filled with a pattern, the pattern changes within the object. The pattern covers the entire artboard and the object that is filled with the pattern functions like a clipping mask—you can see the pattern only through the object.

17. Creating a Pattern When an object is filled with a pattern, you can choose to transform only the object, only the pattern, or both the object and the pattern. When you transform a pattern, all subsequent objects that you create will be filled with the transformed pattern. To return a pattern fill to its non-transformed appearance, fill an object with a different swatch, then reapply the pattern swatch.

18. Creating a Pattern Artwork to be used as a pattern tileArtwork applied as a pattern fill

19. Designing a Repeating Pattern Understanding how patterns tile is important for achieving a desired effect. You will often be surprised to find that the tile you designed does not create the pattern you had in mind.

20. Designing a Repeating Pattern In the following figure, it at first seems logical that the tile on the left could produce the pattern below it. However, it requires the more complex tile on the right to produce what appears to be a “simple” pattern.

21. Designing a Repeating Pattern Note the four quarter circles in each corner This tile could not create a pattern Only the top-right tile could create the pattern

22. Designing a Repeating Pattern Another consideration when designing patterns is whether or not you want the pattern to be apparent. If you were designing a plaid pattern, you would want the pattern to be noticed. However, if you were designing artwork for a field of flowers, you might want the pattern to be subtle, if not invisible.

23. Designing a Repeating Pattern You modify a pattern by editing the artwork in the pattern tile, then replacing the old pattern on the Swatches panel with the new pattern. When you replace the old pattern, any existing objects on the artboard that were filled with the old pattern will update automatically with the new pattern.

24. Designing a Repeating Pattern Of course, you can always leave the original pattern as is and save the edited pattern as a new swatch. This is often a wise move, because you may want to use that original pattern again sometime.

25. Using the Pattern Options Panel Patterns can add enormous visual complexity to an illustration, but over the years, designers have found Illustrator’s basic pattern creation process, which involves designing in a tile without a real sense of what the pattern will look like, too complex.

26. Using the Pattern Options Panel The Pattern Options panel, shown in the following figure, makes it very easy to create interesting patterns.

27. Using the Pattern Options Panel Pattern Options panel

28. Using the Pattern Options Panel Pattern previewed outside of pattern tile

29. Using the Pattern Options Panel When you first enter pattern editing mode, the tile is automatically generated as a perimeter around the selected object. That’s just a default action; you can enter new sizes in the Width and Height text boxes in the Pattern Options panel to resize the tile. The following figure shows changes to the pattern after the tile was increased from a.25" to a.35" square.

30. Using the Pattern Options Panel Changes to the pattern after increasing only the tile size

31. Using the Pattern Options Panel The Pattern Options panel has many built-in options: –You can set the tile to move with the artwork— though you’re usually better off leaving that option unchecked. –Use the Copies list menu to specify how many rows of the pattern are previewed. –The Tile Type menu offers a number of layout options for the pattern, with the default being Grid.

32. Using the Pattern Options Panel When you’re working in pattern editing mode, keep in mind that all you’re really doing is designing a pattern swatch which is being constantly updated in the Swatches panel with every change you make.

33. Working with the Brushes Panel The term brush refers to any artwork you can apply to paths or paint with using the Paintbrush tool. The Brushes panel houses five types of brushes: –Calligraphic –Scatter –Art –Bristle –Pattern

34. Working with the Brushes Panel Brushes panel with pre-loaded brush libraries

35. Working with the Brushes Panel Calligraphic brushes apply strokes that resemble those drawn with a calligraphy pen.

36. Working with the Brushes Panel A Calligraphic brush applied to a path

37. Working with the Brushes Panel Scatter brushes disperse copies of an object along a path.

38. Working with the Brushes Panel A Scatter brush applied to a path

39. Working with the Brushes Panel Art brushes stretch an object along the length of a path.

40. Working with the Brushes Panel Artwork created to use as an art brush Art brush applied to a path An art brush applied to a path

41. Working with the Brushes Panel Bristle brushes create brush strokes with the appearance of a natural brush with hairs and bristles.

42. Working with the Brushes Panel Pattern brushes repeat a pattern along a path. They are made with tiles that you create and you can define up to five tiles as components of the pattern: –one tile for the side –one for the inner corner –one for the outer corner –one each for the beginning and ending of the path

43. Working with the Brushes Panel You can create any of the five types of brushes. Artwork for brushes must be composed of simple paths, with no gradients, blends, mesh objects, masks, or other brush strokes. Art and pattern brushes cannot include text.

44. Working with the Brushes Panel You must convert text to outlines before it can be used as artwork for these types of brushes. Art, Pattern, and Scatter brushes can contain bitmap images, as long as they are not embedded. Illustrator’s Pattern Brushes feature allows you to make corner tiles for pattern brushes.

45. Working with the Brushes Panel You can still create your own artwork for corners, but if you don’t, Illustrator automatically generates corner artwork based on the artwork you create for the pattern brush.

46. Working with the Brushes Panel Illustrator generates four types of corner tiles that you choose from in the Pattern Brush Options dialog box: –Auto-Centered: the edge tile bends around the corner and is centered on the path. –Auto-Between: the edge tile is copied and extends to the corner.

47. Working with the Brushes Panel –Auto-Sliced: the edge tile is sliced at an angle and mirrored, much like you'll see with a picture frame and its mitered corners. –Auto-Overlap: the edge tile is copied and overlap at the corner.

48. Working with the Brushes Panel The following figure gives you an idea of what each of the four corner types does.

49. Working with the Brushes Panel Auto- centered corner Auto- between corner Auto- overlap corner Auto- sliced corner

50. Working with Scatter Brushes You can use the scatter brush to manipulate the path endlessly, with precise control of the size, spacing, and rotation of the elements along the path. You can, also input a scatter value, which determines how far the objects can be positioned from the path, an option that blending does not offer.

51. Working with Scatter Brushes The scatter brush is even more powerful for creating the effect of “randomness,” as shown in the following figure.

52. Working with Scatter Brushes A swarm of beetles created with a flying beetle scatter brush

53. Working with Scatter Brushes In the Scatter Brush Options dialog box, you can apply a random range for size, spacing, scatter, and rotation and create the effect of a three- dimensional swarm of beetles flying in different directions—some of them closer to you and larger and some of them farther away and smaller.

54. Working with Scatter Brushes For each setting in the Brush Options dialog box, you can choose fixed or random values. When you apply random settings to a scatter brush, the positioning of the objects on the path will be different every time you apply the brush.

55. Comparing the Paintbrush Tool to the Blob Brush Tool The main difference between using the Paintbrush tool and the Pen tool to create artwork is largely a measure of control. –The Pen tool offers precision. As you draw, you can manipulate handles and anchor points to draw and position the path exactly where you want it and exactly how you want it to look.

56. Comparing the Paintbrush Tool to the Blob Brush Tool The main difference between using the Paintbrush tool and the Pen tool to create artwork is largely a measure of control. –The Paintbrush tool, on the other hand, offers more of a “freehand” approach to drawing. You can use the Paintbrush tool to sketch out a drawing and create artwork that is more spontaneous and “hand-drawn.”

57. Comparing the Paintbrush Tool to the Blob Brush Tool The essential difference between the Paintbrush tool and the Blob Brush tool is that the Paintbrush tool creates a stroked path and the Blob Brush tool creates a closed filled object.

58. Comparing the Paintbrush Tool to the Blob Brush Tool The following figure shows two simple pieces of artwork: –the top piece is made with the Paintbrush tool. –the bottom piece is made with the Blob Brush tool.

59. Paintbrush tool Blob Brush tool Comparing the Paintbrush Tool to the Blob Brush Tool Two brush strokes

60. Comparing the Paintbrush Tool to the Blob Brush Tool Both the Paintbrush tool and the Blob Brush tool paint with color. –The Paintbrush tool creates individual, non- connected paths with every stroke of the tool. –The Blob Brush tool behaves differently. With the Blob Brush tool, if you overlap one stroke with a second stroke of the same color, the two strokes will be united as one object.

61. Comparing the Paintbrush Tool to the Blob Brush Tool The following figure shows a horizontal stroke and a vertical stroke created with the Blob Brush tool.

62. Comparing the Paintbrush Tool to the Blob Brush Tool An “X” created with the Blob Brush tool

63. Comparing the Paintbrush Tool to the Blob Brush Tool The following figure shows the artwork in Outline mode, revealed as one closed object.

64. Comparing the Paintbrush Tool to the Blob Brush Tool The “X” revealed as a single object

65. Comparing the Paintbrush Tool to the Blob Brush Tool The Blob Brush tool is sensitive to color. The following figure shows a pink stroke crossed by a blue stroke, both created by the Blob Brush tool. *Note that they are two separate filled objects. Because the second object was created with a different fill color, the Blob Brush tool does not unite the two objects.

66. Comparing the Paintbrush Tool to the Blob Brush Tool Two intersecting objects created with the Blob Brush tool

67. Enhancing Artwork with Brushes and the Width Tool The following figure shows objects that have been drawn and assembled. There’s no flare, no nuance, nothing unique.

68. Enhancing Artwork with Brushes and the Width Tool Objects with a simple stroke

69. Enhancing Artwork with Brushes and the Width Tool The following figure now has a simple charcoal artbrush applied to it. Notice the dramatic effect it gives the illustration.

70. Enhancing Artwork with Brushes and the Width Tool Charcoal brush applied to artwork

71. Enhancing Artwork with Brushes and the Width Tool At some point, you might find yourself wanting brush artwork that’s even more unique than what you can create with Illustrator’s Brushes panel or with Illustrator objects. One technique that designers use is to trace actual pencil, crayon, or marker sketches in Illustrator, then apply the artwork as a brush.

72. Enhancing Artwork with Brushes and the Width Tool The following figure shows a placed bitmap graphic of a simple pencil stroke on paper. That bitmap art can be traced and then saved as a brush.

73. Enhancing Artwork with Brushes and the Width Tool

74. The Bristle Brush creates a natural brush stroke with the streaks and varying opacities you would find with an actual paint brush, allowing you to mimic the look and feel of traditional disciplines like watercolor or paint.

75. Enhancing Artwork with Brushes and the Width Tool As with the Paintbrush tool, the Bristle Brush creates open paths. When you paint with either brush, if you switch to Outline mode, you’ll see a series of path segments. Therefore, colors you apply to those segments while painting with the brushes are applied as strokes.

76. Enhancing Artwork with Brushes and the Width Tool Snowball recreated with the Bristle Brush

77. Enhancing Artwork with Brushes and the Width Tool To use the Bristle Brush, you first create a new brush in the Brushes panel, and then choose Bristle Brush as the definition. This opens the Bristle Brush Options dialog box.

78. Enhancing Artwork with Brushes and the Width Tool Bristle Brush Options dialog box

79. Enhancing Artwork with Brushes and the Width Tool Remember that you make “pseudo strokes” by creating black copies behind objects and distorting them to “peek” from behind the front object, as shown in the following figure.

80. Enhancing Artwork with Brushes and the Width Tool Pseudo strokes effect

81. Enhancing Artwork with Brushes and the Width Tool The Width tool offers you a method for quickly altering the width of a stroke by clicking and dragging on the stroke itself. The following figure shows a simple stroke and the bottom image shows the same stroke being increased with the Width tool. With the Width tool, you simply position the tool over the stroke, then click and drag to increase the width of the stroke.

82. Enhancing Artwork with Brushes and the Width Tool Increasing the width of a stroke with the Width tool

83. Enhancing Artwork with Brushes and the Width Tool What’s really great about the Width tool is that you can click and drag any area of a path, not just over an already-existing anchor point. This makes the entire path available for modification. The following figure shows the bottom stroke after it has been altered with the Width tool. *Note that it is still simply a stroked path.

84. Enhancing Artwork with Brushes and the Width Tool Stroke with an increased width

85. Enhancing Artwork with Brushes and the Width Tool The Width tool provides a quick way to mimic the pseudo strokes effect. The following figure shows the Snowball illustration after being altered with the Width tool.

86. Enhancing Artwork with Brushes and the Width Tool Snowball illustration with altered widths