Illustrator for Lunch™ - Houndstooth & Rose - Vector Halftone Tracing & Houndstooth Pattern | Helen Bradley | Skillshare

Illustrator for Lunch™ - Houndstooth & Rose - Vector Halftone Tracing & Houndstooth Pattern

Helen Bradley, Illustrator for Lunch™ & Photoshop for Lunch™

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8 Lessons (42m)
    • 1. Illustrator for Lunch™ - Houndstooth and Rose - Intro

      0:49
    • 2. Illustrator for Lunch™ - Houndstooth and Rose - Part 1

      5:07
    • 3. Illustrator for Lunch™ - Houndstooth and Rose - Part 2

      5:02
    • 4. Illustrator for Lunch™ - Houndstooth and Rose - Part 3

      2:56
    • 5. Illustrator for Lunch™ - Houndstooth and Rose - Part 4

      6:03
    • 6. Illustrator for Lunch™ - Houndstooth and Rose - Part 5

      8:19
    • 7. Illustrator for Lunch™ - Houndstooth and Rose - Part 6

      3:04
    • 8. Illustrator for Lunch Houndstooth and Rose Additional Video

      10:16

About This Class

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Illustrator for Lunch™ is a series of short video courses you can study in bite size pieces such as at lunchtime. In this course you'll get plenty of practice with the pen tool and the Pathfinder in drawing this portrait. It's also very easy to do even if you can't draw - I promise that we'll do it slowly and that you will make a great illustration.

More in this series:

4 Illustrator Shading Techniques - An Illustrator for Lunch™ class - Simple Highlights & Shadows

5 Hexagon Patterns in Illustrator - an Illustrator for Lunch? course

Create Color Schemes in Illustrator for Using, Sharing & Selling - An Illustrator for Lunch? Class

Create Patterns in Adobe Capture for Illustrator & Photoshop

Create Wreaths & Other Floral Designs - An Illustrator for Lunch™ Class

Designing with Spirals - An Illustrator for Lunch™ Class

Doodle Flower Design & Pattern in Illustrator - An Illustrator for Lunch™ Class

Draw a Hot Air Balloon in Illustrator - Fun with 3D! 

Illustrator - Design in Black and White - Create Positive/negative images

Illustrator for Lunch? - 10 Interface and Setup tips too Speed your Workflow

Illustrator for Lunch™ - 10 in 10 - 10 Align tips in 10 minutes or less 

Illustrator for Lunch™ - 10 in 10 - 10 Type Tips in 10 minutes (or less) 

Illustrator for Lunch™ - 10 in 10 - Ten Top Illustrator Tips in 10 Minutes 

Illustrator for Lunch™ - 10 Layer Tips in 10 minutes

Illustrator for Lunch™ - 10 Pattern tips in 10 Minutes 

Illustrator for Lunch™ - 10 Pen tool and Path Tips in 10 Minutes or Less 

Illustrator for Lunch™ - 20 Appearance Panel Tips in 20 minutes or less

Illustrator for Lunch™ - 20 Color tips in 20 Minutes

Illustrator for Lunch™ - 20 Gradient tips in 20 minutes

Illustrator for Lunch™ - 20 Pathfinder, Crop and Cutout tips in 20 minutes or less

Illustrator for Lunch™ - 20 Recolor Artwork tips in (around) 20 minutes

Illustrator for Lunch™ - 20 Reflect and Rotate tips in 20 minutes or less

Illustrator for Lunch™ - 20 Things New Illustrator Users Need to Know

Illustrator for Lunch™ - 3D Extrusion Effects - Text, Shapes, 3D

Illustrator for Lunch™ - 3D Perspective Cube design and Bonus 3D star

Illustrator for Lunch™ - 4 Exotic Patterns - Quatrefoils, Moroccan Trellis, and Layered Diamond 

Illustrator for Lunch™ - 4 Handy Patterns - Diagonals, Plaid, Colorful Dots, Chevron

Illustrator for Lunch™ - 5 Cool Text Effects

Illustrator for Lunch™ - Abstract Ombre Background - Color Scheme, Blend, Transform 

Illustrator for Lunch™ - All you need to know about Brushes in Illustrator

Illustrator for Lunch™ - Backgrounds for your projects - Sunbursts, Halftone, Blends & Brushes 

Illustrator for Lunch™ - Banner and Award Badges - Appearance Panel, Masks, Warp 

Illustrator for Lunch™ - Blends and Gradients - Blends, Blend Modes, Gradients 

Illustrator for Lunch™ - Braids, Rick Rack and More

Illustrator for Lunch™ - Circle Based Patterns - Rotate, Blend, Multi-Color Dots

Illustrator for Lunch™ - Clipping Masks, Opacity Masks & Layer Masks

Illustrator for Lunch™ - Complex Block and Half Drop Repeat patterns

Illustrator for Lunch™ - Complex Rotated Repeating Patterns Made Easy - Using MadPattern templates 

Illustrator for Lunch™ - Create a Floral Alphabet character

Illustrator for Lunch™ - Create a Nighttime Cityscape Image

Illustrator for Lunch™ - Create a Plaid or Tartan Pattern

Illustrator for Lunch™ - Create a Range of Triangle Patterns

Illustrator for Lunch™ - Create a Retro Landscape Illustration

Illustrator for Lunch™ - Create a Textured Dot Pattern - Transform, Vector Texture, Patterns 

Illustrator for Lunch™ - Create a Wave Pattern 

Illustrator for Lunch™ - Create a Whimsical Tree

Illustrator for Lunch™ - Create an Ikat Inspired Pattern

Illustrator for Lunch™ - Create an Isometric Cube Pattern - Shape Builder, Align, Pattern Make

Illustrator for Lunch™ - Create Complex Art in the Appearance Panel

Illustrator for Lunch™ - Create Diamond, Harlequin and Argyle Patterns

Illustrator for Lunch™ - Create Guilloche Effects

Illustrator for Lunch™ - Create Hi-Tech HUD rings

Illustrator for Lunch™ - Create Perfectly Overlapped Rotated Shapes

Illustrator for Lunch™ - Create Seasonal Ornaments - Learn new skills while making seasonal art

Illustrator for Lunch™ - Create Stitches and Sewing Elements

Illustrator for Lunch™ - Create with bends and blends - techniques for icons, logos and more

Illustrator for Lunch™ - Creative Half tone Effects

Illustrator for Lunch™ - Custom Corner Tiles for Pattern Brushes

Illustrator for Lunch™ - Cute Furry Creatures

Illustrator for Lunch™ - Cutout Text Effects - Photos, Pathfinder & Text

Illustrator for Lunch™ - Designing with Symmetry

Illustrator for Lunch™ - Doodle-Style Heart - DIY Brushes and Nested Shapes

Illustrator for Lunch™ - Draw a Retro TV - Shapes, Texture & Sunburst

Illustrator for Lunch™ - Draw a Vintage Birdcage - Shapes, Transform, Texture

Illustrator for Lunch™ - Faux Tissue Paper Collage - Blending, Texture, Transparency 

Illustrator for Lunch™ - Flat and Dimensional drawing techniques

Illustrator for Lunch™ - Fun Effects with Graphic Styles - Appearances, Brushes, Styles 

Illustrator for Lunch™ - Fun with Scripts - Download, Install, Run

Illustrator for Lunch™ - Get Creative with Blends and Brushes

Illustrator for Lunch™ - Get Export File Sizes and Resolution Correct

Illustrator for Lunch™ - Going in Circles - Brushes, Blends & Transformations

Illustrator for Lunch™ - Gradient Background Effects - Find, Adapt, Create & Use

Illustrator for Lunch™ - Houndstooth & Rose - Vector Halftone Tracing & Houndstooth Pattern 

Illustrator for Lunch™ - Illustrating Cacti with Custom Made Brushes

Illustrator for Lunch™ - I'm Seeing Stars - Fill, Warp, Clip & Crop Shapes

Illustrator for Lunch™ - In the Frame - Shapes, Fills, Strokes & Color

Illustrator for Lunch™ - In the Kitchen - Cartoon Art with Live Paint 

Illustrator for Lunch™ - In Your Face - Pen Tool Practice 

Illustrator for Lunch™ - Layered Paper Style Collage - Gradients, Graphic Styles, Transform 

Illustrator for Lunch™ - Let's Go Steampunk! - Shapes, Rotation, Textures 

Illustrator for Lunch™ - Make a 2017 Calendar from Scratch - Grids, Layouts, Text, Patterns & More 

Illustrator for Lunch™ - Make a 3D Y Shape Pattern - from paper illustration to digital design

Illustrator for Lunch™ - Make a Lace Pattern Brush - Stroke, Blends, Pattern Tiles, Rotation 

Illustrator for Lunch™ - Make an Organic Spiral Pattern

Illustrator for Lunch™ - Make Art Brushes - Configure, Color & Scale

Illustrator for Lunch™ - Make Art Using Other People's Art 

Illustrator for Lunch™ - Make Custom Organic Patterns - Transform, Scissors, Align, Pattern Swatch 

Illustrator for Lunch™ - Make Retro Shapes - Pathfinder, Scripts, Rotation

Illustrator for Lunch™ - Make Scrapbook Papers to Sell - Patterns, File Formats, Marketing Materials 

Illustrator for Lunch™ - Make to Sell Printables - Stripes, Grid, Lines & Isometric Grid

Illustrator for Lunch™ - Mastering Live Trace - Turn Bitmaps to Vectors

Illustrator for Lunch™ - Meandering Hexagon Pattern

Illustrator for Lunch™ - More fun with Scripts - Text to code, more scripts, more fun (trees too!)

Illustrator for Lunch™ - Multi-Color Faux Pattern - Patterns, Transform, Expand 

Illustrator for Lunch™ - Neon Effect - Appearances, Graphic Styles, Fonts

Illustrator for Lunch™ - On (a pattern making) Safari - Repeating Patterns 

Illustrator for Lunch™ - One Design Concept - Many Variations 

Illustrator for Lunch™ - Pattern in a Pattern - Achieving the Impossible in Illustrator 

Illustrator for Lunch™ - Pattern in Pattern & Irregular Repeating Patterns

Illustrator for Lunch™ - Pattern Know-how - Install, Transform, Recolor

Illustrator for Lunch™ - Pattern of Lines and Dots

Illustrator for Lunch™ - Pop Art Style Star Pattern 

Illustrator for Lunch™ - Real Time Mandala Design

Illustrator for Lunch™ - Real Time Mirror Drawing - Symmetrical drawing

Illustrator for Lunch™ - Road Trip - Custom Brushes and Live Paint

Illustrator for Lunch™ - Roaming Square Pattern

Illustrator for Lunch™ - Seamless Repeating Texture Patterns

Illustrator for Lunch™ - Season's Greetings - Shapes, Brushes, Texture 

Illustrator for Lunch™ - Semi Transparent Flowers - Scatter Brushes, Opacity, Blend Modes 

Illustrator for Lunch™ - Sharing and archiving files - troubleshooting the pitfalls

Illustrator for Lunch™ - Sketchy Image Effect - Image Trace, Swatches, Sketchy Effect

Illustrator for Lunch™ - Something's Fishy - Appearance Panel Tips & Tricks 

Illustrator for Lunch™ - Stipple Texture Effect - Grain, Gradients, Blends 

Illustrator for Lunch™ - String Art Inspired Designs

Illustrator for Lunch™ - Stylish Doodles to Make and Sell

Illustrator for Lunch™ - Type on a Path - Type, Paths, Shapes

Illustrator for Lunch™ - Using & Troubleshooting Bounding Boxes

Illustrator for Lunch™ - Using Photoshop Objects in Illustrator - Images, Shapes, Patterns and more

Illustrator for Lunch™ - Vector Textures - Vectors, Clipping Masks, Pathfinder

Illustrator for Lunch™ - Warp Shapes & Text - Envelope Distort, Warp, Gradients 

Illustrator for Lunch™ - Watercolor Magic - Type, Downloaded Patterns & Brushes 

Illustrator for Lunch™ - Watercolor stripe seamless repeating pattern

Illustrator for Lunch™ - Whimsical diagonal line patterns

Illustrator for Lunch™ - Whimsical Scrapbook Paper Designs to Sell or Share

Illustrator for Lunch™ - Whimsical Text Effects

Illustrator for Lunch™ - Whimsical Textured Drawings Using Hand Drawn Brushes

Illustrator for Lunch™ - Zentangle® Inspired Pattern Brushes - Shapes, Effects, Brushes

Make Ditsy Patterns in Illustrator

Pattern Design in Illustrator Masterclass

Piping Effect in Illustrator - An Illustrator for Lunch™ Class

Rainbow Gradient Shape & Text Effects in Illustrator - an Illustrator for Lunch™ class

Terrazzo Patterns Without Drawing a Shape! - An Illustrator for Lunch? Class

 

 

 

Transcripts

1. Illustrator for Lunch™ - Houndstooth and Rose - Intro: Hello, I'm Helen Bradley. Welcome to this episode of Illustrator for Lunch, Houndstooth & Roses. Illustrator for Lunch series is a series of short illustrated lessons that you can consume in small bites such as over lunch at work. In this episode, we're going to create two things. Firstly, we're going to take a rose photo that we're downloading from the web and we're going to trace it into a vector and we're going to add a halftone pattern to it. Then we're going to explore creating a houndstooth pattern, and we're going to put both of them together, and when we're done, we're going to look at recoloring the rose just to get a different effect. I really hope that you'll enjoy this episode of Illustrator for Lunch and everything that you're going to learn in it. Let's get started with our Houndstooth & Rose project. 2. Illustrator for Lunch™ - Houndstooth and Rose - Part 1: If you'd like to follow along with this video tutorial using the exact same image that I've used, you can do so. You can download this image from publicdomainpictures.net. Just go to the web link that I've given you and click here on "Free Download", and you can download the image. Now I'm going to take it to Photoshop and do some pre-preparation in Photoshop. If you don't have Photoshop and if you want to use the pre-prepared image, then I'll give you a download link to get that too. But if you do have Photoshop and if you do want to see how the image is prepared, then watch the end of this video, otherwise, just skip ahead to the next one. I have the rose I pin here in Photoshop and I have the last palette visible, which you can get to by choosing "Window" and then "Layers". Now you should be able to do this even if you haven't used Photoshop much at all, you're going to click on the "Background" layer, and drag this lock icon onto the trash can, to just make it a regular layer. That's going to allow us in a minute to get rid of the background for this rose. Then go up here and locate the "Quick Selection Tool". A setting of about 30 is a good setting for this. I'm just going to drag now, paint over the rose itself, and as I do, Photoshop's making a selection for me. Now, if it goes too far, don't worry, because you can always get this back by holding the Alt or Option key and just paint out that area, so you're deselecting it. You just want the matching ends around the very edge of your rose. Photoshop's made a really, really good selection here, and it certainly pays to choose a rose that's pretty well isolated from its background, because you don't want to waste a lot of time in Photoshop that you could be spending having a lot of fun in Illustrator. I have my rose selected, so now I want to get rid of the background. To invert my selections of the background selected and not the rose, I'll choose "Select" and then "Inverse". Because the background's now selected, and because I have this as a regular layer, not the background layer, I can just press "Delete". There's our isolated rose. I'm going to come in now and crop it. I'm just going to grab the crop tool and just drag in on the crop a little bit, because I don't want to take excess image into Illustrator. I'm just sizing my crop rectangle and click the "Check" mark. Now, before we go to Illustrator, we can do a couple of things that will help us produce a slightly better result inside Illustrator. To do this, I'm going to apply a curves adjustment to this image. I'm going to choose "Image", "Adjustments", and then "Curves". Now remembering that, we're just working on this image for the point of pre-preparing it for Illustrator so we're not doing all the unusual photo tricks that we would do in Photoshop. I also want this to be easy enough for you to do, even if you're not familiar with using Photoshop. I'm going to drag down, just click and drag down on the bottom of this curve here, to make it a slightly down curve, and I'm going to click on the line here, and drag it up a little bit. What that's doing is adding some contrast into this so we have some darker lays and some lighter lays. That's going to be pretty important later on, because we're going to convert these into vectors inside Illustrator. You want a pretty good contrast here, some light bits and some dark bits. When you're happy with what you've got, just by dragging out on this curve, just click "Okay". If you make a mistake, and it's very easy to make a mistake in here and just turn this into garbage, then all you need to do is, hold the Alt or Option key, and click "Reset", and that just sends it back to the way it was, and you can go back and try again to get your curve and the additional contrast in this image, and click "Okay". The other thing we can do is flatten some of the colors in the image, and we just do this by running a filter. Choose "Filter", and then "Noise", and then "Median". What Median does is it flattens color in the image, and at the moment we have a radius of six pixels, if I drag this all the way up, you'll see that the image just becomes a big blob. Obviously, the values that we need are pretty small. I'm just going to test three. Now, I think three is probably a pretty good value here. We're getting a little bit of less detail in the rose by doing that. Choose a radius of, say, two or three pixels and click "Okay", and now we're ready to head to Illustrator. To do that, I'm going to save this image so I could use it over and over again if I wanted to. I'll choose "File", "Save As", because I don't want to overwrite the original, but I do want to keep a copy of it. I'm now in the folder in which the original image was stored, but I'm going to choose from the Save As type dropdown list JPEG, and I'm going to call this "Isolated-easy-does-it-rose", and click "Save". The rose image is now saved, so we're finished with all the work that we need to do in Photoshop, and we're headed to Illustrator. 3. Illustrator for Lunch™ - Houndstooth and Rose - Part 2: We're now ready to create the image that we're going to be working in so I'm some choosing File and then New. I'm making an image that's 1000 by 600 pixels in size, RGB color mode, and click "Okay". Now, if you opted to do the Photoshop work yourself, this is the point at which you bring in your image. If you opted not to do it, follow the link here to download the image that you can use. Click to download the image that I've pre-prepared for you and you'll save it to disk, and then we'll all go and get the images that we're going to be working with. It'll be the image that you created yourself or the one I created for you and we'll do it in the same way. We'll choose file and then place, go and select the image and click "Place" and then just drag out a place for it inside your Illustrator document. Go to the layers palette and you'll want a couple of versions of this image. So you'll see it here once, click on that and drag and drop it onto this new icon here, and that will create a duplicate of it. You can lock down and hide that one for now because we're just going to be working on the bottom one. Because this is a bitmap image, Illustrator is already identifying and suggesting that we may want to trace it. So I'll click "Image trace". Now the first trace always looks absolutely horrible. But that's fine because you just know it's going to look horrible and you get a chance to make changes to it. Click the image trace panel and click "Preview" off because we want to change settings in this panel before Illustrator takes off and retraces it. Instead of black and white, we want to trace in color, and we want to use a limited color palette because we want less than a full span of colors. I suggest that you start with something like eight and just see how that goes. Now in the advanced panel here, you get to choose paths, corners, and noise. The rough rule of thumb for this is that if you drag paths and corners to a small value, then you drag noise the other way. This is going to give me a very smooth result. No it looks like I've snuck preview on there that I didn't mean to and I've lost my settings here for some reason. But let's just reset those. So I have a very low value for paths and corners, a high value for noise, that's going to give me a very smooth result. Now, I've already traced this image before, and I know that there's a little bit of white in there that I actually want to keep so I'm not going to click "Ignore white". I'm going to get rid of the white later on that I don't need, and I'll click "Preview" and that's going to set off the trace, and you'll just wait until Illustrator has finished tracing the image. Then look at what you've got and decide whether that's what you want. Now that is a pretty good trace, but you may want to try lesser numbers of colors, so let's try six for example. I'll type six and press "Tab" and that gives me a sort of smoother result. You could also try a few more, so let's try 10. All you're looking for is a result that you like and I actually really quite like 10, so I think I'm going to call that good. But you probably wouldn't want much more than 10 colors in the image. The beauty of choosing 10 is that I have lost these white areas in the image, so I'm actually going to get a slightly better result. Now that I've finished my trace, I'm going to click here on "Expand", and that expands the image into a vector image. So now I have vector shapes. I'm going to click on this and I'm going to choose Object Ungroup so that I can start working with the individual shapes, and what I'm looking for is the last shape. So if I go down in the last palette and click on the last shape and just isolate it, that's going to be the white. The white background if there is any, generally ends up being the very last shape, and so I'm just going to pick it up and put it in the trash can because I don't want the white shape. But everything else I do want. I've just wound back up the last palette and here are all the objects here, so I'm just going to click on the very top one and that will select everything except the duplicate rows, which is exactly what I want to select is everything except, and I'm just going to group that again, Object Group. Now that just tucks it away in a neat group, which allows me to turn it on and off at will and also lock it down very, very easily. So I am going to do both those things. I'm going to lock it down and I'm going to turn it off, and I'm going back to the second version of the rows that I had, I'm going to unlock it and we're now ready to go ahead and to create the half tone. 4. Illustrator for Lunch™ - Houndstooth and Rose - Part 3: To make the half tone effect, I'm selecting the second version of the rose. The one that hasn't been converted to anything yet. I'm going to choose object, and then rasterize. Because I want to work with the color in this image, and until I rasterize it, I just can't do that. I'm just going to click "Okay", just select the Default options. Now with the shape still selected, I'm going to choose Edit, and then Edit Colors because there's a tool in Illustrator that lets you convert an image to Grayscale. I'm going to click "Grayscale". Now I have a gray scale version of my rose. This is what I'm going to convert into my half tone. To do this, I'll choose Effect, and then Pixelate, and then Color Halftone. Now pretty much all you need to know about the Color HalfTone dialogue is that the maximum radius is going to be the largest of the dots in your Halftone. You want to set it to something that's going to work for your image. The screen angles, it doesn't matter too much what they set out because we're working with a gray scale image. I'm just going to test this by clicking "Okay", and that's my half tone effect. Now I might think that my dots are too big or too small. I actually think they're just a little bit on the small side. I'm going to open the Appearance panel, because here in the appearance for this particular rose image, is the Color Halftone effect. I can just click on it, and get my dialogue back. I'm just going to make a change, and set it to 12 pixels for my maximum radius, and try that. If that's not enough, just click it again, and make a change. You can go larger for larger dots or smaller for smaller dots. I think 13 is going to work pretty well for this image. Now I've got my half tone effect over the top of my original rose. Let's just bring the rose back. I've just turned it to eyeball icon on, so we should be able to see it. Well, we can't see it right now because we're looking at a black and white image, and we can't see through it because it's fully opaque. What we need to do is to blend this half tone effect in with the layer underneath. I'm going to click here on the half tone layer, and I'm going to click on the appearance panel for it. Because here in the Opacity options are blend modes. These are blend modes that are similar to those that you would find, for example, in Photoshop. If I click "Multiply", then I'm going to be able to blend the half tone in with the rose image underneath. Now that's a pretty good effect. But in the next step, what we're going to do is we're going to actually hide the half tone effect in the lighter areas of the image. We need to go and build a mask, and then mask out the half tone effect. Let's see how we do that. 5. Illustrator for Lunch™ - Houndstooth and Rose - Part 4: Our mask, we're going to build it up in the Layers panel. I'm opening up the Layers panel. I'm going to click here to add a new layer just above everything else. I'm going to use that new layer to build up the mask. I don't want my halftone image to be visible right now, so I'm going to lock it so it won't move, but I'm also going to hide it. I'm going to unlock the tryst version of the image. We've got the image that is the tryst version, full effect, the shapes. Now I want to select the lightest area on the image, but when I click on it, you'll see that it's grouped. Right now, let's just go and ungroup it. We'll do object ungroup. I can click again now on the lightest area on the image that I can see, and I'm able to select it. I want to select every other lighter area, but I don't want to have to do it by hand. Let's choose, Select, Same, Fill Color. An illustrator will select all of the lighter areas in the image for us. Now, I want to copy those, so I'm going to choose Edit, Copy. Then I'm going up to this layer, this new layer that I created, I'm going to choose Edit, Paste in Place. This is going to be the beginning of my mask. I'm just making a duplicate and tucking it away. Let's go back down to the rows. We need to select layer 1, so that we're working on layer 1 again. Now I'm going to select some slightly darker areas, the ones that are next to the light area. I'll click on one of them Select, Same, Fill Color, Edit Copy. I'm going to my layer 2 and then I'm going to choose Edit, Paste in Place. Let's go back to layer 1. I'm going to select the next lightest color. You'll find that generally these colors are lined up next to each other, so you can say this is the lightest and then this one, and then probably this one. Let's choose, Select, Same, Fill Color, Edit, Copy. Go up to layer 2, Edit, Paste in Place. Now, I've selected the three lightest colors in the image. I think that's probably all I'm going to need to work with. I'm just going to lock down this layer for the moment and let's go and see what we've got on the topmost layer. I'm also going to turn this one off. These are the lightest areas in the image. I'm going to select everything on layer 2 and I'm going to fill it with black. I'm going to go up here and click on black. All of those lighter areas of the image are now black. I'm going to select them, I'm going to drag all over them with the select tool and choose Edit and then Copy. I have a copy of this on the clipboard. Now, let's go back to the layers and let's hide that mask layout, the bits of pieces of the image that we plan to use for our mask. Let's make our other layer visible again. What we want to do here is to start working on the halftone. I'm going to unlock the halftone and I'm going to make it visible. I'm going to click on it so I have the halftime only selected. I'm going to the Appearance panel and we're ready to create our mask. Now, creating a mask can be a little bit difficult, but if you step through the process with me, it's going to be really easy. We've got our black areas already on the Windows clipboard or on the Mac clipboard. We're going to click here on Opacity. This is going to open up this little dialog. What we want to do is to make a mask. I'm going to click Make mask. Then I'm going to click in here to select the mask. I need to make sure that there's a border around this little mask box. I'm going to turn clip off. Now, I'm going to choose Edit, Paste in Place. What that does is it pastes the image that I had on the clipboard into the mask. If you open up the Opacity dialogue for this shape, this is what you should see, your halftone effect in here, and a black and white mask here. You should see this amount of black and this amount of white because that's pretty much the ratio that we want. Clips should be turned off and invert mask should be turned off as well. If you've got everything looking like this, then everything is perfect and you've got one more step to do. Right now, you're editing the mask and you can see that because it's got a little black around it. Up here too it'll say say, Opacity Mask. You have to leave the Opacity Mask before you can go back to working on this image inside illustrator. What you want to do is to click here on the halftone. You have to do that, and then you can just click away from everything, and you've got your halftone effect. It's been removed in the areas where the image is lighter and it's only applied in the areas where the image is darker. Now, if you want it to be even less obvious than it is, go here into the Opacity option and just dial down the Opacity a little bit. That's going to blend the halftone dots into the underlying image, but of course they're going to be completely removed from the areas where the image was lightest. I'm dialing this down to maybe about 50 percent. I think that'll be a good value here. It's a nice effect for me. I'm just going to click away from the dialog and I can close up the Appearance panel. We're ready now to go ahead and to create a houndstooth pattern for our rose. 6. Illustrator for Lunch™ - Houndstooth and Rose - Part 5: Next up, we're going to create our houndstooth pattern, and the houndstooth is a interesting pattern because it's actually a tessellation. I've just opened up my lab's palette and I have my mask here, I don't need them any longer, so let's just drag and drop the mask onto the trash can. But I am going to add a new layer. I'm going to click here on the New Layer icon, and I'm going to use that new layer to build up my pattern. I am just, at this stage, going to lock down the rest of the image and just turn the visibility off, so we're just working on layer 2. Now the houndstooth pattern we can create from a rectangle. I'm going to click here on the Rectangle tool. It's just a regular rectangle. I'm going to click in the middle of the image until this dialog opens, and I'm going to create a rectangle that is half as wide as it is tall, so I'm going to settle for 50 wide and 100 tall, and click Okay. I'm filling it with black, black is a good color for this. I'm going to zoom in so I can see things pretty clearly here because I want to work on this shape. I'm going to click away from the shape so it's not selected. I'm going to click on the Pen tool now, if you hate the Pen tool, that's fine, I totally understand, but we're not going to do anything really significant with it except just click, so it's a pretty easy Pen tool operation. I am going to select a different color though, it's something that's really going to contrast so I'm selecting pink. I'm going to come down here at the very bottom of this shape, and I'm going to click when I say the word anchor appear because I want to start my shape in exactly the same position as the corner of this rectangle. Now I'm going to hold the Shift key down because I want this angle to be 45 degrees, and I'm just going to come up here to about this dimension. This is not rocket science, it doesn't matter how far you've come in, but I want it to be about the looks of this, and I'm going to click once. Now I'm going to hold the Shift key again, and I'm going up here, and I want to be in about this amount of space from the corner of the image, but again, I need to hold Shift because I need this to be a dead straight line, so I'm going to go here and just click once. Then I'm coming over here, again holding the Shift key, and I just want to line this up with the very, very edge of this shape where it says path, so I'm going to click once. I'm going down here, again holding the Shift key to line up with this anchor, click and I cross here and click, and that should give me a shape. That's exactly what I want, but I've got a wiggly base on my shape, and I think that side of it, well, the side of it's looking good but the basis a bit wiggly. I'm just going to straighten it out before I go. I'm just going to zoom in here, get this Direct Selection tool, click on this anchor point here because I think it just needs to be brought down. I'm going to hold the Shift key as I drag it down, I'm just eyeballing it to look for a straight line, and I've managed to get a perfect straight line. Let's just press Control 0 to get back to the image itself. I'm going to the Selection tool, and I'm going to put this pink shape back in on top of the black one. Let's just zoom in so we can see what's happening here, I want to make sure it's perfectly aligned with the bottom of the black shape, so I could select both and just click here on Vertical Align Bottom. That'll make sure that both these shapes are lined up vertically. I'm going to line them on this side as well, so I'm just going to click here to align them perfectly on the right as well. Now I want two copies of this pink shape, so I'm going to choose Edit, Copy, and then Edit, Paste in place. I want them on top of each other. Let's go to the last palette, and let's open up this layer that we're working on. You can see that we have a pink shape, a pink shape, and a black shape. Well, I'm going to select one of the pink shapes and then Shift click on the black shapes. I have both of these selected, and I'm going to the Pathfinder and I'm going to select Minus Front because we know the pink shapes and in front of the black one. When I click Minus Front, what I end up with is a pink shape and a black shape without its bits. Well, it's got an extra little bit in there, and let's just zoom in and see if we can say what's happening here so we can get rid of it. Well, I'm going to select this black shape and I'm going to select then on the Direct Selection tool. There's a loose anchor point here, so I'm just going to click it with the Direct Selection tool and click Delete, and it just disappears. You might find that you get a trailing pace or two, but you might be lucky and get it all in the first time. Now I'm going to put this shape back on top of this one, again zooming in just to make sure that everything's nicely aligned. When I've got them both lined up like this, I'm just going to select either both of them and click Unite, and that makes one shape out of the two. This is half of my houndstooth pattern, so I'll choose Object, Transform, Reflect. I'm going to click Preview because I want to reflect over the vertical and I want to make a copy, so I'll click Copy. Now I'm going to drag the second shape away from the first, and I'm going to stick them together looking like this. Select over both of them and click Unite, and now I have one shape, and this is the basis of my houndstooth. I'm going to rotate it 45 degrees, so I'm going to drag it around holding the Shift key to rotate it to a 45-degree angle. Before I leave here, I'm going to make it black because it's going to look a whole lot better being black houndstooth. Now press Control or Command 0 to zoom out, and we'll make the pattern. With the shape selected, we'll choose Object, Pattern, Make, and click Okay. I'm going to link these two boxes here, so make sure that this is turned on. I'm going to click in one of the boxes and just start pressing the Down Arrow key, I can press Shift Down Arrow if I like, and I just want to join these two shapes together, so I just want the pointy end of this shape to intersect with the path that I've created. When I've done that, I've got my houndstooth, so I'm just going to click Done. I'm finished with this shape so I can delete it, the houndstooth pattern is here in my swatches. Now I'm going to create a rectangle that is the size of the artboard. Just going to click and drag it out here. With the fill selected, I'm going to click on my houndstooth pattern, now it's way too big, so I'm going to choose Object, Transform, Scale. I have Preview turned on, I want to transform my patterns, so I won't transform patents selected but I do not want to transform these objects. I'm just going to make it, well, let's start with 25 percent, and that's a bit big, and I think it could probably come down to about 15 percent. Well, I'm thinking even smaller, I'll make seven percent and click Okay. Now let's go to the last pallet and bring back our rose. Here is our filled houndstooth layer, and here is layer 1, which has the halftime rose on it. I'm just going to bring my rose back into visibility, and I'm going to drag the houndstooth layer below the rose layer, which is just putting the rose on top. At this point, we've essentially finished the project that we came here to create. There is a way, however, of changing the colors of the rose, and if you want to see how to do that, we're just going to finish that off in the next video. 7. Illustrator for Lunch™ - Houndstooth and Rose - Part 6: If you want to change the color of your rose you can do so, but I suggest that first of all, you save your rose, so make sure you choose File, Save As, so you have a saved version of the colorway that you have here. Now, let's go and change it. I'm going to open up the Layers panel. I'm going to unlock the rose layer, and I'm just going to select it because it's only the rose that we want to change. Then I'm going to the color Swatches panel, I'm going to click here on New Color Group. By default, it will show Selected Artworks, so just click Okay. This adds a new color group of the colors that are in the rose at the moment. With the rose still selected, go ahead here and click on Edit or Apply Color Group, and then click Edit. These are the colors in the rows currently. Now what you can do is just drag around here. The colors will maintain their same relationships so that you'll get this sort of monochromatic color scheme that is the colors in your rose. If you drag inwards, you'll get a more pastel-color rose. If you drag outwards, you're going to get a less-pastel, more-saturated color rose. Now, these colors can be individually dragged in and out to be more or less saturated. Let's go back into the purples here. So you can drag them in or out. That will allow you to create this interesting effect by isolating some colors in the rose and making them darker or lighter. But essentially, because the colors are locked down in relation to each other because this is locked, you can't pull them into another color area. If you want to pull them into another color area, you'll need to unlock them. Once they're unlocked, you can go and do things like this. So you can start bringing interesting colors into the rose, and you can even bring complimentary colors. You can do all things with your rose at this point. Hello, if you've come this far, you've done a lot of work, so you may as well enjoy it. Go make your rose whatever color you like, and just have fun with this dialogue because you certainly deserve it. This is a big project, and this is the fun end of the project. If you get a color combination that you like, click here on New Color Group, and that will just save as a color group and click Okay. Your project for this Illustrator for Lunch course - Houndstooth and Roses, is to make a houndstooth pattern and a vector rose with a half-time pattern on it and to assemble them into an image that makes you feel happy. I'm Helen Bradley, thank you for joining me for this episode of Illustrator for Lunch. There are lots more episodes of Illustrator for Lunch here, so if you enjoyed this one, please give it a thumbs up and go and have a look for other episodes that you might enjoy. I'm releasing new episodes every week at the moment, so keep a look out for new episodes that will be coming soon. I'll look forward to seeing you in another one of those classes very soon. 8. Illustrator for Lunch Houndstooth and Rose Additional Video: This is an add on video for the houndstooth and roses project. Now, the reason why I'm doing this video is that one of my students asked what would happen or how they would do it if they were using Illustrator CS5, they're actually using 5.1. But Illustrator versions prior to CS6 did not have the pattern-making tool in them. If you're using an earlier version of Illustrator, you won't be able to make the houndstooth pattern the same way as everybody else. I'm going to show you how you do it in earlier versions of Illustrator. Now, I've got the basic hounds to shape and what we need to do now is to make our pattern. Now, I've got the move tool selected. What I'm going to do is select my pattern pace. I'm going to hold the Alt key as I drag a few copies of this away. I'm going to settle for five right now. Now, we're going to build this pattern out of these spaces and we're not going to rotate them, we're going to rotate the pattern later on once we've actually got everything working, it's going to be easier to do it that way. I'm going to zoom in over here. I'm just going to click the zoom tool, zoom in over here because I want to see this spaces clearly. With the move tool, I'm going to select this space and just move it so it just touches the very top edge of this one and then, I'm going to hold down the space bar, so I can see what's happening over here. It's going to move this space out of the way for now, and I'm going to move this one in so it's in exactly the same place. Now, we need these two pattern paces, this one here and this one here, to be on the same level. I'm just going to select both of them and just vertically align their bottoms to make sure that they're exactly equal to each other in position. Now, I think they can both be moved up, so I'm just going to test that. That looks pretty good to me right now. Let's go and get this pace and it goes in here. I'm going to place it, and I'm going to zoom in and see how well it's placed. Well, the answer to that is not very well at all but I can just fix that. Hold the space bar, go and check this and it looks pretty good. Control+0 to zoom back out again. Now, let's go and move in the last piece here, which is this one here. I made to move it, so it's in position, and it needs to be just here. Again, I'm going to zoom in to make sure it's perfectly aligned, which it isn't. Now that I've done this, I'm going to have a look and see if I've got enough for my pattern pace. What I want is a pattern pace that contains this piece here, this white shape, this black shape, this black shape, and this white shape. I'm going to draw a square over here and I think I've got just the right amount of pattern paces here. I'm going to choose View and then I'm going to choose Rulers and I'm going to choose Show Rulers, because I want to see my rulers. I actually want to pre-prepare some guides. To create a guide, you can just drag in off the ruler. I'm going to position one guide just here. I'm going to do the same thing and position this guy right along this edge here. Now, I'm going to align them a little bit better in a minute, but for now, I just want them in position, and now I'm going to do the same thing here. I'm going to drag going down from the top and I'm going to align it to the very top of this black object here, which is also the very top of this white object, and I'm going to do the same here, align to the top of the black and the top of the white. Now, in here is an entire pattern pace, and that's what I'm looking for. I just need to make sure that it's perfectly aligned before I go any further. Let's get the zoom tool, let's just zoom in here and make sure that the guides are in the right position, which they seem to be. Certainly had a lot more luck with my guides this time than the first time I created this shape. Well, this guide is not ride here. Now, guides are just elements, they are just objects in Illustrator. You can see here that a guide is an object. You can just select it with the selection tool and move it into position. Now, I'm going to press "Control" or "Command+0" to zoom back out. What I want to do now is to create a rectangle that is lined up with this set of guides. I'm going to the rectangle tool, I'm going to click here on this guide here, and drag out a rectangle. Now I need to make sure that it's correctly aligned. Let's just go in here and make sure that the rectangle is aligned correctly. Now, if you want to, you can lock everything else down, so that it's a little bit easier to work with this. I'm just going to lock all the paces down because I don't want the paces to move but I do want this rectangle to move. I want to line it up perfectly. It's a little bit out down the side here and it's a lot out of the bottom. That's looking really good. Press "Control" or "Command+0". Now I have my rectangle selected. You can see it over here in the last palette and it has no stroke and no fill. Now, this is critical for creating patterns. I don't know why patterns work this way, I don't understand the theory behind it, but I do know that there are certain steps that if you take your patterns work, if you don't do that, your patterns don't work. What we need to do is to create a rectangle with no stroke, no fill that is the exact size of the element that we want to use for our pattern pace. That's rule number 1, and rule number 2 is, it needs to be at the back of everything. I'm just going to unlock everything now that I've created and drag this rectangle all the way down to the very bottom here. It's behind all the paces that I want to use. Now, I don't need the guides anymore, so I'm going to click and then shift click on the last to the guides, and I'm going to drag them into the trash can because right now, they're pretty much in the way of everything. Now, I have only shapes and my rectangle here. We don't actually need this shape here, it's not technically needed for my pattern. I can just click it and delete it. I can either delete it from the last pattern or I can just press the "Delete" key. I've just deleted that shape. Now what I've got left is only the pieces of the pattern that I want to create and the rectangle. I'm going to click on the entire layer. I'm going to click its icon here, so everything is selected with the rectangle that is marking out the size of my pattern pace behind everything. Now what I do is I open the swatches panel and I just drag from the middle of this rectangle, drag and drop this into the swatches panel, and that creates a swatch. Basically, that's all we have to do to create the swatch. But let's see how we would go ahead and use it. I'm going to zoom out here and let's create a new art board for this. I am clicking the "Artboard" object, it's going to drag out a shape here and I'm going to drag out a rectangle, the size of the artboard, so that we can fill it with our pattern because we need to do a little bit more work when we actually go ahead and use this pattern. You can say that the rectangle I've created is black filled. In fact, I want to fill it with my patterns, so I'm going to click here on the pattern and now the rectangle is filled with a herringbone pattern. But to look like a real herringbone, we'd like to rotate it. With the object selected, this rectangle selected, I'm going to choose Object, Transform, Rotate. Now, what's happened here is that the object has rotated. We don't want the object to rotate, so I'm going to deselect this check mark here. But we do want to transform the pattern and we want to transform it minus 45 degrees. Now, yours won't say minus 45 degrees, it's just that I've already been in here to create the patent already in this document, which is why I've already got one, but you'll just set it to minus 45 degrees and that will rotate it and click "OK". Then, if you want to resize it, you do just exactly the same as you would with a pattern that's made with the pattern make tool. You choose Object, Transform, Scale. You'll deselect transform objects because we don't want to transform the rectangle itself, we just want to scale down or scale up the size of our herringbone pattern. I'm just going to make it a whole lot smaller. I'm just using the down arrow key but you could actually type a value in there and then just click "OK" because you want to make sure that transform patterns is what's selected because that's what you are transforming. There you have the answer to the question of how do I create a repeating pattern in Illustrator if I'm not using Illustrator CS6 or later. If you're using CS5, 5.1, CS4 or any earlier version, you're going to need to create your pattern manually, and this is how you do it. Thank you very much to the person who asked me the question because it's something I've been meaning to do for a long time, is to actually make a video for making patterns in earlier versions of Illustrator, so you prompted me to do it. I hope that you continue to enjoy the Illustrator for lunch classes here at Skillshare. I'm Helen Bradley. Thank you for joining me for this addendum video in my Illustrator for lunch houndstooth and roses class.