Design with Lines in Illustrator - Make Saleable Shapes & Patterns - Graphic Design for Lunchâ„¢ | Helen Bradley | Skillshare
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Design with Lines in Illustrator - Make Saleable Shapes & Patterns - Graphic Design for Lunchâ„¢

teacher avatar Helen Bradley, Graphic Design for Lunchâ„¢

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction to Designing with Lines in Adobe Illustrator

      0:59

    • 2.

      Pt 1 - Heart with Lines Shape

      5:37

    • 3.

      Pt 2 - Make a Pattern from the Heart shape

      3:30

    • 4.

      Pt 3 - Pear with Lines Shape

      10:29

    • 5.

      Pt 4 - Make the Pear Pattern

      4:42

    • 6.

      Pt 5 - Donut with Lines Shapes

      7:11

    • 7.

      Pt 6 - Parallel Lines Shape

      6:59

    • 8.

      Pt 7 - Parallel Lines Pattern

      3:52

    • 9.

      Pt 8 - Shape with Uneven Lines

      8:54

    • 10.

      Pt 9 - More Shapes with Uneven Lines and a Pattern

      10:26

    • 11.

      Class Project and Wrap Up

      1:16

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About This Class

Design with Lines in Illustrator - Make Saleable Shapes & Patterns - Graphic Design for Lunchâ„¢

Graphic Design 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 learn to make shapes in Illustrator which feature prominent lines and to make patterns from them. Each shape uses a different tool or technique to make the lines and to force them into the desired shape. I also show multiple ways to make the patterns in Illustrator so this class focuses in part on shape making and in part on pattern making. The lines you will create will vary from very regular and neat lines to those which are more uneven and whimsical. 

By the end of this class you will be able to make a range of shapes and patterns all featuring shapes made in part with lines and which are ready for use and for online sales. You will also have gained new Illustrator skills and understand that will help you every day as you work in Illustrator. 

More in this series:

10 Adobe Illustrator Layer Tips in 10 minutes - A Graphic Design for Lunchâ„¢ Class

10 Adobe Illustrator Pattern tips in 10 Minutes - A Graphic Design for Lunchâ„¢ Class

10 Illustrator Pen tool and Path Tips in 10 Minutes - A Graphic Design for Lunchâ„¢ Class

10 in 10 - 10 Adobe Illustrator Align tips in 10 minutes - A Graphic Design for Lunchâ„¢ Class

10 in 10 - 10 Adobe Illustrator Type Tips in 10 minutes - A Graphic Design for Lunchâ„¢ Class

10 in 10 - Ten Top Adobe Illustrator Tips in 10 Minutes - A Graphic Design for Lunchâ„¢ Class

10 Interface & Workflow tips for Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

10 Tips for Rotating Shapes in Adobe Illustrator - A Graphic Design for Lunch Classâ„¢

20 Adobe Illustrator Appearance Panel Tips in 20 mins - A Graphic Design for Lunchâ„¢ Class

20 Adobe Illustrator Color tips in 20 mins - A Graphic Design for Lunchâ„¢ Class

20 Adobe Illustrator Recolor Artwork tips in 20 mins - A Graphic Design for Lunchâ„¢ Class

20 Illustrator Gradient tips in 20 mins - A Graphic Design for Lunchâ„¢ Class

20 Illustrator Reflect and Rotate tips in 20 mins - A Graphic Design for Lunchâ„¢ Class

20 Path, Crop & Cutout tips in 20 mins - A Graphic Design for Lunchâ„¢ Class

20 Things New Illustrator Users Need to Know - A Graphic Design for Lunchâ„¢ Class

20 Tips for Using the New 3D Illustrator Tools - A Graphic Design for Lunchâ„¢ Class

25 Tips for Recoloring Artwork in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

2022 Calendar from Scratch in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

3D Extrusion Effects with Text & Shapes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

3D Perspective designs in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

3D Y Shape Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

4 Exotic Patterns in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

4 Handy Patterns in Adobe Illustrator - Graphic Design for Lunchâ„¢ - Diagonals, Plaid, Dots, Chevron

4 Illustrator Shading Techniques in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

5 Cool Text Effects in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

5 Hexagon Patterns in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Abstract Ombre Background in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Add a Background to a Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

All you need to know about Brushes in Illustrator - A Graphic Design for Lunchâ„¢ Class

Banner and Award Badges in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Bends and Blends in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Blends and Gradients in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Block and Half Drop Repeats in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Braids, Rick Rack & More in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Cacti with DIY Brushes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Circle Based Patterns in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Circles with Brushes, Blends & Transformations - A Graphic Design for Lunchâ„¢ Class

Color Schemes to Sell in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Complex Patterns with MadPattern templates in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Convert a Sketch to Vectors with Illustrator Live Paint - A Graphic Design for Lunchâ„¢ Class

Create Color Schemes and Themes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Create a Plaid or Tartan Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Create Radiolarians in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Create with Blends and Brushes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Creative Half tone Effects in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Curly Frames in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Custom Corners for Pattern Brushes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Custom Organic Patterns in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Custom Project Backgrounds in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Curvy Line Inspired Patterns in Illustrator - A Graphic Design for Lunchâ„¢ Class

Cute Furry Creatures in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Cutout Text Effects in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

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

Designing with Spirals in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Designing with Symmetry in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Design with Lines in Illustrator - Make Saleable Shapes & Patterns - Graphic Design for Lunchâ„¢

Diamond & Crystal Patterns in Illustrator - Graphic Design for Lunchâ„¢

Diamond, Harlequin & Argyle Patterns in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Dimensional Line Art in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Doodle Flower Design & Pattern in Illustrator - A Graphic Design for Lunchâ„¢ Class

Doodle Style Heart with DIY Brushes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Dotted Line Patterns in Illustrator - A Graphic Design for Lunchâ„¢ Class

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

Draw a Retro TV in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Draw a Vintage Birdcage in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Draw Safari patterns in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Drawing to Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Easy Isometric Art in Adobe Illustrator - A Graphic Design for Lunchâ„¢ course

Export File Sizes & Resolution in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Faux Tissue Paper Collage in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Flat & Dimensional drawing techniques in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Floral Alphabet character in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

From One Design Make Many Variations in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Fun Effects with Graphic Styles in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Fun with Scripts in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Gradient Background Effects in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Guilloche Designs in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Hi-Tech HUD rings in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Ikat Inspired Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

I'm Seeing Stars - Shapes in Shapes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Isometric Cube Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Knockouts in Illustrator - Holes in Shapes - A Graphic Design for Lunchâ„¢ Class

Large Scale Repeating Patterns in Illustrator - A Graphic Design for Lunchâ„¢ Class

Layered Paper Style Collage in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Leaf Patterns in Illustrator - A Graphic Design for Lunchâ„¢ class - Vectorize Drawings 3 Ways

Let's Go Steampunk! Draw Gears in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Live Trace (Bitmap to Vector) in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Make a Lace Pattern Brush in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Make Art Brushes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Make Art with Stock Images in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Make Complex Art in the Appearance Panel in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Make Ditsy Patterns in Illustrator - A Graphic Design for Lunchâ„¢ class

Make Retro Shapes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Make Scrapbook Papers to Sell in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Make to Sell Printable Grids in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Master Masks in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Meandering Hexagon Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Memphis Design Inspired Pattern in Illustrator - A Graphic Design for Lunchâ„¢ Class

More fun with Scripts in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Multi-Color Faux Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Neon Effect in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Nighttime Cityscape in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

One Shape - Many Patterns in Adobe Illustrator - A Graphic Design for Lunch Classâ„¢

Organic Spiral Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Pattern Design in Illustrator Masterclass - A - Graphic Design for Lunchâ„¢ class

Patterns for POD & Scrapbooking with Illustrator & Illustrator on iPad - Graphic Design for Lunchâ„¢

Pattern in Pattern & Irregular Patterns in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Pattern in Pattern in Adobe Illustrator - Doing the Impossible - A Graphic Design for Lunchâ„¢ Class

Pattern Know-how in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Pattern of Lines and Dots in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Patterns in Adobe Capture for Illustrator & Photoshop - A Graphic Design for Lunchâ„¢ Class

Perfectly Overlap Rotated Shapes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Piping Effect in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Pixel Perfect Triangle Patterns in Illustrator - a Graphic Design for Lunchâ„¢ class

Pop Art Star Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Rainbow Gradient & Text Effects in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Real Time Mandala Design in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Real Time Mirror Drawing in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Retro Landscape Illustration in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Road Trip! DIY Brushes & Live Paint in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Roaming Square Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Seamless Repeating Texture Patterns in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Seasonal Designs - Chalkboard Wreath - in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Seasonal Ornaments in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Semi Transparent Flower Brushes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Sharing and archiving files from Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Sketch to Success: Master Hand-Drawn Patterns in Adobe Illustrator - Graphic Design for Lunchâ„¢

Sketch to Vector Art in Illustrator - Saleable Digital Assets - A Graphic Design for Lunchâ„¢ Class

Sketchy Image Effect in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Something's Fishy! Appearance Panel Tricks in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Stipple Texture Effect in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Stitches & Needles & Sewing Elements in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

String Art Inspired Designs in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Stylish Doodles to Make & Sell in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Terrazzo Patterns Made Easy in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Text over Busy Backgrounds in Illustrator - A Graphic Design for Lunchâ„¢ Class

Textured Dot Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Triangle Based Patterns in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Type on a Path in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Understanding Bounding Boxes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Use Photoshop Objects in Illustrator - A Graphic Design for Lunchâ„¢ Class

Vector Halftones & Houndstooth in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Vector Textures in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Warp Shapes & Text in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Watercolor Stripe Seamless Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Watercolors with Type & Brushes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Wave Pattern in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Whimsical Designs with DIY Brushes in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Whimsical Diagonal Line Patterns in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Whimsical Scrapbook Paper Designs to Sell in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Whimsical Text Effects in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Whimsical Tree Design in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Wreaths & Floral Designs in Adobe Illustrator - A Graphic Design for Lunchâ„¢ Class

Zentangle® Inspired Pattern Brushes in Adobe Illustrator - A Graphic Design for Lunch™ Class

Meet Your Teacher

Teacher Profile Image

Helen Bradley

Graphic Design for Lunchâ„¢

Top Teacher

Helen teaches the popular Graphic Design for Lunch™ courses which focus on teaching Adobe® Photoshop®, Adobe® Illustrator®, Procreate®, and other graphic design and photo editing applications. Each course is short enough to take over a lunch break and is packed with useful and fun techniques. Class projects reinforce what is taught so they too can be easily completed over a lunch hour or two.

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Level: Beginner

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Transcripts

1. Introduction to Designing with Lines in Adobe Illustrator: Hello and welcome to this class on designing salable patterns and designs based on lines in Adobe Illustrator. My name's Helen Bradley, and I'm a Skillshare top teacher. I have over 260 courses here on Skillshare and over 160,000 student enrollments. In this class, we'll look at how to make shapes which incorporate lines, some of which are strong vertical or horizontals, and others of which are more whimsical and uneven. We'll make a range of base shapes and then turn some of them into repeating patterns. I'm going to show you three very different ways to make those patterns too. This is like a pattern design and a line-based shapes design class all in one. By the time you've finished this course, you'll have a grab bag of new shapes and pattern designs and some new Illustrator knowledge and skills too. Without further ado, let's get started making salable patterns and designs based on lines in Adobe Illustrator. 2. Pt 1 - Heart with Lines Shape: The first of the shapes that we're going to draw is this heart here. I'm going to click on "Create New" and I'm going to create a document that's 1,000 pixels by 1,000 pixels in size, RGB color mode. I'm going to draw half of the heart and for this I'm going to use the pen tool. Now, if you hate the pen tool, I totally understand, but this is really easy to do. We're going to click in the middle of the document and head up towards the top left of the document. I've still got my finger on the left mouse button, so it definitely is a click and drag process. Once you've got to about here, you can let go the left mouse button and then you're going to swing around and you're going to put down a point immediately below this point. If you've got smart guides on, you're going to be told that you are in the right place. Now, if you miss it, I'm going to miss it just in case you miss it, let's just draw out the other side of the heart and I've lost everything. I'm going to press "Control" or "Command 0" to square everything back up in the screen. I'm going to press "Escape" to stop drawing. Now I can go to the direct selection tool here and just finesse my curves. I'm just going to make it a little bit curvier here at the top and you can just adjust it. If you really hate using the Pen Tool them, this is a perfect time to get a little bit of practice with it because you can't do any damage at all to this shape. Now I'm going to again go back to direct selection tool and select over these two anchor points. There's an anchor point at the beginning of the heart and one at the bottom down here. Now we want to align them because we missed aligning them when we were drawing them. We're going to object path and then average. This allows us to average the position of these points. Either we can put them both in the same place, which would destroy our heart. We can do horizontal, which is not what we want, but we do want vertical. We want them both to be lined up in the same vertical position. I'll just click "Okay". They are now perfectly aligned. If you hit the wrong one, if you just horizontal instead of vertical, just undo it and try again. It's just easy to do. We're going to create the other half of this heart. I'm going to select over it, but do that with the selection tool, not the direct selection tool or things can go really haywire. We'll choose object and then transform and reflect and we'll choose vertical. I'm going to click "Copy". Now we've got two half hearts on top of each other. We're not seeing the rest of this line through this heart because this one's got a fill on it. We're going to sort that out in a minute. I'm going to hold the Shift key as I drag across and let's just position this so that they're perfectly lined up. Going to select over both of these and remove the fill. Now if I try to draw a vertical line between these two lines right now with, for example, the pen tool, the chances are that I'm going to attach to one of these shapes. I don't want to do that. This is what you're going to do. You're going to open up the last panel and you can get to that by choosing Window and then Layers. You're going to lock down these two half-heart shapes. Just click in here in this column to lock them. That means that when you go to the pen tool, you can position yourself immediately above where these two shapes join, but without selecting either of them. If you want it to be perfectly vertical, just hold the "Shift" key as you draw it, press "Escape" when you're done. At that point, you can undo the locks because you do need to continue to work with them, but locking them just make sure that you won't be joining things together because that would be not good. I'm going to select over these two pieces. This is this half of the heart and the line in the middle. Just select both of those and we're going to make a blend out of that object, blend and then make, now your blend may not look like this at this point, don't worry, it can look, however it looks because we're going to change the settings anyway. We're going to double-click on the blend tool here and we're going to set it to specified steps. Then we're just going to increase the steps until we have a number of lines that we're happy with. I'm using 12, 13, 14, something like that. I'll click, "Okay". In the last pallet, you'll see that you've got a blend, so you've got a line and half a heart, but you can't do a lot of things with this while it's still a blend. I suggest that you expand it. Now however you're used to expanding things in Illustrator, going to expand a blender different way. You're going to choose Object and then Blend and then Expand. That breaks it out into a series of lines inside a group. Now we've got the other half of the heart available here, I'm just going to select over it. Well, it doesn't have a fill and it also doesn't have a line down this side, that's just fine. If I select it and flip it, we've now got black filled on one side and our lines on the other. To make it easier to work with all of this, I would select this lot and group them again. I'd leave these shapes in a group by themselves and then just double group them if you like, because that makes sense. If you ever need to edit these, it's going to work a lot better. I think I would like my heart to be a slightly different shape here. I'm going to shrink it. Now they've got its proportions right, holding the Shift key as I do. Having created this heart, it's been very easy for us to create a pattern for that, and we're going to look at that in the next video. 3. Pt 2 - Make a Pattern from the Heart shape: In the last video, we saw how to create this heart shape, in this video we're going to create it as a pattern and then invert it, so that's white on black. I'm going to select this shape and choose object and then pattern make. I'm going to use the brick by row option and I'm going to use it with a half offset, so I get this nice-looking design. I'm going to make sure that this little button here looks like this, so that the width and height are unconstrained so I can adjust them individually. One thing I never liked with patterns, if I can possibly help it is to have fractional numbers because that seems to be an invitation to illustrate it, to put fracture lines through the patterns, so I like to make sure that these numbers are whole numbers and if possible, that they're also even numbers. Of course with this pattern, that's fine, we've got plenty of flexibility to adjust it to our needs. This is what the pattern is going to look like, I'm going to click ''Done''. I'll move this heart out of the way and go ahead and add a rectangle that is 1,000 pixels by 1,000 pixels into the middle of the artboard, and I will just square it up on the artboard. Now, this one I'm going to fill with white for now because I want to come back a bit later and change the color of it so that we can invert our pattern. But let's just go and make a duplicate of this shape. So we've got a white fill underneath and on top is going to be our pattern filled object. I have the rectangle on top selected, I've got this fill selected, let's go to swatches and click on our pattern swatch. Everything is working perfectly at this point, but I also want to make a pattern here that is the inverse, so it would be white on black. What I'm going to do first of all, is go to this rectangle here, I'm going to change its color now. It's going to be black eventually, but it's not going to help me right now if I make it black because I'm not going to be able to see anything. So let's just set it to something dark, but not black. I've got dark red here. Now I'm going to target the pattern itself, the pattern-filled object here, and we're going to the recolor artwork dialogue. We're going to select advanced options. Now the problem with colors like black and white is that they can't be remapped without doing something, and what you're going to need to do here is to click this little icon to make sure it's an arrow. Because until it's an arrow you can't change the color. Now we'll just double-click on this and make it white. White, of course, is 255, 255, 255 in red, green, and blue channels, and there is our white pattern. I'm just going to click ''Okay'' here. If you're used to working with patterns in Illustrator, you will know that the result of this is to give you the original black pattern but also a white version of it. Illustrator duplicates your pattern when you use the recolor artwork dialogue to change its color. Now for us to say the true black on white experience here, let's just go and make that background rectangle black. There we've created our heart with its really attractive lines created using the blend tool and we've created a pattern from it. Next up we're going to fruit and vegetables, we're going to make a pair. 4. Pt 3 - Pear with Lines Shape: The next shape we're going to create a pair and a different set of lines. I'm going to lick "Create New", we're going back to our 1,000 pixels square document and we're going to draw some circles. Now these are going to be filled circles with no stroke on them. It's probably a little bit easier to see the pear shape as you work if you work with filled circles. I'm doing this for everybody who hates the pen tool, so we're going to create our pair not using the pen tool. Here is the first of our circles. I'm going to drag a duplicate of our way. With the selection tool, I'm holding the Alt or Option key as I drag a duplicate away. I;m making sure that this is positioned directly underneath the first circle. You can do that by just adding the Shift key as you drag because that will constrain it to a perfectly vertical direction. This needs to be bigger, but it needs to be bigger from the center. If you hold the Alt key just after you start dragging, it's going to be bigger from the center. If you add the Shift key, it's going to be a perfect circle. I'm just looking for something for the bottom of my pair. I'm thinking that's looking pretty good. Will go to the direct selection tool and click on the top circle and then click again on this bottom anchor point. You'll see that these other anchor points are white and this one's filled. The filled one if we press the Delete key is now going to be deleted. I'm going to again select over this time these two anchor points, but you can see that this one is not being selected. I'm just going to drag down. If I add the Shift key, I'm going to drag down in a perfectly vertical direction. These two anchor points are still selected, leave them selected and go over here to find the scale tool. When you have the scale tool selected it's going to operate as if it's on a line of symmetry, so if I move this handle out this one's going to go out in the opposite direction. Nice little tool for doing things like this. For having done that I'm going to turn off the scale tool, go back to just working with these two anchor points and just drag them down a bit further. To finish off the top of our pair, I'm going to select just this anchor point. I'm just going to stretch this out a little bit to make it a little bit rounder at the top. At this point if you want to adjust your circle you can, so you're just looking for overall pear shape because we're about to stick this altogether and then just smooth it off. To stick it together we're going to select over both shapes, go to the Pathfinder palette and click on "Unite". That's given us a single pair shape. With it still selected I want to get rid of these bumps in here, that's easily done with the smooth tool. It shares a toolbar position with the shaper tool. Grab the smooth tool and then just drag over these anchor points here just to smooth everything out and we've got a pretty good approximation of a pair. If you use the Shift key and tried to line things up as you went, you'll find that this is pretty near symmetrical. What I want to do next is to divide this pear in half, so I'm going to align tool and I'm just going to drag out a vertical line holding the Shift key so it's perfectly vertical. I'm going to give it a colored stroke. Just so we can see it clearly on top of the pair, I'm going to select over both of these and I'm going to use the horizontal align center to make sure that this line is over the center of my pair. Now there's a command in Illustrator that allows you you use a line to divide things underneath. The trick is that you have to have a line that's going to do to the dividing. It has to be on top and it has to be the only thing selected, so you're going to select the line but do not select the pair or it's not going to work. We'll go to Object, and then Path, and then Divide Objects Below. As you can see the line's been sacrificed in this process, but we've got two halves of a pair. We've got a left half and a right half. We're halfway to our pair that has lines over here, but we don't have the lines over here bit yet. Well, we're going to do that again using the line tool., so I'm just going to grab the line tool. I'm going to hold the Shift key and I want to drag out some lines that are going to easily cover this side of the pear, so they need to be reasonably long. I'm thinking about that long we'll do. Let me just move my pair out of the way. I'm going to grab my line again, make sure that it has a black stroke because I want to use black for my lines, and I'm going to make it about the width I want to use. I want this to be a reasonably thick line. I'm just going to make this a little bit wider while I'm here. You can make these additional lines in a number of ways and one of the ways that I like because you can actually see what you're getting before you get it, is to use the distort and transform. I'm selecting the line, I'm going to a Path, Distort & Transform, and then Transform. I'm going to use probably about 30 lines., so I'm going to bump this up to 30. Right now you will see no change because there's no movement, but you will need to have Preview turned on. I'm going to increase the vertical value and I want to increase it to get the spacing between the lines that I like. Now if I like something like this decreased spacing then I'll just need to increase the number of copies because I can gauge how many I'm going to need to cover this side of the pear. I actually like mine spaced out a little bit, so I'm going to reduce the number of copies but increase the spacing. Again, I'm just looking for something that's easily going to cover my pair. I'll click "Okay". Right now this is a line that has an appearance attached to it and affect attached to it. If we have a look in the Appearance panel, this is my line that I've got selected. In the newer versions of Illustrator, you will see only the line selected. In older versions of Illustrator when you select the line with an effect applied to it everything gets selected, but you see here that there's this transform appearance. It's not actually yet a series of lines, it's just a single line with an effect applied. We need to expand that to get our lines out if you like with the selected Object and then Expand Appearance. Here in the last palette you can see that we now have groups and inside the groups are lines. Well, we're going to ungroup these. I'm just trying to do Object Ungroup and Object Ungroup again until we just get a series of path. Now we've got our set of lines and we've got our half pear shape, I'm going to move my half pear shape over the top of my lines. The thing I'm looking for here is just to get a nice effect at the top and the bottom, so I might want to have the bottom missing but the top lined up perfectly on top of one of these lines. It's the pair that I'm moving right now, so I'm just making sure that things are lined up nicely given that these black lines are what I'm going to be seeing in a minute. Now one of the ways that you can get rid of the excess black lines is using a shape builder tool, but there are a couple of things you have to be really careful about. One is that you need plenty of room to work around these shapes or your lines need to be pretty long. They need to be much longer than your shape. I'm going to select either everything, the lines and the half pair, and then we're going to the shape builder tool which shares a toolbar position with the live paint and live paint bucket tools. Now with the shape builder tool if you want to remove something you hold down the Alt or the Option key, and that's exactly what I'm doing. I'm just running over these lines that are outside the pear shape and when I do they disappear, but you can see this is why we want to leave yourself plenty of room to maneuver because if you don't draw really straight lines, you want your wiggly lines to completely cover the lines that you want to get rid off. Now I've got my pear shape that is filled with lines. Let's just go and grab the pear shape and move it out of the way. These lines have got solid ends on them, this was the effect that we're going to get with this process. I'm going to delete the half a pair that I no longer need, and then I'm going to join the two halves up. I'm just tweaking the alignment of the top of the pair. I'm going to select over everything and I'm going to group them because that's going to mean they're going to move as a single object. Control or Command 0 to zoom back out. I'm going to add the stalk for my pear, and for that I'm going to use the pencil tool. It shares a toolbar position with the shaper tool. Double-click on the Pencil tool and make sure it's set to smooth, so it's going to smooth out any wiggles that you draw. I'm just going to draw a very simple stalk. Let's go and give it a black stroke, and let's pick an upstroke nicely. For the leaf we're going to use an oval, so I'm going to select the circle, the ellipse tool, drag out a long oval and flip the stroke and the fill so that I've got a filled oval shape. Again, this direct selection tool, I'm going to click on this anchor point at the very bottom. It's selected, none of the others are. Over here is a tool for making it a point. This converts a selected anchor point to a corner and it just gives it a really nice tip. I like to learn and press the V which enables this selection tool up here. It's a tool I use a lot and that's a shortcut key I think is quite valuable to learn, and we're just going to put it into position. We can add these two elements to our group by just selecting them and dropping them into the group. Now the pair is going to move as a single object. In the next video we're going to look at creating this pair as another simple pattern, but this time it's going to be upside down as well as upright. 5. Pt 4 - Make the Pear Pattern: Now we're going to create this pear as a pattern, but some of the elements are going to be upside down. If you want to make this for a site like Spoonflower, then you're going to need to be able to long term extract a pattern swatch from it. For this, we're actually going to build the pear pattern by hand. I'm just going to zoom out a little bit because I want to see the edges of my document. I'm going to grab my pear and I'm going to drag it up and position it so its center is in the top corner of the document. Now we're going to do that most accurately by using the Transform panel. Go to the Transform panel and we know this document is 1,000 by 1,000 pixels. If I select the middle of these nine boxes here, that's going to register as the middle of this shape, while the middle of the shape needs to be at 00 equals this point over here. Let's just set it to 00. I'm going to drag a duplicate away, Alt, drag a duplicate away. If I add the Shift key, I'm going to constrain its horizontal position. I'm going to place it over this corner here, making sure that I have the middle of these nine boxes selected and the X value should be 1,000, the Y value should be zero. If it's not, just go and make it that. Let's select both of these shapes. Alt, drag away, hold the Shift key down and position it over the very bottom of the document. I'm trying to see that intersect line come up and see if we've got them in the right position. Well, we have the middle of these is at X 500 and Y 1,000. These are perfectly positioned inside the document and they're upright. I need one pair that is upside down. I'm going to Alt, drag a duplicate pear away and I'm going to rotate it through 180 degrees. If you hold the Shift key as you do it, it's going to be perfectly upside down. Now, I want to align this to the middle of the document. These are all lined perfectly and I want to make sure that this one is in the middle. I'm going to the Align panel and I'm going to make sure that I have just the shapes selected that I want to move. I'm going to select align to art board, so it's selected here. Then I'm just going to make sure that this one is perfectly aligned to the art board. I like to click these options a couple of times because sometimes it doesn't seem to work the first time. To make this into a pattern, we need to create our own bounding box. I'm going to click on the rectangle tool, click in the document and make a rectangle, 1,000 by 1,000 pixels. I'm going to square it up so that it's aligned to the art board. It needs to be behind everything so I'll choose object, arrange and then send back and making sure it's still selected because this has to be a no fill, no stroke rectangle. It's got no stroke. I'm going to target its fill and make sure it has no fill at all. Now, again, the lighter versions of Illustrator have a problem here in that sometimes a no fill, no stroke rectangle isn't really a no fill, no stroke rectangle and your pattern won't work. To make sure that this is not going to happen to you, you're going to click on the Appearance panel. You still got that rectangle selected. Go to the flyout panel and make sure that you click "Clear Appearance". Now when you click Clear Appearance, it seems to turn it from something that wasn't into something that now is a no fill, no stroke rectangle. Now you're going to go back and select absolutely everything all your pears. Go to the swatches panel and drag and drop this pear collection into the top part of your swatches panel. You can't add it to a color group, so don't try because it just won't go in there. But you can add it to this top area here, which is what can take patterns. Let's go and see how our pattern works. I'm just going to drag out a shape here, and let's fill it with our pattern. It's too big to say really how it works. I'm going to choose object transform and then scale. I'm going to use uniform scale and I'm going to make sure that I don't have transform objects selected, but Transform Patterns is selected.Now I can just reduce it to, for example, something like 40 percent of its original size. You can see now that this pattern is repeating really nicely. It's got upright and upside down pears in it. It's just a different way of creating patterns in Adobe Illustrator, you can always create patterns by hand if you want to do so. 6. Pt 5 - Donut with Lines Shapes: For the next shape, we're going to create a doughnut shape filled with our lines. I'm not going to make a pattern this time, but I'm starting with this same one by 1,000 pixel artboard. I'm going to the Ellipse Tool. I'll hold the Shift key as I drag out a nice large ellipse. I'm going to Alt or Option drag a duplicate away and then just re-size it. I'm going to line these two up and just test and see how they look. That's a nice shape. There's plenty of room to fill with our line. I'm pretty happy with that. With these two shapes selected. I'm going to turn the fill off though so that they are just lines and not filled. I want to divide this so I'm going back to my Line Tool. I'm going to drag out a line, re-select everything, and again, just adjust it so that everything is nicely lined up. Because we know that we can use this line to divide the circles. I'm going to select just the line and choose Object, Path, and then Divide Objects Below. This gives me a lot of objects. I've got two half-circles here, and these are half circles as well so let me just stick everything back together again. With this one here, I want just this shape minus this. I'm going to select over these pieces. I can do that using the Shape Builder Tool because there's a feature of the Shape Builder Tool that I want to show you. I'm going to click on the Shape Builder Tool to select. I've got these two shapes selected. But if I go over here to the Swatches panel and select black as my color, in addition to joining this to make it a shape using a Shape Builder Tool, I can also fill it with color. I'm just going to drag over it and it's filled with color. Now this bit here, I don't want at all so I'm just going to Alt or Option drag over it to remove it. Go back to the Selection Tool and we've got our shape nicely filled out. Now with this one, we're going to use a different process. This circle I created second so it's going to be on top and this one I created first so it's going to be on the bottom. If you are unsure, just check in the Layers palette and select this one. You can see it's on top and this one's on the bottom. I'm going to select over both of them. There is a tool in the Pathfinder palette that you can use to remove the top object from the bottom object and that's this one here. It's minus front. If they were the other way round, you could use minus back. There is a minus back over here. Just knowing that the order of the two shapes then you can decide which of the two you want, but we want minus front. I click on that and now we've got a shape that is the other half of the doughnut. The other half of the doughnut I want to fill with lines. I'm going to draw this a little bit differently this time. I'm going to drag out a line that is going to be long enough to easily cover this half circle shape. I just want to make sure that there's plenty of room here to move. Let's just move those chaps out of the way for a minute. I'm going to make my line a little bit wider. I'm just going to eyeball this one. I'm going to Alt or Option drag a duplicate line away. Now if I'm happy with that spacing, I can go ahead and press Control D to make a whole series of additional lines with which to fill my half circle. Here is my half circle shape. I'm going to put it on top by choosing Object, Arrange, and Bring to Front so it's on the top of my lines. I want to show you a couple of different methods of doing this because the results are very different so let's make a duplicate of this set. The first one is the shape builder method, which we've been using previously. Again select Shape Builder and just Alt or Option drag over the lines that you don't want, leaving behind the lines that you do want. Now with this one, we've got this little outside edge, but it is just an outside edge shape so it is possible to remove it. You can see it here in the Layers palette. That's going to turn it off for now. Now let's have a look at this set of objects. If I select it, I can use a pathfinder option to use this half circle shape as a cookie cutter. Effectively, what we're going to do is use it to cut out the lines below. But we're going to need to have this half circle shape on top and right now it's not. Let me just see if I can go and select it and move it to the top. Object, Arrange, Bring to Front. It's at the top here. Select everything and go to the Pathfinder palette and click Divide. Now, the result here is different. You can see that we've lost some of the widths of our lines. But in addition to that, the shapes that we've got at the other end of this process are very different. Over here, we've got individual lines. Over here, we've got shapes that look very different. Let me just find one of these shapes here. See here it is. Here's one here. You can see that the shape actually incorporates part of the circle and it incorporates part of the circle on both sides. You can see here it's got this part of the circle. The next one here, part of the circle is gone, part of the circle is gone. We've actually got shapes that can be filled. Any one of these could be filled with a color or it could be filled with black or whatever you like. But the shape is very different this time to what we had over here. Depending on what you want as a result, you could choose either this option of using this shape as a cookie cutter to cut out the lines, but knowing that you're going to lose the width of the lines and you're also going to end up with this line around the edge of the shape which you can't get rid of. Or you can go with this option where you've got lines that really actually are aligned. Just going to select these. They're all individual lines in the Layers palette so I'm going to group them because that would be a really nice thing to do. As their a group then we can stick the other half of the circle to them very easily. I want to create both these shapes. Let me just grab this lot and move them out of the way and let's go and find them half a circle to make up that shape. Again, I could go through and turn that read off or make some alternate lines or do something different there. But there are two different results from using lines but using different tools to cut them off. One of the tools changes the nature of the lines quite significantly. The Shape Builder doesn't change them really much at all. 7. Pt 6 - Parallel Lines Shape: For this next design, we're going to create some lines that travel parallel with each other, but they loop around. Now because this one's pretty sensitive in terms of spacing and getting things lined up, I suggest that you use the same values as I'm. I've got the Ellipse Tool selected. I've clicked here so that these values are going to be the same. I'm making one circle that's 200 pixels, and making one that's 150 pixels, one that's 100, and one that's 50. Basically these are nice even sized circles. I'm going to align them up so that they're centered on top of each other and I'm going to make sure that there is no fill. So nice, evenly spaced circles. I'm going to the direct selection tool. I'm just going to drag upwards here because I want to capture just these anchor points here, just the bottom anchor point of all four circles. I'm pressing "Delete", so I remove it. I want these lines to be a bit thicker, so I'm going to increase them to four points. I need a line, so I'm going to the line tool, I'm going to click once in the document, I'm making a line of 100 pixels in length and a 90-degree angle, I'll click "Okay". Make sure yourself that yours is the same four points that you are using for the circle, or at least match whatever you're using for the circle. Now I'm going to select over all of these shapes. I'm going to use the Transform Panel because I want to make sure that things are lining up. What I'm going to do is target this bottom corner here. I'm just going to click here on the bottom corner and I'm making sure that the x and y value here of this bottom corner of this set of shapes is 400 and 500 pixels. That's nice, even value. I'm going to move my line into position. I'm going to target the topmost portion of my line and make sure it's positioned at the exact same 400 and 500. If it isn't, I'm going to make it position there. That's telling me that this line is directly lined up with the bottom part of this curve. Now I want to move it at a precise value, and I don't want to be out by even a fraction of pixels so I'm selecting this, I'm going to Object Transform and then Move. I want to move this 25 pixels so I'm zeroing out everything. Don't get afraid of this dialogue. It usually opens up with really silly figures in it. So just zero everything out and start over. I want 25 pixels of movement on this shape. That's going to move it perfectly into align with this part of the loop. I need a copy because I need my original plus one copy. The copy is still selected so if I press "Control D" a few times, I'm going to duplicate it all the way across and everything's going to line up perfectly. I don't want this middle line, so I'm just going to delete it. Next up, I'm going to zoom in and I'm going to join everything together because what I've got here is a line, a half circle and a line. I've got that for everything. I'm going to click on this line first. I'm going to hold the Shift key down and click on this line, because that means that you get a visual of the fact that you've selected what you thought you selected. Then with still the Shift key selected, I'm going to select the top one, and I'm going to choose object and path and because we're going to use this a lot, I'm going to remember this shortcut key, it's Control J. It will be Command J on a Mac. What that's done is it's joined those three lines into one. Click here to select this one, Shift-click on this one. We can see visually we've got the right thing selected, click here on this one and Control or Command J. Click away and then do that for the next set. It is a little time-consuming, but if you do it in order and do it step-by-step, you're not going to have any problems at all. Now we've got this shape. What I want to do is add it to the bottom of itself. I'm going to drag a duplicate away holding the Alt or Option key. I'm going to rotate it holding the Shift key, so it rotates in a perfectly 180 degree direction. Going to select over this, I'm going to pick this bottom point. Let's go and select this bottom point here, and let's make sure it's at a nice position. It's in fractional points and we definitely don't want to be playing around with that. I'm going to make it 250 pixels and then let's make this 500 pixels. We know exactly where this bottom corner is. What we're going to do next is take this combined set of shapes and move them over here. If everything's lined up on pixel values, it's going to have a better chance of being in the correct position. The y position for this shape here is 500 pixels so that means that the y position for the top corner of this should be 500 pixels, which it is. So everything looks really neatly lined up. We have to go and do a join again. So I'm going to select over this inner set of lines. I know that the joint is going to be at this point so I'm just selecting over where the join will be and then press "Control J". Then I'm going to select in here because that's where this next join needs to be and then in here, Control J, making sure that you only select the lines that you actually want to impact and Control J. If we check in the last pallet, we should have only four shapes here, which we've got just those four shapes. Now we're going to do that once more. So with all of these shapes, I'm going to Alt, drag a duplicate away and just position it right where it needs to be. I can double-check by selecting this group of objects and make sure that their baseline y position is at 700. If I check the baseline y position of this set of objects, it's at 700 too. Everything looks nice and lined up. Again, I know the joins are in this middle area here so I'm just going to join these together, Selecting and Control or Command J. The end result should be just for shapes, and that's exactly what I've got. I'm going to select over these and group them because their spacing is again really critical so I'm choosing Object and then Group. Now I can scale them down holding the Shift key as I scale them to make them a whole lot smaller. Now if I'm not happy with that four-point line, I could change that, but I actually quite like the thickness of that line. So I'm pretty happy with that shape. Having created the shape, in the next video, we're going to make it into a pattern. 8. Pt 7 - Parallel Lines Pattern: Now, in this particular case, I'm going to make a pattern out of the shapes, but let's change the colors before we do that. I'm going to select the group selection tool because that allows me to get inside the group to select a single object and I'm going to color it. But I'm going to color the stroke and have no fill. Let's just be careful about what I'm doing here. Again, making sure I'm coloring the stroke. I have got some colors that I want to use here. The group selection tool allows you to get inside a group. We're not breaking up that group, but we are able to get access to its contents. Now I've got my elements colored. I'm just going to clean up everything and I'm going to turn off the artboard with view and hide artboards that makes it a little bit easier to make a pattern like this. To create our pattern, I'm going to select over the shape and choose object, and then pattern make. I'm going to use brick by row. I'm selecting Brick by Row with a half offset. I'm going to zoom in so I can see things more clearly in particular, when I'm trying to line things up. I'm going to make sure that this option has a line through it so that we can individually set these values. Now the width is what's going to bring these together. I'm just going to decrease the width until everything looks lined up. Now, it's off by half a pixel. Instead of 163 or 162, I'm going to have to use 162 and 1/2. That's going to type that in by hand because otherwise, this is not going to line up. Now it is lining up. The height is going to push the lines away from each other. I'm just going to look for a nice value there that gives me some nice spacing arrangement. I think I want the spacing to be more like the spacing here, this one here. All whole numbers, that's good news there. I can't change this to be whole numbers because of the design itself. It's just not going to lend itself to that. Now that I'm happy with that, I could go and choose nine by nine, so I could see the pattern at a larger size or larger scale if you like. None of that's going to change the pattern itself. I'm just going to click Done and we're finished with that. Let me go and show the artboards back again. Let's move these shapes out of the way and just test our design with a rectangle that is 1000 pixels by 1000 pixels, lined up, centered on the artboard. I'm going to target the fill, remove the stroke, and just apply our design to it. Now as we could do with the previous design that we looked at, if we want to work with the colors, we can go to the Recolor Artwork dialogue here, and these colors can all be edited. I'm going to the Edit option. I'm going to lock or link these harmony colors together so that if I drag around, I'm going to keep the same relationship between these colors if I liked that relationship of having complimentary colors, colors that are opposite each other on the color wheel. If I want to break that, I can unlink them, and then I can take these colors to wherever I want them to be. Of course, because this is a new color scheme, then we're going to save a pattern out of here with this color scheme in it, as well as the original pattern. Let me just click Okay, here in the swatches panel is our original color scheme, and here is an edited version. We could make multiple versions of this pattern just using different colors, using the recolor artwork dialogue to recolor it. 9. Pt 8 - Shape with Uneven Lines: The next two designs that we're going to create involve lines that don't look like they're regular. We're going to create something with irregular lines that looks a bit like this. I'm going to click Create new, go back to my 1,000 by 1,000 pixel square document. Now, I want some lines to work with, so I'm going to the line tool, I'm going to drag out a vertical line. I'm holding the Shift key as I do so to make perfectly vertical alignment. It has no fill and it does have a stroke. Just going to increase the stroke, at least at this point to two points. I'm going to use the selection tool and just Alt or Option-drag a duplicate away. I'm going to leave it pretty close to the original line. Then I'm going to press Control D repeatedly until I get a whole series of lines. To make these lines look a little bit uneven in terms of their spacing and positioning because these are just lines, we can check that in the last panel because we copied the line and then moved up. We've actually got a series of lines in the layers so they're able to be dealt with individually right now. I'm going to select all of them and use Object Transform and then Transform H. This dialog allows you to randomly transform objects. We're going to make sure first of all, that we've got random enabled. I'm going to increase the angle and you just want to do this by a few degrees, maybe three, maybe four. At the moment my rotation point is down in this bottom right corner. For this one, I'm just going to give it some central setting. Baselines are going to rotate from the middle. You'll see that the middle of the document looks pretty even, but we can clean that up in a minute, but the tops and bottoms of the line are just kicking over slightly. I'm also going to move them a couple of pixels or so horizontally. Just looking at something here that sort of suits me. I'm thinking about five pixels. The spacing is going to be uneven, the rotation angle is going to be uneven because we have this random setting. If we don't do random, we just get everything rotated and move the exact same amount, so random that's going to help us a lot here. I'm going to click Okay, I'm going back into that dialogue again. The settings are sticky, so the last set of settings is visible here. What I want to do now is just to change the position that they're rotating from to something along the outsides of these nine little boxes here, the top row or the bottom row so that things become a little bit more interesting yet again. If I'm happy with that, I'll just click Okay. I'm going to squeeze this up a little bit so that I've got lines that are still a lot closer to each other. Because these are lines, we can also adjust the line weight down to 1.0 or 1.5 points, whatever. You can see that now we've got some lines that look a little bit more interesting than straight up and down vertical lines. Let's use them to fill out boomerang shape. To this, I'm going to the pencil tool. I'm going to double-click on it. Make sure that you've got this setting to smooth, particularly if you're using a mouse, and we're going to draw two curves. We're going to draw a fairly high curve, and then we'll draw a much smoother curve. If you keep these curves away from each other, they're not going to join up. We don't want them to join up. We can place them over each other. What we're looking for is this bit in the middle, not anything else. We can merge this into a single shape, get rid of the extra bits by using the Pathfinder palette. I'm going to the Pathfinder palette here. We could use Divide that would do that, or we can choose Minus Front. Now, in this case, Minus Front has left some little bits down the bottom here. If that's the best solution that you can get for any state of lines that you draw, go to the lasso tool here and just lasso around the shape that you don't want and delete it. Sometimes these options will give different results depending on the lines that you use, so you just need to be aware of that. We have a look inside the group in our layers palette, you can see that we've got a group with our path this sort of shape that we just created. I'm going to drag it out so it's no longer in a group. What we want to do is to fill this shape with this set of lines. I'm going to the selection tool, I'm going to select over our shape, maybe shrink it a little bit, and then position it over the line so we can measure out and make sure everything's going to fit, which it is going to fit nicely. Having done that, we can select either both of these shapes, and we already know that the shape builder tool will allow us to cut lines. I'm going back to my shape builder tool, hold down the Alt key on a PC option on a Mac and just draw around it. Not everything is going to disappear the first time, but that's just fine because I'm going to show you how to deal with that. You're just going to go over the lines until you remove everything you want to remove. There's some stray bits left behind. I'm going back to the lasso tool up here, grab these pieces because I don't want them. Re-select everything. Go back to the lasso tool and you can see any stray pixels here. These are stray as well. Let's zoom in because I've got a line that's still sticking up here. But if I re-select everything and because all I'm working on right now is this shape, I can press Control or Command A to re-select everything. Go back to the shape builder tool, and now that I can see things more closely, I can just knock off that extra little bit of a line. We now have our shape. You can have the shape with or without that line around it. That's your choice to make. I'm going to leave it with the line around it, but I am going to reduce the weight of this line a little bit. I'm going to make sure I target it and I'll just knock it down to about 0.75 of a point. I'm going to select everything and just group it. We can make a pattern out of this, but lets this time use a different pattern tool. This is the new pattern repeat tool in Adobe Illustrator. I'm going to select over my shape, I'm going to object and then repeat, and go to grid. I'm also going back to object and repeat and go to options because I want to change the way that this repeat is working. What I want to do is to flip some of these shapes so we can select here to flip rows, and we can also flip columns. You can also go and select a different grid types so you have brick by row and you have brick by column. We're getting a lot of mileage out of one shape. We haven't had to do anything in terms of repeating the shape. Illustrator is taking care of all of this for us. I'm just going to click Okay to get out of here. I do have a class on this tool which I'll link in the description because it is a really useful tool, but it does have some limitations. One of those limitations is it's really difficult, if not impossible, to get a pattern swatch out of here for a site like spoonflower. But it is good for pattern-filled objects. I'm just going to bring in the side here and bring in the bottom of this design. We can shrink it and if we shrink from the corners, we're going to make the repeat smaller, the little design smaller and then we can just drag out to reveal the design. One thing you can't do here which you can do with patterns using the pattern make tool in Illustrator is there's no re-color artwork dialogue here. The spacing between these objects is controlled here. You can close up the horizontal spacing here and close up or increase the vertical spacing here. I'm looking for something I quite like. If I do want to change the color of this object, I can double-click on it to go into isolation mode where the object itself is now selected. I can go and select a different color for it. This is going to affect every single other object in this design. Changing one element is going to change all of those elements in the design. But let me just close down that dialogue and let's press escape to get out of that isolation mode. There is a design that's made with uneven lines. The uneven lines are created by creating a set of lines and then using Object Transform and then transform each with random selected to change each of those lines in different ways. You get this sort of more uneven appearance. 10. Pt 9 - More Shapes with Uneven Lines and a Pattern: The second uneven line design is going to be creating a different way. I'm going back to my 1000 by 1000 pixels square document. I'm going to make a circle so I'm going to the Ellipse tool, I'm going to drag out a circle. Now I want to fill my circle with black color, but I don't want to stroke and that's really important. If you have a stroke on this shape, things are going to look a little bit haywire and it's really easy not to understand what's happening, particularly if your stroke was white. I'm going to make sure that we're turning the stroke off on this shape. I'm going to the layers palette, which I seem to have lost. Let me just go and get my layers palette. I'm going to open up this layer we're working on. I'm going to make a duplicate of this circle shape. This duplicate I'm going to turn off the topmost one. Let's go to the one at the bottom, which is the duplicate. I'm just going to flip the stroke and fill so it has a stroke and no I fill and then I'm going to lock it down and hide it for now and then just reveal again this topmost shape because we're going to work on this one. We're going to target it so it's selected, and there is a different way of making uneven lines for this shape and that is using the scribble effect. So with your shape selected, you're going to choose effect and then stylize and come across here to scribble. Now this is the default setting, but we're going to set it up ourselves so we're going to do it in 90 degree angle so our lines are up and down. I'm going to increase the overlap to the outside. The reason for this is it's going to be easier for me to again cut those lines later on using the Shape Builder tool. I'm going to make sure I push my lines outside this basic circle shape. Of course, we're keeping a copy of the circle shape down here that we can use to cut with the Shape Builder tool. The stroke width is set to three by default, I'm going to bring that down to one, or even a little bit smaller. As soon as you go from one and press the down arrow key, you get 0.01, which is a lot of difference. I'm just going to type in 0.5. It's a half pixel line instead of a 0.01 pixel line. Curviness, you do want to probably increase that, but maybe increase the spacing a little bit first so that you can get to see what you're going to end up with. I like to add a little bit of curviness. I like to add a little bit of variation on the curviness and a bit of variation on the spacing as well. Because what we're looking for here is something that again, looks a little bit more hand-drawn. I'm going to increase the spacing a little bit. You can just tweak these values, what you're looking at is what you're seeing in the middle because that's what you're going to get. When you're happy, you can just click, "Okay." Now this again is a circle with an appearance on it so we have a look at it in the appearance panel. You can see it's got a fill and a scribble effect and the scribble effect is actually controlled by that fill. Fill has a lot to do with the actual scribble effect, but so too does the stroke that's why we've avoided using any stroke at all. We can actually start cutting this away with the Shape Builder tool because it's still a removable effect. We need to bake it into that shape and of course, baking it in just involves going to the Object menu and choosing Expand Appearance. Now it's not a circle with an appearance applied to it, it's actually a series of lines. Let's go back to the last pallet. This is our group of objects in here. Let's just open this up. You can say that this is a path that has this loopy set of lines in it. I'm going to unlock this and bring it now back into visibility. This ellipse is going to move it above everything else. I can now select over everything and we can go to work with our Shape Builder tool. We're going to have similar problems potentially with the Shape Builder tool here in that some of these lines may not be cut. But we're just going to start by cutting them and then go back and clean up later on. That's why you want to push your lines well outside your circle so that you've got plenty of room to maneuver when you don't have too many of these lines that are going to need needling up. Again, before we finish off here, we're going to get the Lasso tool and get rid of some of these anchor points that we don't need. Re-select everything with Control or Command A because it's the only thing in the document, so it's very easy to re-select. Now we're going to zoom in because we need to see more clearly the areas where we need to still do a bit of work. Control or Command A go back to the Shape Builder tool and just knock off these little bits that's still need a bit of tidying up. Now I've got a couple of anchor points here that need to go and there's an anchor point over here as well. Now, in addition to using the Shape Builder tool at this point, if you zoom in quite a ways, you could use something like the Eraser tool. Let's just go to the Eraser tool here. I've got mine very small. It responds to the open and closed square bracket case, so you can use those to adjust its size and so you can just very easily delete the bits that you don't need using the Eraser tool. Just be careful that you don't run into that outside circle and destroy that in the process. If there are lines over here that you don't want, you'll find that these are actually selectable. Let's go back to the selection tool. I'm going to need the Group Selection tool to get it in here and you may find that individual lines like this can be selected and deleted just to neaten up the edges. I'm going to take this line out to just select it and delete it. Now we have our shape, I'm thinking that this top circle has quite a large value on the stroke width, so I'm going to bring it down to 0.75 so that's going to be a little bit closer to the values that are used for the actual lines in the middle here. Now I'm going to make this a two tone circle so I'm going to this path and I'm going to cut it in half. Doing that, I'm going to lock down and just hide that lined group underneath for a minute. I want to cut it in half across the middle. Now, you could use the Rectangle tool, but it's really hard to line up with the middle of a shape and the Line tool is actually much easier. I'm drawing a line all the way across here, and then I'm going to select both these objects or circle and a line. We know that the circle is lined up with this group underneath so we don't want it to move. We're going to click on it again, so it now becomes the key object. Now we can go to Window and Align to get the Align options. We can use this option here, the vertical align center, to make sure that this line is immediately over the center of the circle. If it wasn't correct, then it would have moved using that option. We've got a line over a circle and the line is on top of the circle, we can see up here. If we select the line, we should be able to do object path and then divide objects below. That means we now have two halves of our circle if we turn our lines back on, you'll see everything is just filling up nicely. I'm going to select the bottom line of this and I'm going to fill it with a fill color. We now have our shape that's half and half, it's half lines and it's half fill color. We didn't need to wipe out the lines underneath here, although you could if you wanted to, we just needed to cover them up with something. I want to select all of this, but I need to be careful here because I've got that group locked and that's not going to select everything. Let's re-select everything, make a group out of it. I'm going to size it down a little bit smaller. I'm going to drag a duplicate away. I'm going to use the Group Selection tool to get inside this group because I want this particular shape here. It's got bumpy lines around the edge here because we use that Shape Builder tool on it. Now I have two differently colored circles. There are any number of ways that we could make a pattern out of these circles, but I think since the last time we used the new repeat that feature. Let's use that this time object repeat and we'll choose Grid. Just a quick warning here. As I was editing this part of the video, I noticed that the screen is flickering quite a lot because of the way that this new pattern make tool works and because of the colors and the lines in this particular pattern. If you're sensitive to flickering screens, you may want to avoid the rest of this video. I'm going to bring in the sides, try and move this so it's better positioned over the top corner of the document, shrink it down, and then reveal the object. At this point, I'm looking at these shapes. I'm thinking I would like to turn one of them upside down so I'm just selecting this one and I'm going to rotate it. By selecting one of these shapes, the blue one, you'll see that every other blue shape has been rotated in the same way. We're going to press, "Escape" to get out of here. When I size down my shapes you'll see that the line stayed the same width and that's because of a setting inside Illustrator. I'm going to edit preferences, and then general, you can go to Illustrator preferences general, if you're on a Mac. This is the option here that's turned off scale strokes & effects. If I'd had scale strokes & effects turned on, then those lines would have got considerably smaller as I've scaled that object so that's just an aside. If you didn't want them to scale the way I've scaled them, then you can come in here and turn scale strokes & effects on and then they're going to scale so that the lines get finer if you shrink them down in size. That's just a heads up there. 11. Class Project and Wrap Up: We've now completed the video training portion of this course. It's over to you. Your project for this class will be to create one or more of the shapes that you've seen created in the class and to turn them into a repeating pattern using whichever the method you prefer to use. Post an image of your completed design as your class project. I hope that you've enjoyed this course and that you've learned lots about working in Adobe Illustrator both in pattern-making and also with working with lines and shapes. If you did enjoy this course, and when you see a prompt that asks if you would recommend this class to others, please would you do two things for me? Firstly, answer yes, that you do recommend this class. Secondly, write, even in just a few words, why you enjoyed the class. Your recommendations will help other students to say that this is a course that they might want to take. If you'd like to leave me a comment, please do. I read all your comments and look at and review all your class projects. If you see the Follow link on the screen, click it to follow me so you'll be alerted when I release new courses. My name's Helen Bradley. Thank you so much for joining me for this episode of Graphic Design for Lunch. I look forward to seeing you in another class here on Skillshare soon.