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- [Instructor] In this movie,

I'll show you how to save



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each one of our wiggly path

outlines as a custom art brush.



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And then I'll show you how

to apply those art brushes



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to our text, and what to do in the event



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that we run into problems, which we will.



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All right, so notice that I've gone ahead



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and named each one of my experiments.



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So the first one is the pathfinder object.



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The second one contains

all the wiggly edges,



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along with the transparent rectangle.



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And the third one's just

a copy of the second



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that I can adjust later, if

and when I discover problems.



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All right, so I'll go ahead

and select this first guy,



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and then I'll bring up the brushes panel.



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And now all you need to

do is drag it and drop it



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into the panel, like so,



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but I want you to notice one other option.



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Currently, we're seeing a little blue line



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before that chalk brush.



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Well, notice what happens if

I press and hold the ALT key,



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or the Option key on a Mac.



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I get a thick border around that brush,



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which tells me that I'm going

to replace the original.



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So you can replace one brush with another



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by ALT or Option dragging it.



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But I don't see any reason to do that,



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so I'll just go ahead and

drop this guy into the panel.



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Now, your only option is to

select scatter brush, art brush



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or pattern brush, and

that's because calligraphic



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and bristle brushes rely

entirely on numerical data.



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So I'll go ahead and select

art brush and click OK.



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And then, you want to go

ahead and name this guy,



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I'll call it chalk alt 1,

and then, as you can see,



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you have quite a few

options to choose from.



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You can make your brush

pressure sensitive,



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if you use a tablet, in which case,



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you can set your default

thickness, as well as the minimum.



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In my case, I just want it to be fixed.



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Now notice that you can scale

the brush proportionately.



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We saw that that's

generally not a good idea,



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unless of course you're

saving a dolphin as a brush.



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You can scale it to fit the stroke length,



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which is generally what you want to do,



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or you can stretch it between two guides.



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Now, if you select this option,



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notice I could click in the

start value, and I could press,



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for example, SHIFT + Up Arrow



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and then TAB over to the end value,



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and press SHIFT + Down Arrow.



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Actually I would have to

do that twice in a row,



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in the case of this specific item.



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And then that's going to

set my start and end guides



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at 10 and 80 points, respectively,



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which is going to tell

Illustrator to stretch anything



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between the guides, but

never stretch anything



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outside the guides, and

that's going to be useful



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anytime your brush includes ornaments



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at the beginning or end, as

with an arrow head, for example.



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That's not what I want,

however, so I'll just set this



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to the middle option.



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Now presumably, you want your art brush



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to go in the direction

of the path outline,



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which is how things

are set by the default,



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but you could set it to move



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in a perpendicular

direction if you wanted to.



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Probably don't.



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So I'll just go ahead and

select this guy, as by default.



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You can choose to flip the

brush along the path outline,



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which is going to set it in

the other direction, or across.



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So again, you can play with those.



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Nine times out of 10 though,



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you want to leave all this stuff off.



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Notice this overlap setting right here,



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which is going to adjust

the corners and folds



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to prevent overlaps.



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That's a real great setting, by the way,



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so just go ahead and leave that guy on.



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In fact, the only

changes you need to make,



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besides naming your brush, is to change



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your colorization method to tints,



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which is going to work

better if your art brush



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is RGB black, that is a

rich black, as ours is.



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In which case, just go ahead and click OK.



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And now notice that the

brush appears at the end



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of the art brush list.



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Now you can drag it to a

different position if you want to,



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but for now I'm just going

to leave it where it is.



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All right. Now I'll marquee these shapes.



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You need to grab both

the black wiggly path



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and its transparent rectangle,



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and then drag it and drop

it into any old location,



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bear inside the brushes panel.



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Select art brush, click OK,

go ahead and call this guy



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chalk alt 2, change the

colorization method to tints,



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and then click OK.



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And you now have two custom art brushes.



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All right, now let's apply 'em to our text



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by turning this layer off

and turning the big type



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and base layers on.



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You may need to zoom out

just a little bit here,



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at which point I am seeing

the top right corner of my H,



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which is what I want.



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I'll go ahead and click on

the point type to select it,



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and then I'll switch

to the appearance panel



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and I'll select the bottom stroke,



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which is set to chalk round.



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And then I'll scroll down

my brushes list right here.



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I might expand it a little bit as well.



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And I'll select chalk alt 1.



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And notice when it happens.



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Right at that point, where we had a gap,



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we still have a gap, and that

tells me that is definitely



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the position at which

the H begins and ends.



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And you can look for

other problems as well.



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We have a little bit of

a gap there in the C.



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And the other one that's

obvious is over here



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on the letter K, and this

is the bottom right corner



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of the K, by the way.



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We've got a gap at this location.



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We would see a gap at a

bottom right corner of the R



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and the bottom left corner of the I,



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but they're covering each other up.



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All right, so let's go ahead and return



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to this region right here.



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Now you might figure that one solution is



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to click on the word stroke,

up here in the control panel,



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and change the cap to a projecting cap,



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because if those are end points,

that should fill things in.



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But, doesn't work, and changing

the corner to a round join,



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or even a bevel join, isn't

going to fix the problem either.



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The one and only fix is to

try a different art brush.



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All right, so let's go

ahead and try chalk alt 2.



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And notice this time around,



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we get a very different kind of problem



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that ends up repeating

itself to a small extent



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right here at this point on the C.



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And you're going to see some

problems down here below



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the intersection of the R and the I,



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as well as this area of the K.



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And the reason this is happening,



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that we're getting these

giant spikes flying off,



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is because those small edge

details right on either side



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of this brush are getting exaggerated,



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because the brush is getting stretched.



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So the question becomes what

in the world is the solution?



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And I will divulge exactly

that in the very next movie.