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- [Instructor] Alright, we're

going to end this project with



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a topic that frankly, has nothing to do



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with brushes whatsoever,



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and everything to do with blending.



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So, we're going to wrap things

up by taking that denim pattern,



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and we're going to blend it

throughout the entire artwork,



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to create this highly

consistent effect here.



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Alright, so let's start things off



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by twirling open the

base layer right here,



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and notice that it

contains a single rectangle



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and nothing more.



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Go ahead and unlock that

rectangle, and then,



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click on it in order to select it,



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as we're seeing here

inside the layer's panel.



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Now, you want to switch over

to the appearance panel,



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where you'll find a total

of four fills and no stroke.



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And so, I'm just going to go ahead



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and twirl these guys close for a second



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and turn off each one of the fills,



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except for the bottom one.



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And so notice, the bottom

fill is pretty boring.



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It's just a solid pale

blue and nothing more.



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Then, on top of that, I had the first copy



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of that tile pattern,



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which as I've been saying,



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I'll show you how to create

it in the next chapter.



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But I want you to see it

if I twirl it open here,



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that it does have a transform

effect assigned to it.



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So I've gone ahead and

scaled it down to 50%,



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and rotated it 90 degrees, and of course,



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only Transform Patterns is turned on,



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Transform Objects is turned off.



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And you can get a sense

for what this looks like



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without transform, just by turning it off.



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I'll also turn off the opacity setting,



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so that you can see that

it's ultimately a bunch



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of vertical black lines,



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set against a transparent background,



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so that we can see the

pale blue underneath.



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But, I wanted to reduce

its size a little bit,



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which is why I applied

the transform effect.



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And also notice that the

opacity is set to 100%,



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with the blend mode set to Soft Light.



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And I want you to see the difference here:



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had I set the blend mode to Overlay,



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I would've achieved a

much more colorful effect,



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which is not what I wanted.



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Whereas Hard Light would've

kept the black lines,



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that wouldn't have worked at all,



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which is why I went

with Soft Light instead.



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Alright, now notice this next fill,



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it is once again the tile pattern.



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This time, I set the transform

effect to the settings



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that we've used a few times

throughout this chapter,



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that is to say both scale

values are set to 77%



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and the angle value is -30 degrees,



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Transform Patterns is on,

transform objects is off.



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And again, I set the

blend mode to Soft Light,



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if I'd gone with Overlay,



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the effect would've been way too colorful.



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Alright, I'll go ahead

and undo that change.



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And now, I'll go ahead and press Ctrl+0,



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or Command+0 on a Mac to zoom out.



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And I want you to see this

final fill, it's a gradient.



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So if you were to see it,

it's set to the Normal mode,



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it would look nothing like

more than radial gradient,



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that goes from slightly dark

gray around the outside,



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to a little bit light gray in the center,



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and that just helps to add



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a little bit of a

vignette around the edges,



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especially when the blend

mode is set to Overlay.



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Alright, so now what we

want to do with the shape,



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is duplicate it to the top of the stack,



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by switching back to the Layers Panel.



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And now, you just want to

grab that layer right there,



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you can go ahead and press Ctrl+Shift+A,



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or Command+Shift+A on a Mac

to deselect the rectangle.



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And then, go to the

Layers Panel fly up menu,



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in the top right corner of the panel,



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and choose Duplicate Base.



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Now, we can go ahead and

twirl this guy close,



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might as well twirl

this guy close as well,



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and drag what it's now called Base Copy



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to the top of the stack.



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Go ahead and double-click on

an empty portion of the layer.



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I'm going to name this layer cap,



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and change its color, as

if that matters, to cyan,



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and then click OK.



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Alright, now you want to click

on this rectangle to select it,



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and then, go up to the word Opacity,



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up here in the Control Panel.



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Now, for some reason, the

blend mode is set to Overlay,



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even though we're not

seeing any interaction



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between this rectangle and any

of the path outlines below.



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And if something like

that ever happens to you,



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you can just switch it to

Normal, in which point,



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it might become obvious

what the problem is.



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In my case, that gradient

must still be selected.



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And so I'll switch over

to the Appearance Panel,



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and sure enough, the top fill is active,



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that's not what we want.



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So I'll press Ctrl+Z

or Command+Z on the Mac



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to undo that change.



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And then, I'll click on the word path,



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or you can drop down

to this opacity option



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at the bottom of the stack.



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But just for the sake of parity here,



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I'll make sure path is selected,



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then I'll click on the word Opacity,



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sure enough the blend is set to normal.



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Now, if I wanted to burn this texture



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into the artwork in the

background, I'd go with Multiply.



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But, that really does a

number on the brightness,



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so I decided that instead of Multiply,



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to go with Hard Light,



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which does a nice job

of merging that texture.



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And then, you want to

reduce the opacity value.



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And in my case, because I loaded Dkeys,



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I just tapped the 5 key to

reduce the opacity to 50%.



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Then, just to make sure

I didn't mess anything up



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from here on out, I switch

back to the Layers Panel



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and lock that top layer like so.



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Alright, and now I'm going to

press the F key a couple of times



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to switch to the full-screen mode



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and I'll go ahead and zoom in,



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so that we can see the way

that pattern texture moves



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to every single element of the artwork.



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And that's a least one

way to infuse your artwork



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with a consistent pattern

texture here inside Illustrator.