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- [Instructor] In this movie,

I'll show you how a create



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a new pattern from an existing one.



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Actually, I'll show you how

to create two new patterns



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from existing ones, and

in two different ways,



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and this can be useful when

you want to refine a pattern



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without ruining the original,

which is a great way to work



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by the way.



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Your future self will thank you later.



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All right, so as any

2001 aficionado knows,



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this drawing of HAL is bogus.



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The pupil of his eye shouldn't be white.



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It should be yellow.



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Plus, we need to add these

additional reflections.



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So I'll go ahead and switch

back to my file at hand,



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and I'm going to turn off the

pattern layer for a moment



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and zoom on in on the eye

that I've drawn so far,



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and you might as well make

all of your modifications here



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inside the actual illustration, that way,



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you'll still have all

of your live effects,



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because as you'll see,

when we paste these effects



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into the pattern, they

end up getting rasterized.



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All right, so I'll go ahead

and select this central pupil



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right here, the aperture of

the camera that is the eye,



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and I'll go to the Window

menu and choose Gradient



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in order to bring up the Gradient panel,



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and I'll twirl this guy open.



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Make sure that the fill is active,



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and then go up to your Swatches panel



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and drag RGB yellow all the

way down to the far right side



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of this gradient ramp, so

that we're creating a white



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to yellow gradient.



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All right, currently this

is a linear gradient,



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which is not what we want,

so I'll change the type



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from Linear to Radial,

and now I want to go ahead



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and change the location

of this yellow color stop,



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so I'll make sure it's selected,



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then I'll change the location value to 50%



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and I'll press the enter key

or the return key on the Mac,



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and that's going to seem

like a pretty subtle effect



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until I press control + h,

or command + h on the Mac,



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to hide the selection edges,

and you can see that we have



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just a little bit of whiteness

right there at the center,



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which is, for what it's worth,

the way it is in the movie.



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All right, now I'll unhide the

edges by pressing control + h



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or command + h again, and

I'll press control + c



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or command + c on the Mac in

order to copy that circle.



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All right, now what we want to do



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is modify this pattern swatch,



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but you don't want to

click on it right now



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because if you do, you'll end

up filling that little circle



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with the pattern, which as

a result of the alignment,



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is kind of duplicating this

area right here into the circle.



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Of course, that's not what we want,



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so I'll press control + z,

or command + z on the Mac,



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to undo that change, and I'll

press control + shift + a,



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or command + shift + a

on the Mac, to make sure



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nothing is selected,

that's very important,



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and then go ahead and double-click

on this pattern swatch



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in order to enter the

pattern-editing mode.



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All right, now go ahead and

click on the existing pupil



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and you'll see this big

rectangle which is showing you



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that the pupil has been rasterized.



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It's showing up as a group

over here on the left side



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of the control panel, but

if you were to ungroup it



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by going to the Object

menu and choosing Ungroup,



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then you would see that it's an image,



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and if you were to

click on the word Image,



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you would see this icon

over here that indicates



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its an embedded image as

opposed to a linked one.



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Whatever, it's a pixel-based

image which isn't something



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that you can edit very

effectively inside Illustrator.



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So I'm just going to

press the backspace key



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or the delete key on the

Mac to get rid of it,



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and then I'll press control +

f, or command + f on the Mac,



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in order to paste this guy in

front, and notice currently,



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this is a vector-based path outline.



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In fact, the left side of the

control panel is telling us



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that it's an ellipse,

and if I were to bring up



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the Appearance panel, and

forgive me for a second,



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I'm just going to make a

little more room by switching



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to the Stroke panel there.



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Then I'll switch over

to the Appearance panel



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and you can see that we

have this live effect,



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Gaussian blur.



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The thing is, that's not

going to stick over time,



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and we'll see that happen

in just a moment, but first,



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I'm going to switch to the outline mode,



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by going up to the View

menu and choosing Outline,



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or of course you can press control + y,



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or command + y on the Mac,

and the reason I'm doing this



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is to demonstrate that

this guy is off-center.



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Even though I pressed control

+ f, or command + f on the Mac



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in order to paste it in

the front, it didn't work,



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and that's because the

pattern and the illustration



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aren't necessarily exactly

aligned with each other,



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and so I'm just going to drag

this guy by its center point



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so it snaps into alignment

with the center of the rest



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of the circles, and then

I'll press control + y



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or command + y on the Mac to

switch back to the preview mode



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and I might as well zoom out a little bit



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so that we can take in more of the eyes.



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All right, now if you

were to just escape out,



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then you would save over

the original HAL pattern,



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but let's say that's

not what I want to do.



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I want to essentially perform a Save As.



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Then you would go up to

this button right here



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called Save a Copy, and click on it,



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and go ahead and name

this guy HAL 2, let's say,



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and click OK, after which point,



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you're going to see a couple

of important alert messages.



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Now first you're going to see this one



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that tells you that some

special kinds of objects



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are going to be expanded,

including symbols, effects,



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which we have here, the

Gaussian blur effect,



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plugin groups, whatever

those are, nested patterns,



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so patterns inside of other patterns,



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strokes that are aligned inside

or outside of a path outline



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so all your strokes have

to centered, or graphs,



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which we'll see in a future chapter.



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Now that list doesn't

quite include everything.



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As you may recall from the previous movie,



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blends and gradient

strokes are also expanded.



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All right, so this is

just something important



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to bear in mind.



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You could say Don't Show

Again, but I wouldn't



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because this is an important message.



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I would just go ahead and

click OK, after which point,



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we're going to see an even

more remarkable message



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in my opinion, that's telling

you a pattern has been added



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to the Swatches panel,

fine, there it is, but also,



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any additional changes made



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while in the pattern-editing

mode will be applied



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to the original pattern, not to the copy.



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This is very important,

so go ahead and click OK.



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Notice here in the Pattern Options panel



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that we're still working

on the original HAL pattern



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and it now has yellow

pupils as you can see



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inside this preview, and so

if I were to just click Done



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or press the escape

key, then I would end up



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overriding the original pattern,

which is not what I want,



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so instead what you want

to do is click Cancel,



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and believe it or not that's

going to do exactly what you want.



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So notice if I switch

back to the Layers panel



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and turn on the pattern layer like so,



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that big rectangle is not

affected and that's because



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it's still linked to the original pattern.



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If you want to update it,

then go ahead and click on it



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to select it, and then,

with the fill active,



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select HAL 2 here in the Swatches panel,



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and you will see all

those pupils turn yellow.



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All right, so that's one

way to create a new pattern



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based on an existing one but

there's actually a better way



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to work, as I'll show

you in the next movie.