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- [Instructor] In this movie,



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I'll show you how to create

a perfectly waving line



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that will exactly translate



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to a seamlessly repeating pattern.



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I'm going to leave this diagram opened up,



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because I expect you to

memorize all these values,



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but because I'm going to

be referring back to it



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over the course of this movie.



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I'll start things off by

going up to the File menu



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and choosing New From Template,



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and then I'll go ahead

and load the template file



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that I created way back in chapter 5



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of the fundamentals course,



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which provides us with a

couple of center guides.



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Now I'll select the Line tool,



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which we'll use to draw the baseline



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and with my Smart Guides turned on,



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I'll go ahead and position my cursor



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at the intersection of

those two guidelines,



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and I will drag outword,

and also press and hold



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the Alt key, or the Option key on the Mac,



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so that I'm creating my

line from the center out



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and I'll go ahead and

snap it into alignment



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with the horizontal guide.



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And I'm looking for a length of, well,



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I don't really know at this point,



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but 750 should be fine.



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And then I'll go ahead and release.



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Now we want to waive the line



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and the best way to waive things



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in Illustrator is to

go to the Effect menu,



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choose Distort & Transform,

and choose Zig Zag.



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And just as you can see what I mean,



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I'll turn on the Preview checkbox



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and you can see that my

line is waving up and down,



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albeit with corners,

I want it to be smooth



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so I'll set the points to Smooth, like so,



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and you can see we get

these nice smooth waves now.



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I want them to be a little taller



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so I'll crank the size value up to 20.



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Now I want you to notice



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this Ridges per segment value right there,



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by default it's set to "4"



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Let's see what that means.



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I'm going to count from the

crest down to the valley,



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and each one of these transitions



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right here represents a single segment,



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so from the crest to

the valley is a segment,



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from the valley to the crest

is a segment, and so on.



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Which means that we have a

total starting at zero here



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of one, two, three, four, five segments.



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For our purposes, where

the segments are concerned,



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we have to add one to the

Ridges per segment value.



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And to make sure that's true,



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I'll go and crank this value up to 10,



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and now notice that we

have one, two, three, four,



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five, six, seven, eighth,

nine, ten, eleven segments,



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which is okay, that's

going to work out great.



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So I'll go ahead and click OK.



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Now let's switch back to the diagram.



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Remember that we're looking for a distance



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from the crest to the

valley of 150 points.



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And so to make our line long enough,



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we have to multiply a 150 times 11.



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So I'll switch back to our document so far



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and I'll click on the word Transform,



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up here in the control panel,



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and you want to make sure

that the center point



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is selected here inside

the Reference Point matrix.



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You also, and this is very important,



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you want to turn off

Scale Strokes & Effects



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because otherwise you're going to scale



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that first Zig Zag value, which

is going to mess things up.



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And having done that,

I'll go ahead and change



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the width value, which

in our case represents



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the length of the line to 1650,



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and I'll press the Enter key,



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or the Return key on a

Mac, to apply that change.



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And now, if you were

to measure the distance



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from the crest right here to the valley,



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you would see that it's

exactly a 150 points wide.



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All right, now, when I was first working



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through this project, I

decided I'd get clever



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and create a calligraphic brush.



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Because, after all, what we have here



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is a calligraphic brushstroke

that gets 10 points thick



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at its thickest point.



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I'll go ahead and switch

back to my artwork,



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and I'll go to the Window menu



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and choose the Brushes command,



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and then I'll drop down

to the little page icon



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at the bottom of the

panel, I'll click on it,



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and I'll go ahead and

accept Calligraphic Brush,



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which is the default

setting, and I'll click OK.



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Then, I'll set the Angle

value to negative 45 degrees,



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so that we're angling the

brush against the line.



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I'll set the Roundness value to "0%",



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so that we have the

highest degree of contrast,



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and I'll take the Size value

and crank it up to 10 points.



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And then, I'll go ahead and name this guy,



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let's say skinny 45 degrees,



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I don't really know how to enter



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the degree symbol offhand on the PC,



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so I'll just copy this one



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and paste it in there and click OK.



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And now I'll apply that brushstroke



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by clicking on "skinny 45°"

here inside the Brushes panel.



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And if I hide the panel and zoom in,



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you can see that this should give us



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exactly the effect we're looking for.



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The problem is that

calligraphic brushstrokes



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are a little bit random,

meaning that this crest



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isn't going to exactly match this one



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and that's going to result in seams.



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and I only know this because I worked



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through this entire project

and found it to be true.



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Which means we're going to have

to find a different approach.



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So, I'll press Control + Z,

or Command + Z on the Mac,



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to undo that change.



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And so I'm going to duplicate this edge



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to create another using

a Transform effect,



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and just so that we can see

the values I'm going to enter,



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I'll switch back to the diagram,



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notice in order to create a line



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that's up to 10 points thick,



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we have to move this edge seven points



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to the right and seven points down.



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And so I'll return to the Effect menu,



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choose Distort & Transform,

and choose Transform,



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or if you load the D keys

you have a keyboard shortcut



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of Control + E here on the

PC, or Command + E on the Mac,



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and now I'll just change

both of these move values



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to seven points, I'll take

the Copies value up to one



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and I'll turn on the Preview checkbox,



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and you can see we get exactly the effect



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we're looking for, at

which point I'll click OK.



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Now, the only problem is

I want this brushstroke



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to be centered at the guidelines,



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and that's just going to make

for a more predictable effect.



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And so I'm going to move the

brushstroke back into place



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by returning to the Effect menu



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and choosing the second

command, Transform,



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which will bring back the dialog box



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with its previously applied values.



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Now, it's very possible you'll get



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this alert message that's

asking you do you really



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want to apply another

instance of this effect?



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You do, so click the

Apply New Effect button,



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and then turn on the Preview checkbox



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just so we can see what we're doing.



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The fact that we have three lines,



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or what appears to be three lines now,



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is because of this Copies value,



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so I'll take it back down to zero,



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and then you want to change

both of the move values



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to negative, like so,

that's just going to move



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that bottom edge back where it was.



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So what you want to do is enter "/2"



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after each one of these values,



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and that's going to

translate to a movement



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of three and a half points,

both up and to the left,



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which is going to center

the stroke nicely,



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at which point click OK.



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All right, now I'm going to go ahead



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and rename this layer "live FX",



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because that's what we've applied so far.



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Ultimately, however, we

need to expand this wave



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and so we might as well do that right now



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by first duplicating this layer,



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so that we keep the live FX



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in case we have to reference them later,



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and you can do that by clicking

on the flyout menu icon,



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in the top right corner

of the layers panel,



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and choosing Duplicate "live FX".



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Now turn the originals off,



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just so you don't end up messing them up,



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and double-click on an empty

portion of this new layer.



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Let's go ahead and call it expanded



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because that's what it is,



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and I'll change the color to Violet,



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which will make the edges easy to see,



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and then I'll click OK.



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All right, now, you want

to go up to the Object menu



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and choose Expand Appearance,



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or if you load the D keys,



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you've got that elaborate

keyboard shortcut,



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which I find to be handy,



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Control + Shift + Alt + Right Bracket,



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that's Command + Shift + Option

+ Right Bracket on the Mac,



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you may find it useful as well.



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That's going to result in a group,



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as we can see on the far left

side of the Control panel,



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so I'll go up to the Object

menu and choose Ungroup,



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or you have that keyboard shortcut



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that I'll be using a just a

minute, of Control + Shift + G,



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or Command + Shift + G on the Mac,



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and the reason I'll be using

it is we still have a group



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because we had some nested

groups, for whatever reason.



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And so I'll press Control + Shift,



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or Command + Shift + G, again,



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at which point I can see

Path on the far left side



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of the Control panel, which

means everything is A-OK.



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Now, I'll change the stroke to None,



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and I'll click the fill

swatch and change it



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to the stark shade of

orange that begins "R=241".



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And that's giving us this kind

of weird double fill effect



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and that's because we actually have



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two path outlines at this point.



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If you want to join them together,



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then go up to the Object menu,



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choose Path and choose Join,



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or you can press Control +

J, or Command + J on the Mac,



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and that's going to join

two of the endpoints.



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If you want to join the

other two endpoints,



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press Control + G, or Command + G, again,



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at which point you will

have a filled Path outline.



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And notice now we have matching points,



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both at the crests and at the valleys,



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so these two anchor points right here



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are going to match up nicely with

these two anchor points here,



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which is exactly what we want,



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and also exactly what we wouldn't get



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if we had accepted the

calligraphic brushstroke.



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And that my friends is how you create



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a perfectly waving line that will result



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at a seamless tile pattern



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here inside Illustrator.