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- [Instructor] In this

movie, I'll show you how to



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riff off your pattern in

order to create all kinds



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of interesting variations.



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And so the idea here is once

you successfully achieve



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a seamlessly repeating pattern,

especially one as complex



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as this, you really owe

it to yourself to milk it



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as much as you can, and as we'll see,



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it really doesn't take

that much time or effort.



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All right, so I'm going

to start things off



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by selecting this folder

of cold swatches right here



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and getting rid of it by

clicking on the trash icon



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and then the Yes button,

and that'll give us



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a little more room to work,



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and then I'll select the

waving 300 by 300 pattern,



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and as opposed to my

double-clicking on it,



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I'll make a copy of it by

clicking on the little page icon



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down here at the bottom

of the Swatches panel



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and I'll go ahead and call

this one bulging 300 by 300



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and I'll click OK.



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All right, now I'll just

go ahead and double-click



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on the swatch into order to

enter the pattern-editing mode.



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I'm zoom in a little bit as

well, and what I want to do



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is select either one of these

compound paths that make up



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the vertical and horizontal

waves, but that's a little hard



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to do here inside the document

window when you're working



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inside of a clipping mask.



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The easier solution is to

go over to the Layers panel



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and expand this object

right here not by clicking



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on its twirly triangle but

by alt or option + clicking



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and that way you'll expand everything.



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All right, I'm going to go ahead

and target these orange lines



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right here by clicking

on that circular meatball



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in the right hand column

of the Layers panel,



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and with my black arrow tool selected,



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I'll press the enter key or

the return key on the Mac



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to bring up the Move dialog box



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and I'll change both the

horizonal and vertical values



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to 10 and then I'll click the Copy button



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in order to create a copy

of those paths like so,



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and that's just going to fill in the gaps



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while still leaving a little

bit of blue in the background.



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Now I'm going to change

the fill color from orange,



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and notice my fill is active

here in the Swatches panel,



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to the shade of purple

that begins R equals 147,



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but obviously, you can

do anything you want.



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All right, now I want to grab

the white vertical lines.



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Again, that's going to

be easier to do here



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inside the Layers panel by targeting



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the second-to-top object

because the topmost object



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is that 300 by 300 point

square that's making up



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the clipping mask, so I'll go

ahead and click on this guy



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in order to select the white waves,



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and I'll press the enter key

or the return key on the Mac



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to once again bring up the Move dialog box



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and I'll click the Copy button

or you can press alt + enter



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here on the PC or option

+ return on the Mac.



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All right, now I want to dim

these guys down a little bit.



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So I'm going to change their

color to this shade of gray



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right here in which all

of the RGB values are 179,



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which will give us this effect.



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Now I'll press control + shift + a



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or command + shift + a on the

Mac to deselect the artwork,



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and I'll press the escape

key to accept my changes.



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Now notice that I haven't

upset my filled rectangle.



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It's still filled with the first pattern,



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and so I'll just go ahead

and click on it to select it,



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and then once again,

because my fill is active



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in the Swatches panel, I'll

click on bulging 300 by 300



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to produce this effect here.



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So there really is no end to

the variations you can apply.



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For example, let's say you want to create



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a black-and-white effect.



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I'll go ahead and press

control + shift + a



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or command + shift + a on the

Mac to deselect the rectangle



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and I'll select that first

swatch, waving 300 by 300,



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and I'll make a copy of it



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by clicking on the little page icon



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and I'll call this guy

B&W for black and white 1,



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and I'll click OK, and

then I'll double-click



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on that new swatch here

in the Swatches panel



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to once again open the pattern editor.



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All right, now I'll alt or

option + click on this guy



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and the reason I'm pressing

the alt or option key



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is because otherwise

you have to click twice.



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You have to click here in

order to twirl open the pattern



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and then you have to click here



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to twirl open the clipping group,



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so alt or option + clicking

saves a small bit of effort.



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And now I'll select both

this guy, so I'll target



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the orange stripes as

well as the white ones,



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so click on one meatball,

shift + click on the other,



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and I'll change the fill to black like so,



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and then I'll just go ahead

and turn off the blue rectangle



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at the bottom of the stack

and I'll press the escape key



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in order to accept my change,

and I'll select the rectangle



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and change its fill to B&W

1, which produces this effect



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right here.



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All right, I'll press control + shift + a



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or command + shift + a on the

Mac to deselect the rectangle.



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Notice that we get

these implied highlights



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in these loose areas of wave right here.



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So going 45 degrees down and

to right as I'm tracing along



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with my arrow tool, but I

think we can achieve something



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even more interesting if

we take bulging 300 by 300



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and duplicate it by clicking

on the little page icon,



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and I'll call this guy B&W

2, and then I'll click OK,



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and now I'll double-click on it to switch



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to the pattern editor and

I'll alt or option + click



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on the twirly triangle to

expand everybody right here



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and I'm going to target every

single one of these guys.



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So I'll start by clicking on the meatball



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for this wavy thing right there,

and then I'll shift + click



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on the meatballs going down to orange,



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and I will change all

of their fills to black,



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and by the way, we're not

really getting any kind



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of interaction out of the

overlay effect at this point



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because the background is so very dark



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but let's get rid of it

by clicking on its eyeball



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so that the background

disappears, and then I'll press



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control + shift + a, or

command + shift + a on the Mac



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in order to deselect my artwork.



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Now notice that my color

changes aren't represented here



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inside the Layers panel until

I twirl the clipping group



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closed and then twirl it

open again, at which point,



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we do see some changes.



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Now you can add some

additional flavor to this



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by turning on and off some of these items.



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So if I turn off the second-to-top one,



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notice this guy's the top one right there



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and then this is the second-to-top,



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if I turn that guy off, then

I end up with all of these



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horizontal lines flowing

through my artwork.



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If I want vertical lines,

then I turn this guy back on



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and turn let's say the bottom one off



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in order to produce this effect.



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I like it, so I'll just go

ahead and press the escape key



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in order to accept that change

and I'll select my rectangle



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once again and click on that

very last swatch, B&W 2,



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in order to achieve this effect here.



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And now I'll press the

f key a couple of times



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in order to fill the

screen with my artwork



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and what I just think

is amazing about this



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is imagine if this is what

you wanted in the first place.



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How in the world would you

even begin to approach this?



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And yet, just by happy

accident, this is an effect



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we can achieve by riffing

on our seamlessly repeating



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wave pattern here inside the

most powerful vector program



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there is, Adobe Illustrator.