- [Instructor] In this movie, I'll show you how to
riff off your pattern in order to create all kinds
of interesting variations.
And so the idea here is once you successfully achieve
a seamlessly repeating pattern, especially one as complex
as this, you really owe it to yourself to milk it
as much as you can, and as we'll see,
it really doesn't take that much time or effort.
All right, so I'm going to start things off
by selecting this folder of cold swatches right here
and getting rid of it by clicking on the trash icon
and then the Yes button, and that'll give us
a little more room to work,
and then I'll select the waving 300 by 300 pattern,
and as opposed to my double-clicking on it,
I'll make a copy of it by clicking on the little page icon
down here at the bottom of the Swatches panel
and I'll go ahead and call this one bulging 300 by 300
and I'll click OK.
All right, now I'll just go ahead and double-click
on the swatch into order to enter the pattern-editing mode.
I'm zoom in a little bit as well, and what I want to do
is select either one of these compound paths that make up
the vertical and horizontal waves, but that's a little hard
to do here inside the document window when you're working
inside of a clipping mask.
The easier solution is to go over to the Layers panel
and expand this object right here not by clicking
on its twirly triangle but by alt or option + clicking
and that way you'll expand everything.
All right, I'm going to go ahead and target these orange lines
right here by clicking on that circular meatball
in the right hand column of the Layers panel,
and with my black arrow tool selected,
I'll press the enter key or the return key on the Mac
to bring up the Move dialog box
and I'll change both the horizonal and vertical values
to 10 and then I'll click the Copy button
in order to create a copy of those paths like so,
and that's just going to fill in the gaps
while still leaving a little bit of blue in the background.
Now I'm going to change the fill color from orange,
and notice my fill is active here in the Swatches panel,
to the shade of purple that begins R equals 147,
but obviously, you can do anything you want.
All right, now I want to grab the white vertical lines.
Again, that's going to be easier to do here
inside the Layers panel by targeting
the second-to-top object because the topmost object
is that 300 by 300 point square that's making up
the clipping mask, so I'll go ahead and click on this guy
in order to select the white waves,
and I'll press the enter key or the return key on the Mac
to once again bring up the Move dialog box
and I'll click the Copy button or you can press alt + enter
here on the PC or option + return on the Mac.
All right, now I want to dim these guys down a little bit.
So I'm going to change their color to this shade of gray
right here in which all of the RGB values are 179,
which will give us this effect.
Now I'll press control + shift + a
or command + shift + a on the Mac to deselect the artwork,
and I'll press the escape key to accept my changes.
Now notice that I haven't upset my filled rectangle.
It's still filled with the first pattern,
and so I'll just go ahead and click on it to select it,
and then once again, because my fill is active
in the Swatches panel, I'll click on bulging 300 by 300
to produce this effect here.
So there really is no end to the variations you can apply.
For example, let's say you want to create
a black-and-white effect.
I'll go ahead and press control + shift + a
or command + shift + a on the Mac to deselect the rectangle
and I'll select that first swatch, waving 300 by 300,
and I'll make a copy of it
by clicking on the little page icon
and I'll call this guy B&W for black and white 1,
and I'll click OK, and then I'll double-click
on that new swatch here in the Swatches panel
to once again open the pattern editor.
All right, now I'll alt or option + click on this guy
and the reason I'm pressing the alt or option key
is because otherwise you have to click twice.
You have to click here in order to twirl open the pattern
and then you have to click here
to twirl open the clipping group,
so alt or option + clicking saves a small bit of effort.
And now I'll select both this guy, so I'll target
the orange stripes as well as the white ones,
so click on one meatball, shift + click on the other,
and I'll change the fill to black like so,
and then I'll just go ahead and turn off the blue rectangle
at the bottom of the stack and I'll press the escape key
in order to accept my change, and I'll select the rectangle
and change its fill to B&W 1, which produces this effect
right here.
All right, I'll press control + shift + a
or command + shift + a on the Mac to deselect the rectangle.
Notice that we get these implied highlights
in these loose areas of wave right here.
So going 45 degrees down and to right as I'm tracing along
with my arrow tool, but I think we can achieve something
even more interesting if we take bulging 300 by 300
and duplicate it by clicking on the little page icon,
and I'll call this guy B&W 2, and then I'll click OK,
and now I'll double-click on it to switch
to the pattern editor and I'll alt or option + click
on the twirly triangle to expand everybody right here
and I'm going to target every single one of these guys.
So I'll start by clicking on the meatball
for this wavy thing right there, and then I'll shift + click
on the meatballs going down to orange,
and I will change all of their fills to black,
and by the way, we're not really getting any kind
of interaction out of the overlay effect at this point
because the background is so very dark
but let's get rid of it by clicking on its eyeball
so that the background disappears, and then I'll press
control + shift + a, or command + shift + a on the Mac
in order to deselect my artwork.
Now notice that my color changes aren't represented here
inside the Layers panel until I twirl the clipping group
closed and then twirl it open again, at which point,
we do see some changes.
Now you can add some additional flavor to this
by turning on and off some of these items.
So if I turn off the second-to-top one,
notice this guy's the top one right there
and then this is the second-to-top,
if I turn that guy off, then I end up with all of these
horizontal lines flowing through my artwork.
If I want vertical lines, then I turn this guy back on
and turn let's say the bottom one off
in order to produce this effect.
I like it, so I'll just go ahead and press the escape key
in order to accept that change and I'll select my rectangle
once again and click on that very last swatch, B&W 2,
in order to achieve this effect here.
And now I'll press the f key a couple of times
in order to fill the screen with my artwork
and what I just think is amazing about this
is imagine if this is what you wanted in the first place.
How in the world would you even begin to approach this?
And yet, just by happy accident, this is an effect
we can achieve by riffing on our seamlessly repeating
wave pattern here inside the most powerful vector program
there is, Adobe Illustrator.