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- All right, in a previous chapter,



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I promised to show you how

to create that denim pattern,



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and we're going to use it not

only to create this background,



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but also to create this

ambitious pattern brush



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that's applied to a hand-drawn letter Z.



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All right, I'll go ahead and switch over



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to this blank document here,



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and the first thing I'm going to do



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is grab my rectangle tool,

and then I'll just go ahead



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and click any old place

inside the document window,



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and I'm looking for a rectangle

with a width of four points,



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and a height of 104 should us nicely,



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at which point, I'll click OK.



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Now, I really don't want any stroke,



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so I'll just go ahead

and change it to none,



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and I want the fill to be black.



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Now we want to create a

bunch of copies of this guy,



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so I'll press the V key to switch back



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to the black arrow tool,



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and I'll press the Enter key to bring up



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the Move dialog box, and I'm looking for



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a horizontal move of eight points,



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vertical should be set to zero,



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after which point, I'll

click the Copy button



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in order to make a copy of that path.



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Now we want 10 more copies,



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so you want to press Control

D, or Command D on a Mac,



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for duplicate, a total of

one, two, three, four, five,



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six, seven, eight, nine, 10 times.



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Now I'm going to go ahead

and marquee these shapes,



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and we want to give them a little bit



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of a random wiggle, and

the best way to do that



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is to go up to the Effect menu,



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choose Distort & Transform,

and choose the Roughen command.



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I'll go ahead and turn

on the Preview checkbox



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so we can get a sense for

what it's going to do.



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Now, that's ridiculous, so I'm going to



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back things off a little bit by switching



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from Relative to Absolute,

and then I'll take



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that size value down to three points,



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which determines how much

leeway the paths have



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when they're wiggling back and forth.



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Detail determines how many

different segments are added,



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and I'm going to go

ahead and take that guy



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up to 14 per inch, after which point,



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I'll click OK in order

to accept that change.



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Now we want to create another rectangle



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behind the other ones,

and we're going to do that



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using the rectangle tool, of course.



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Just go ahead and click, once again,



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and this time, I'm looking for a shape



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that's 100 points wide by 100 points tall,



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at which point, I'll click OK.



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Now, it's pretty hard

to tell what's going on



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when all the shapes are the same color,



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so I'll go ahead and change

this guy to bright red.



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We don't want to miss it.



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Then I'll right click

in the document window,



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choose Arrange, and choose Send to Back,



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or you have that keyboard shortcut



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of Control Shift Left Bracket.



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That's, of course, Command

Shift Left Bracket on a Mac.



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All right, I'm going to

zoom in a little bit,



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and I'm going to nudge this guy up



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so that it is entirely covering up



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the width of the black lines,



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and every single one of the black lines



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is exceeding the top

and bottom of the shape.



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All right, I'll go ahead

and call this layer Live Fx,



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because that's what it is,



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and now we're going to

create a copy of the layer



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by clicking on the flyout menu icon,



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and choosing Duplicate "Live Fx."



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I'll go ahead and hide the original one



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so I don't mess it up,



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and I'll call this guy

Expanded, let's say,



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and actually, I want to

change its color as well.



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I'll double click in an empty portion,



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and I'll go with Grass Green



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down here at the bottom, and click OK.



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Now, what you want to do is



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find the intersection of

all these paths outlines



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along with the square,

and so go ahead and click



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on one of the black shapes,



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and then see this guy right here?



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Select Similar Objects, click on it



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to select all the roughened rectangles.



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Now you want to go up to the Object menu,



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and choose Expand Appearance



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so that we have static path outlines.



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Then, finally, you want to

return to the Object menu,



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choose Compound Path, and choose Make,



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and that way, Illustrator regards them



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as a single path outline.



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Now Shift click on a red rectangle,



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go up to the Window menu, and

choose the Pathfinder command,



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and then I want to click on



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this third icon in the first row,



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but if I do that, I'm going

to lose my red rectangle,



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so I'm going to click out for a second,



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click on this guy again,

and press Control C



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or Command C on a Mac in order to copy it,



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just so that we can

bring it back if need be.



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Now Shift click on those black shapes,



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and I will definitely this time click



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on the third icon in the

first row, Intersect,



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in order to keep the portion

of that compound path



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that intersects the rectangle.



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Now, what I'm going to show you here is,



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if I drag this point, let's

say, all the way up here



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so that things are more

or less in alignment,



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and I drop this into

place, you can see that



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the shapes have a seam,

they are not continuous.



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So what we need to do is the following.



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I'm going to go ahead and back out,



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and then I will paste that

rectangle in back once again



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just so we can see what we're doing.



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Again, I want to zoom in, I want to be



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as close as possible here,



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and I'll press the A key to

switch to the white arrow tool,



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and I'll click on this shape right there,



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and I want this anchor point,



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and I'm going to drag

it over until it snaps



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into alignment with the

corner of the rectangle,



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and I'm going to do the

same down here, by the way,



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so it snaps into alignment,



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and then I want you to Shift

click on this guy up here



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so they're both selected,

and press Control K,



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or Command K on a Mac, and make sure



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your Keyboard Increment

is set to one point,



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by the way, and click OK.



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Now I'm going to press

the left arrow key twice,



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one, two, in order to nudge



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those anchor points two points in.



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Now I want to do the same thing

over on the left hand side,



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so I'll grab this anchor point



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and drag it until it snaps into alignment



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with the top left corner of the square,



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and I'll grab this guy until

it snaps into alignment



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with the bottom left corner.



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Then I'll Shift click on this one,



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and I'll press the right

arrow key twice in a row



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in order to nudge those

points inward like so.



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Now, what we're going to

do, and this is going to be



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a little bit of a precarious operation,



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you should be able to pull it off,



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you want to marquee all

these top points right here,



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but don't go any deeper,

just the top points,



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and make sure that you get

the first and last ones.



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Now, we don't want the red rectangle,



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so go ahead and Shift click on

it, maybe a couple of times,



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in order to turn it off.



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With all these top points selected,



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you want to go up here

to these alignment icons



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up here in the Control Panel,



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and click on Horizontal Distribute Center.



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Obviously, that's not the

effect I'm looking for,



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so I'll undo, and I'll click

on this guy right here,



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Align to Key Anchor,

that is not what we want.



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We want to Align to Selection.



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Now, go ahead and try clicking on



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Horizontal Distribute Center,



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and things should work out much better.



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Now we've distributed all of those points



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so that they are an identical

distance away from each other.



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Theoretically, if we do

the same thing down here,



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so go ahead and marquee

all the bottom points,



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and then Shift click a couple of times



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on the red square to turn it off,



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and click on Horizontal

Distribute Center once again,



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and that's going to go ahead

and move all the points



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with the exception of the extremes,



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the extreme left and right point.



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Now, if I press the V key to

switch to my black arrow tool,



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I should be able to just go ahead



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and select these black shapes right here,



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and now we can turn them into a pattern



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by going up to the Object menu,



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choosing Pattern, and choosing Make.



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If you loaded D Keys, you've

got a keyboard shortcut



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of Control M here on a

PC, or Command M on a Mac,



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which is going to go ahead and switch us



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to the Pattern editor, as well as bring up



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the Pattern Options panel.



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Now, notice these width and height values.



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The height value's fine.



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I want the width value, however, to be 100



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so that these guys are spaced a little bit



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away from each other, like so.



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Then notice that these guys

are lining up brilliantly



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up here at the top and the bottom



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thanks to our distribution.



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All right, now all you need

to do is name this pattern.



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I'm just going to call it Vertical Denim



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because we have these

vertical lines right here,



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and then I'll press the

Enter key to accept the name,



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and I'll press the Escape key in order to



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create that new pattern.



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Now I'll go ahead and turn

this expanded layer off,



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I'll hide the Pathfinder panel.



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That's just been sitting

there this whole time.



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And I'll press Control zero,

or Command zero on a Mac,



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in order to zoom out.



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Now I'll turn on the pattern layer,



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which contain a big white rectangle.



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Now, what you want to do is

click on that first color swatch



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up here in the Control Panel,



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and select Vertical Denim,



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and that gives you an idea

of what we have so far.



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Now, to my eyes, that looks

like we've got some problems,



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not because of the seams so much,



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these vertical seems right here,



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but because we have this big gaps,



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which is why we're going

to adjust this pattern



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to make it look way better

in the very next movie.