187

Chapter 8: Using Gradients, Blends,

and Patterns

F
illing artwork with patterns, gradients, To apply a graduated blend of colors as you would
multiple colors, and textures is easily apply any other color, you can create a gradient fill.
accomplished with Illustrator. You can fill You use the Gradient palette or the gradient tool to
an object or type with a pattern, or objects with apply a gradient; applying a gradient in this way
a gradient, much the way you apply a color. You does not transform the object. Creating a gradient
can also smoothly flow multiple colors in multiple fill is a good way to create a smooth color
directions within an object, using the gradient gradation across one or more objects.
mesh tool. Mesh objects can be manipulated for
In contrast, the gradient mesh tool transforms a
very detailed shifts in color. You can also blend
path object (or a bitmap image) into a single,
shapes, and modify the blends using standard
multicolored object. When an object is trans-
Illustrator editing techniques. Special effects, such
formed into a gradient mesh object, you create
as simulated ink pen hatching effects, can also be
smooth shifts in color that can be precisely
applied to artwork using the Pen and Ink filters.
adjusted and manipulated—the color is controlled
Illustrator provides a variety of ways to create by a mesh that can be moved and adjusted to vary
and apply patterns to artwork. You can create the color shift from one part of the object to
pattern tiles and save them in the Swatches palette. another. The gradient mesh tool provides the most
Patterns can also be applied to a path using the precise method for shifting colors within a single
brush tools. object.
You can create blends of colors and shapes
between objects using the Blend command or the
About gradients, gradient blend tool. Blending shapes and colors allows you
meshes, and blends to select the beginning and ending shapes and
Depending on the effect you want, you can choose colors, and have Illustrator create the intermediate
different ways to apply blends or color gradients to steps to create the final blend. You can also make
objects. changes to elements between the blending steps
and Illustrator will adjust the blends instantly.
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Creating and working with 3 To define the starting color of a gradient, click
the left square below the gradient bar and then do
gradient fills
one of the following:
A gradient fill is a graduated blend between two or
• Alt-click (Windows) or Option-click (Mac OS)
more colors or tints of the same color. You use the
a color swatch in the Swatches palette.
Gradient palette to create your own gradients and
—in combination with the Color palette and • Create a color using the sliders or the color bar in
Swatches palette—to modify existing gradients. the Color palette.
You can also add intermediate colors to a gradient • Drag a color from the Color palette or the
to create a fill defined by multiple blends among Swatches palette to the square below the gradient
colors. For details on using the Color palette and bar.
the Swatches palette when working with gradients,
see Chapter 7, “Working with Color.” Note: If you create a gradient between spot colors,
you must deselect Convert to Process in the
Gradient colors can be assigned as CMYK process Separation Setup dialog box to print the gradient in
color, RGB process color, or a spot color. When a individual spot color separations. (See “Printing
gradient is printed or separated, mixed-mode gradients as separations” on page 363.)
gradient colors are all converted to CMYK process
color. (See “Printing gradients, gradient mesh
objects, and color blends” on page 347.)

To create a gradient:

1 Select an object with a selection tool, and click

the Fill box in the toolbox to select the object’s fill.
A B C
2 To apply a gradient, do one of the following:

• Choose Window > Show Gradient, and click the A. Starting color B. Midpoint C. Ending color

Gradient Fill box at the upper left of the Gradient

palette. (If the Gradient Fill box is not displayed, 4 To define the ending color of the gradient, click
choose Show Options from the pop-up menu in the right square below the gradient bar. Then
the Gradient palette.) choose the color you want as described in step 3.

• Click the Gradient button in the toolbox.

• Click a gradient swatch in the Swatches palette.

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5 Choose Linear or Radial from the pop-up menu 7 Enter the angle of direction for the gradient in
to indicate the type of gradient you want. With a the Angle text box. The angle can range from -180
radial gradient, the beginning point of the to 180 degrees. (The angle option is not available
gradient defines the center point of the fill, which when a radial gradient is chosen.)
radiates outward to the endpoint. 8 To save the gradient, do one of the following:

• Drag the completed gradient from the Gradient

palette to the Swatches palette.
• Drag the gradient from the Fill box in the
toolbox to the Swatches palette.
• Click the New Swatch button in the Swatches
palette.
Linear and radial gradients

Modifying gradients
6 To adjust the beginning point or endpoint of the
You can modify gradients by adding colors to
gradient, drag the squares located below the bar.
make blends from multiple colors or by adjusting
To adjust the midpoint of the gradient (the point
the endpoints and midpoints of the gradients.
at which the colors are at 50%), drag the diamond
icon located above the bar. Gradient colors are defined by a series of stops in
the gradient bar. A stop is the point at which a
25% 50% 75%
gradient changes from one color to the next and is
identified by a square below the gradient bar. The
squares in the Gradient palette display the color
currently assigned to each gradient stop.
It’s a good idea to fill an object with the gradient
you plan to adjust so that you can preview the
effect on the artwork as you adjust the gradient.

25% 50% 75% To add intermediate colors to a gradient:

Gradient fills with midpoint at different percentages Do one of the following:

• Drag and drop a color from the Swatches palette
or the Color palette onto the gradient bar in the
Gradient palette.
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• Click anywhere below the gradient bar to define 4 Release the mouse button where you want to
another color square. You can then select a color define the endpoint of the gradient.
and adjust the square as you would any other
starting or ending color. To delete an intermediate
color, drag the square off the gradient bar.
For a color illustration of linear and multi-
color gradients, see figure 8-1 on page 231.

Adjusting gradients with the

Drag to set direction and length of gradient.
gradient tool
Once you have filled an object with a gradient, the To apply a gradient across multiple objects:
gradient tool lets you modify the gradient by
“repainting” the fill along an imaginary line you 1 Fill each object with a gradient using the
drag. This tool lets you change the direction of a Gradient palette, the Swatches palette, or the paint
gradient, change the beginning point and bucket tool.
endpoint of a gradient, and apply a gradient across 2 Select all of the objects.
multiple objects.
3 Select the gradient tool ( ).

To use the gradient tool: 4 Position the pointer where you want to define
the beginning point of the gradient, and drag
1 Select an object whose gradient you want to
across the objects in the direction you want the
modify.
gradient to be painted.
2 Select the gradient tool ( ).
5 Release the mouse button where you want to
3 Position the pointer where you want to define define the endpoint of the gradient.
the beginning point of the gradient, and drag
across the object in the direction you want the
gradient to be painted. Hold down Shift to
constrain the tool to multiples of 45 degrees.

Default gradient fill and gradient applied across objects

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Creating multicolored objects At the intersection of two mesh lines is a special

kind of anchor point called a mesh point. Mesh
with the gradient mesh tool
points appear as diamonds and have all of the
The gradient mesh tool, the Create Gradient Mesh same properties as anchor points but with the
command, and the Expand command can all be added capability of accepting color. You can add
used to transform an object into a mesh object. A and delete mesh points, edit the mesh points, or
mesh object is a single, multicolored object on change the color associated with each mesh point.
which colors can flow in different directions, and
transition smoothly from one point to another. Anchor points also appear in the mesh (differen-
tiated by their square rather than diamond shape),
By creating a fine mesh on an object and manipu- and can be added, deleted, edited, and moved as
lating the color characteristics at each point in the with any anchor points in Illustrator. Anchor
mesh, you can precisely manipulate the coloring of points can be placed on any mesh line; you can
the mesh object. You can also apply color to four click an anchor point and drag its direction lines to
mesh points at the same time by clicking the patch modify it. (See “About direction lines and
between them, to create broad color changes on direction points” on page 70.)
part of the object.
The area between any four mesh points is called
the mesh patch. You can also change the color of
the mesh patch using the same techniques as
changing colors on a mesh point.

B C

A D
Gradient mesh tool applied; highlights and colors added

About gradient meshes A. Anchor point

B. Mesh point
When you create a mesh object, multiple lines C. Mesh line
called mesh lines crisscross the object and provide D. Mesh patch
a way to easily manipulate color transitions on the
object. By moving and editing points on the mesh
lines, you can change the intensity of a color shift,
or change the extent of a colored area on the
object.
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Tips for creating mesh objects Creating a mesh object

You can create a mesh object out of any path Use the gradient mesh tool or the Create Gradient
object, or any bitmap image (such as a photo- Mesh command to convert objects to mesh
graphic image imported from Adobe Photoshop). objects. You can also use the Expand command to
There are a few important guidelines to keep in convert radial or linear gradient path objects into
mind when creating mesh objects: mesh objects.
• You cannot create mesh objects from compound
To create a gradient mesh object with the gradient
paths, text objects, or placed EPS files.
mesh tool:
• Once a mesh object has been created, it cannot
Choose the gradient mesh tool ( ) and click
be converted back to a path object. a filled object. The object is converted to a gradient
• When converting complex objects, use the mesh object with the minimum number of
Create Gradient Mesh command for the best mesh lines.
results.
To create a gradient mesh object with the Create
• When converting simple objects, use either the
Gradient Mesh command:
gradient mesh tool or the Create Gradient Mesh
command. However, if you want to add a highlight 1 Select a filled object.
to a particular spot, use the gradient mesh tool and 2 Choose Object > Create Gradient Mesh.
click at the point you want the highlight to appear.
3 Enter the number of horizontal rows of mesh
• To create a mesh object with a regular pattern of lines to create on the object in the Rows text box.
mesh points and mesh lines, use the Create
4 Enter the number of vertical columns of
Gradient Mesh command.
mesh lines to create on the object in the Columns
• When converting complex objects, Illustrator text box.
can add hidden anchor points to maintain the
5 Select the direction of the highlight from the
shape of a line. If you want to edit, add, or delete
Appearance pop-up menu:
one or more of these anchor points, use the add-
anchor-point tool or the delete-anchor-point tool. • To Center creates a highlight in the center of the
object.
• To improve performance and speed of
redrawing, keep the size of mesh objects to a
minimum. Complex mesh objects can greatly
reduce performance. Therefore, it is better to
create a few small, simple mesh objects than to
create a single, complex mesh object.
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• To Edge creates a highlight on the edges of the To add or delete mesh points and mesh lines:
object. 1 Select the gradient mesh tool ( ).
• Flat applies the object’s original color evenly 2 Do one of the following:
across the surface, resulting in no highlight.
• To add a mesh point colored with the current fill
color, click anywhere in the mesh object. The
corresponding mesh lines extend from the new
mesh point to the edges of the object. Clicking on
an existing mesh line adds a single intersecting
mesh line.
• To add a mesh point without changing to the
current fill color, press Shift and click.
Mesh object with the highlight appearance set to Flat,
To Edge, and To Center. • To delete a mesh point and the corresponding
mesh lines, Alt-click (Windows) or Option-click
6 Enter a percentage of white highlight to apply to (Mac OS) directly on the mesh point.
the mesh object. A value of 100% applies
maximum white highlight to the object; a value of To edit a mesh point:
0% applies no white highlight to the object. 1 Select the gradient mesh tool and click directly
on a mesh point. Direction lines appear on the
Creating a mesh object using the Expand command:
mesh point.
1 Select an object containing a radial or linear
2 Do one of the following:
gradient fill.
• Drag the direction lines to edit the mesh point as
2 Choose Object > Expand.
you would any anchor point. For more infor-
3 Select the Gradient Mesh option in the Expand mation about editing anchor points, see “About
dialog box and click OK. The selected object is direction lines and direction points” on page 70.
converted to a mesh object that takes the shape of
• Shift-drag a direction line to move all direction
the gradient, either circular (radial) or rectangular
lines from the mesh point at once.
(linear).
• Use the direct-selection tool, the convert-
selection-point tool, or the transformation tools to
Editing mesh objects edit mesh points.
Once you have created a mesh object, you can
adjust or edit its mesh points, anchor points, and
mesh lines. Anchor points can be added with the
add-anchor-point tool or deleted with the delete-
anchor-point tool on any mesh line.
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To move a mesh point: Adjusting colors on gradient mesh objects

1 Select the gradient mesh tool. Colors are added to gradient mesh objects using
2 Do one of the following: the Color palette, by dragging and dropping
colors, or by using the paint bucket tool. When
• Click a mesh point and drag to freely move the
you select and color a mesh point, the mesh point
point and the connecting mesh lines. and surrounding area are colored with the current
• Press Shift and drag the mesh point to constrain fill color. When you click over a mesh patch, all
the movement to follow a mesh line. This is a four mesh points surrounding the patch are
convenient way to move a mesh point along a colored. You can also use color filters to change the
curved mesh line without distorting the mesh line. color of mesh points. (See “Using filters to modify
colors” on page 176.)

Dragging to move mesh point and Shift-dragging with the

gradient mesh tool to constrain to mesh line
Adding color to a mesh point and to a mesh patch

Once color is applied to parts of a mesh object, you

can change the shape and extent of the colored
areas by editing the mesh points, anchor points,
and mesh lines. (See “Editing mesh objects” on
page 193.)
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To add color to a mesh point or mesh patch with the Blending shapes
Color palette:
The Adobe Illustrator blend tool and the Make
1 Select a mesh point or mesh patch with the
Blend command let you create a series of interme-
gradient mesh tool ( ) or the direct-selection diate objects and colors between two or more
tool ( ). selected objects. You can blend between two open
2 Do one of the following: paths (such as two different lines), between two
• In the Color palette, select a color using the
closed paths (such as a circle and a square),
sliders or the color bar. between gradients, or between other blends.
Depending on the way you paint the objects you
• In the Swatches palette, select a swatch. are blending, you can produce airbrush effects
such as complex shading, highlighting, and
To add color to a mesh point or mesh patch by
contouring. The Blend filters can also be used to
dragging and dropping:
blend colors between filled objects.
Do one of the following:
You can edit blends that you created by moving,
• Drag a color from the Color palette directly over resizing, deleting, or adding objects. After you
a mesh point or mesh patch and release the mouse make editing changes, the artwork is automatically
button. reblended.
• Drag a swatch color from the Swatches palette
directly over a mesh point or mesh patch and
release the mouse button.

To add color to a mesh point or mesh patch with the

paint bucket:

1 Select the paint bucket tool.

2 Click directly on a mesh point or a mesh

patch. The point or patch is colored with the
current fill color.
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About blending The following rules apply to blending shapes and

One of the simplest uses for blending is to create their associated colors:
and distribute shapes evenly between two objects. • You can blend between an unlimited number of
For example, you can create a series of evenly objects, colors, or gradients.
spaced bars using the blend tool or the Make Blend
• Blends can be directly edited with tools such as
command.
the selection tools, the rotate tool, or the scale tool.
• A straight path is created between blended
objects when the blend is first applied. You can edit
the blend path by dragging anchor points and path
segments. (See “Adjusting path segments” on
page 73.)
• You cannot blend between gradient mesh

Two objects selected objects.

• If you blend between one object painted with a
process color and another object painted with a
spot color, the blended shapes are painted with a
blended process color. If you blend between two
different spot colors, process colors are used to
paint the intermediate steps. If, however, you
blend between tints of the same spot color, the
steps are all painted with percentages of the
Blending distributes shapes evenly
spot color.

You can also blend between two open paths to • If you blend between two patterned objects, the
create a smooth transition between objects, or you blended steps will only use the fill of the object on
can combine blends of colors and objects to create the topmost layer.
color transitions in the shape of a particular • The Adobe Illustrator program automatically
object. calculates the number of steps in a blend, unless
you select Specify Steps in the Blend Options
dialog box.
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Creating blends To create a blend with the blend tool:

You create blends in Illustrator by clicking objects 1 Select the blend tool ( ).
with the blend tool, or by selecting objects with a 2 Click objects to blend in sequential order. If you
selection tool and using the Blend commands. want to blend to a specific anchor point on an
object, click the anchor point with the blend tool.
If you are blending open paths, select an endpoint
on each path.
3 When you are finished adding objects to the
blend, you can click the blend tool again to start a
new blend.

Click anchor point on first object with blend tool.

Then click anchor point on second object.
Multiple objects are clicked sequentially with the blend tool

Objects are blended relative to selected anchor

points on each blended object. If the objects are
unselected, or if you have only one anchor point
selected, Illustrator automatically selects the two
points from which the blend commences and
finishes. You can also select two or more anchor
points from which to blend by clicking anchor Result
points with the blend tool. By selecting different
anchor points on the objects, you can create the To create a blend with the Make Blend command:
effect of rotating the blend from one point in an 1 Select the objects to blend with any
object to a selected point in the next object. selection tool.
2 Choose Object > Blends > Make.
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To unmake a blend: To change the orientation of the blend to the path:

1 Select the blend with any selection tool. 1 Choose Objects > Blends > Blend Options.

2 Choose Object > Blends > Release. 2 Select from the following options:

• Click the Align to Page button to orient the

To change the number of steps between blends:
blend perpendicular to the x axis of the page.
1 Choose Object > Blends > Blend Options.
• Click the Align to Path button to orient the
2 Select from the following options in the Spacing blend perpendicular to the path.
pop-up menu:
• Specified Steps. Enter a value to specify the
number of steps between the start and end of
the blend.
• Specified Distance. Enter a value to specify the
distance between the steps in the blend. The
distance specified is measured from the edge of
one object to the corresponding edge on the next Align to Page option applied
object (for example, from the rightmost edge of
one object to the rightmost edge of the next
object).
• Smooth Color has the Adobe Illustrator
program autocalculate the number of steps for the
blends. If objects are filled or stroked with
different colors, the steps are calculated to provide
the optimum number of steps for a smooth color
Align to Path option applied
transition. If the objects contain identical colors,
or if they contain gradients or patterns, the
number of steps is based on the longest distance Creating blends on paths
between the bounding box edges of the two Once you create a blend, you can then apply the
objects. blend to a path. Applying a blend to a path is an
easy way to wrap a blend around an object or
create special effects in your artwork.
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The blend follows the contours of the path in the To reverse the stacking order of a blend on a path:
orientation specified in the Blend Options dialog 1 Select the blend.
box. If Align to Path is selected, the alignment of
2 Choose Object > Blends > Reverse Front to
the blend follows the contours of the path. If Align
Back. The objects are reversed in the stacking
to Page (the default setting) is selected, the blend is
order on the path, so that those objects on the
aligned with the x axis of the page.
frontmost stacking order are moved to the back of
To apply a blend to a path:
the stacking order, and vice-versa. (See “Stacking
objects” on page 123.)
1 Select a blend and hold down Shift to select
a path.
2 Choose Object > Blends > Replace Spine.

To reverse the order of a blend on a path:

1 Select the blend.

2 Choose Object > Blends > Reverse Spine. The

objects are ordered in reverse on the path.

Original and with Reverse Front to Back command applied

Editing blends
You can move, delete, transform, edit anchor
points and Bezier curves, or change colors on
blends, using any of the editing tools available in
the Adobe Illustrator program. When you edit a
blend path, the changes take place interactively
Original and with Reverse Spine command applied while you work.
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Blending colors between filled objects Creating and working with

The Blend filters create a series of intermediate patterns
colors from a group of three or more filled objects,
To create a pattern, you create artwork you want to
based on the objects’ vertical or horizontal orien-
use as a pattern and then drag the artwork to the
tation, or on their stacking order. The filters do not
Swatches palette or use the Edit > Define Pattern
affect strokes or unpainted objects. (See “Stacking
command. You can use paths, compound paths, or
objects” on page 123.)
text with solid fills (or no fill) for a pattern, or you
Applying a Blend filter to objects painted using a can design a pattern from scratch with any of the
mix of process and spot color, or a mix of color tools in the Adobe Illustrator program. (However,
models, converts the color to CMYK. you cannot use patterns, gradients, blends, brush-
strokes, gradient meshes, bitmap images, graphs,
placed files, or masks in a pattern.) You can
customize any pattern by resizing the pattern,
moving or transforming it, or coloring its objects.
Note: The Illustrator Extras folder on the Adobe
Illustrator CD includes pattern and texture libraries.
In addition, the Adobe Illustrator Startup file and
Original and with Blend Front to Back filter applied the Adobe Illustrator 8.0 > Libraries folder contain a
smaller collection of these patterns.
To blend colors between filled objects:
Patterns intended for filling objects (fill patterns)
1 Select three or more filled objects to blend. differ in design and tiling from patterns intended
2 Do one of the following: to be applied to a path with the Brushes palette
(brush patterns). For best results, use fill patterns
• To fill the intermediate objects with gradated
to fill objects and brush patterns to outline objects.
blends between the frontmost and backmost filled (See “Using the Brush Libraries” on page 98 and
objects, choose Filter > Colors > Blend Front “Creating corner tiles for brush patterns” on
to Back. page 206.)
• To fill the intermediate objects with gradated
blends between the leftmost and rightmost filled
objects, choose Filter > Colors > Blend Horizon-
tally.
• To fill the intermediate objects with gradated
blends between the topmost and bottommost
filled objects, choose Filter > Colors > Blend
Vertically.
 ADOBE ILLUSTRATOR 8.0 201
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How patterns tile 2 To make the pattern less complex so that it

When designing patterns, it helps to understand prints more rapidly, remove any unnecessary
how Adobe Illustrator tiles patterns: detail from the pattern artwork, and group objects
that are painted with the same color so that they
• Patterns tile from left to right from the ruler are adjacent in the stacking order.
origin (by default, the bottom of the artwork) to
3 Optionally, to control the spacing between
the top of the artwork. Typically, only one tile
pattern elements or to clip out portions of the
makes up a fill pattern. Brush patterns can consist
pattern, draw a pattern bounding box (an unfilled
of up to five tiles—for the sides, outer corners,
rectangle) around the artwork you want to use as a
inner corners, and the beginning and end of the
pattern. Choose Object > Arrange > Send to Back
path. The additional corner tiles enable brush
to make the rectangle the backmost object. To use
patterns to flow smoothly at corners.
the rectangle as a bounding box for a brush or fill
• Fill patterns tile perpendicular to the x axis. In pattern, fill and stroke it with None.
contrast, brush patterns tile perpendicular to the
4 Use the selection tool to select the artwork and
path (with the top of the pattern tile always facing
bounding box (if any) that will make up the
outward). Also, corner tiles rotate 90 degrees
pattern tile.
clockwise each time the path changes direction.
• Fill and brush patterns also tile differently in
relation to the pattern bounding box—an unfilled
and unstroked rectangle backmost in the artwork.
For fill patterns, the bounding box acts as a mask;
fill patterns tile only the artwork within the
pattern’s bounding box. In contrast, brush
patterns tile artwork within the bounding box and
protruding from or grouped with it.
5 Do one of the following:

Constructing simple patterns and • Choose Edit > Define Pattern, and enter a name
defining patterns in the New Swatch dialog box.
To create a pattern, you create artwork that you • Choose Window > Show Swatches, and then
want to use as a pattern tile and then drag it to the drag the artwork to the Swatches palette.
Swatches palette.
To name a pattern in the Swatches palette:
To create a pattern: 1 Double-click a pattern swatch.
1 Create artwork for the pattern following 2 Enter the new pattern name in the Swatch Name
“Guidelines for constructing patterns” on text box, and click OK.
page 202.
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Guidelines for constructing patterns • To make an organic or textural pattern appear

Follow these general guidelines for constructing irregular, vary the tile artwork subtly, not dramat-
pattern tiles: ically, for a more realistic effect. You can use the
Roughen filter in the Distort menu to control
• As you create your pattern tile, zoom in on the variations.
artwork to align elements more accurately, and
then zoom out from the artwork for the final
selection.
• For greatest efficiency in previewing and
printing, a fill pattern tile should be about 1/2 inch
to 1 inch square. Side tiles for brush patterns
should be no larger than 1/2 inch to 1 inch high by
1 inch to 2 inches wide; the corner tiles must be the Original and Roughen filter applied
same height as the side tiles and should be square.
• The more complex the pattern, the smaller the • To ensure smooth tiling, close paths before
selection used to create it should be; however, the defining the pattern.
smaller the selection (and the pattern tile it
• Enlarge your artwork view, and check for flaws
creates), the more copies are needed to create the
before defining a pattern.
pattern. Thus, a 1-inch-square tile is more efficient
than a 1/4-inch-square tile. If you are creating a • If you draw a bounding box around the artwork,
simple pattern, you can include multiple copies of make sure that the box is a rectangle, that it is the
the object within the selection intended for the backmost object of the tile, and that it is unfilled
pattern tile. and unstroked. To have Illustrator use this
bounding box for a brush pattern, do not fill or
• To create simple line patterns, layer stroked lines
stroke the box and make sure that nothing
of varying widths and colors and place an unfilled
protrudes from it.
and unstroked bounding box behind the lines to
create a pattern tile. Follow these additional guidelines when creating
brush patterns:
• When possible, confine artwork to an unpainted
bounding box so that you can control how the
pattern tiles. (See “How patterns tile” on
page 201.)

Corner tile and side tile

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• Corner tiles must be square and have the same To construct a geometric pattern:
height as side tiles to align properly on the path. If 1 Make sure that Smart Guides are turned on and
you plan to use corner tiles with your brush that the View > Snap to Point command has been
pattern, align objects in the corner tiles horizon- selected.
tally with objects in the side tiles so that the
2 Select the geometric object. For precise
patterns tile correctly.
positioning, use the selection tool positioned on
one of the object’s points.
3 Begin dragging the object vertically from one of
its anchor points; then press Alt+Shift (Windows)
or Option+Shift (Mac OS) to copy the object and
constrain its movement.
4 When the copy of the object has snapped into
Side tile place, release the mouse button and then release
Alt+Shift (Windows) or Option+Shift (Mac OS).
5 Shift-click to select both objects, and begin
dragging the objects horizontally by one of their
anchor points; then press Alt+Shift (Windows) or
Option+Shift (Mac OS) to create a copy and
constrain the move.

Incorrect corner tile and correct corner tile

• Create special corner effects for brush patterns

using corner tiles. (See “Creating corner tiles for
brush patterns” on page 206.)

Constructing geometric patterns

6 When the copy of the object has snapped into
To construct a geometric pattern that tiles
place, release the mouse button, and then release
uniformly, first construct a geometric object with
Alt+Shift (Windows) or Option+Shift (Mac OS).
a center point and paint the object. Then arrange
copies of the object in the pattern you want, select 7 Repeat steps 2 through 6 until you’ve built the
the artwork, and define it as a pattern tile by pattern you want.
dragging it to the Swatches palette. 8 Using the rectangle tool ( ), follow one of two
methods:
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• For a fill pattern, draw a bounding box from the To create an irregular texture:
center point of the upper left object to the center 1 Make sure that View > Snap to Point has been
point of the lower right object. selected.
• For a brush pattern, draw a bounding box that 2 Draw a bounding box. If you are creating a
surrounds the objects and coincides with their brush pattern, skip to step 13.
outer boundaries. If the pattern is to be a corner
3 Draw the texture with the objects or lines that
tile, hold down Shift as you drag to constrain the
intersect only the left side of the bounding
bounding box to a square. The bounding box
rectangle.
should surround the objects and coincide with
their outer boundaries. 4 Select the texture and the rectangle, and place
the pointer on the lower left corner of the
rectangle.
5 Drag the rectangle to the right; then press
Alt+Shift (Windows) or Option+Shift (Mac OS)
to create a copy and to constrain the move.

Bounding box for a fill pattern and for a brush pattern

9 Paint the geometric objects the desired color.

10 Define the geometric objects as a pattern,

following the procedure in “Constructing simple
patterns and defining patterns” on page 201. Draw texture on left side of bounding box. Then copy
texture and rectangle.

Constructing patterns with irregular When the upper left corner point of the copy snaps
textures to the upper right corner point of the bounding
You can create an irregularly textured fill pattern box, release the mouse button, and then release
that tiles seamlessly. Remember that fill patterns Alt+Shift (Windows) or Option+Shift (Mac OS).
clip any artwork outside the bounding box,
If you know the exact dimensions of the
whereas brush patterns do not. To create an irreg-
bounding box, you can select only the textures
ularly textured brush pattern, you should select
and use the Move command to specify a horizontal
and define as a pattern only the textured artwork
move the width of the rectangle. Be sure to click Copy
within the bounding box.
instead of OK in the Move dialog box.
 ADOBE ILLUSTRATOR 8.0 205
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6 Click outside the rectangle to deselect it. 10 When the upper left corner point of the copy

7 Select the right rectangle, and delete it.

snaps to the lower left corner point of the
rectangle, release the mouse button and then
Alt+Shift (Windows) or Option+Shift (Mac OS).
11 Deselect everything.

12 Select the lower rectangle and any objects that

don’t cross the top rectangle, and delete them.

Select the right rectangle and delete it to create identical

texture on right and left.

8 Using the pencil tool ( ), continue drawing

your texture with only the objects or lines that
intersect the top side of the rectangle. When you
Select the lower rectangle and delete it to create an identical
finish with the top side only, select all of the texture on top and bottom.
lines or objects crossing the top side and the
bounding box. 13 Using the pencil tool, fill the middle of the
9 Edit the corner tile so that its artwork lines up rectangle with your texture. Be careful not to
vertically and horizontally with the tiles next to it. intersect any of the rectangle edges. Paint the
Select and delete any portions of the tile that you texture.
do not want in the corner and edit the remaining
art to create the final outer corner tile.

14 Define the artwork and rectangle as a pattern,

Draw texture on top side of bounding box. Then copy following the procedure in “Constructing simple
texture and rectangle.
patterns and defining patterns” on page 201.
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Using Gradients, Blends, and Patterns

Creating corner tiles for brush patterns 6 Using the rotate tool, Alt+Shift (Windows) or
Corner tiles lend special border effects when Option+Shift (Mac OS) the lower left corner of
applying brush patterns. You can create corner the bounding box. Enter a value of 90 degrees, and
tiles from scratch, or you can use a brush pattern’s click Copy to create a copy flush left of the first tile.
side tile as the basis for designing complementary This tile becomes the corner tile.
outer and inner (reflected –135 degrees) 7 Using the selection tool, drag the left tile
corner tiles. down by the top right anchor point, pressing
Alt+Shift (Windows) or Option+Shift (Mac OS)
To create symmetrical corner tiles from a side tile: to make a copy and constrain the move so that you
1 Open a brush pattern file, supplied with Adobe create a third tile beneath the second. When the
Illustrator, that you want to use. copy’s upper right anchor point snaps to the
corner tile’s lower right anchor point, release the
2 Choose Window > Show Swatches. Select the
mouse button and Alt+Shift (Windows) or
tile you want to use, and drag it to the center of
Option+Shift (Mac OS).
your artwork.
You use the third copy for alignment.
3 If the tile does not have a square bounding box,
create a box that completely encompasses the
artwork, the same height as the side tile. (Side tiles
can be rectangular.) Fill and stroke the box with
None, and choose Object > Arrange > Send to
Back to make the box backmost in your artwork.
(The bounding box helps you align the new tile.)
4 Select the tile and the bounding box.
Rotate 90º and copy left tile. Then Alt-drag/Option-drag
5 Use the rotate tool ( ) to rotate the tile and its corner tile to make copy beneath it.
bounding box 180 degrees.

Pasted tile and tile rotated 180º

 ADOBE ILLUSTRATOR 8.0 207
User Guide

8 Select the artwork in the right tile. Drag it to 10 Select all of the tile including the
the left, pressing Alt+Shift (Windows) or bounding box.
Option+Shift (Mac OS) so that the artwork 11 Save the new pattern following the procedure
overlaps that in the corner tile. in “Constructing simple patterns and defining
patterns” on page 201.
12 Double-click the new pattern swatch to bring
up the Swatch Options dialog box, name the tile as
a variation of the original (for example, use the
suffix .outer), and click OK.

To create an inner corner tile:

Copy and move upper right tile over corner tile.
Do one of the following:

9 Edit the corner tile so that its artwork lines up • If the side tile for the brush pattern is horizon-
vertically and horizontally with the tiles next to it. tally symmetric (that is, if it looks the same when
Select and delete any portions of the tile that you flipped top to bottom), you can use the same tile
do not want in the corner and edit the remaining for the inner corner tile as for the outer corner tile.
art to create the final outer corner tile. • If the side tile for the brush pattern is not
horizontally symmetric, follow the same steps as
to create symmetrical corner tiles from a side tile,
but skip step 5 (rotating the tile by 180 degrees).

Unneeded elements selected and deleted; Final outer

corner tile
208 CHAPTER 8
Using Gradients, Blends, and Patterns

Modifying patterns To move all of the patterns within a file:

You can modify a pattern by editing the artwork 1 Choose View > Show Rulers.
and then replacing the old pattern in the Swatches 2 Move the selection pointer to the box in the
palette with the new artwork. If you replace an upper left corner where the rulers intersect.
old pattern with a new pattern, any new and
3 As you drag into the window, two intersecting
existing objects painted with that pattern are
painted with the new definition rather than with lines, indicating the ruler origin, follow the
the old definition. pointer. When the ruler origins are positioned as
desired, release the mouse button. (See “Changing
To modify an existing pattern: the ruler origin” on page 107.)

1 Make sure that nothing is selected in your

artwork. Transforming pattern-filled objects
2 Choose Windows > Show Swatches, and select If an object that you want to transform is
the pattern swatch you want to modify. filled with a pattern, you can choose to transform
only the pattern, transform only the object,
3 Drag the pattern swatch onto your artwork. or transform the pattern and the object simulta-
4 Select artwork in the pattern tile, an d edit the neously.
tile. (To do this, use the direct-selection tool or
Once you have transformed a fill pattern, all
group-selection tool, or ungroup the pattern.)
patterns that you subsequently apply are trans-
5 Select the pattern tile. formed the same way. To return fill patterns to
6 Alt-drag (Windows) or Option-drag (Mac OS) their original states, select another paint style and
the modified pattern on top of the old pattern then reselect the desired pattern.
swatch in the Swatches palette. The pattern is You can transform fill patterns using the dialog
replaced in the Swatches palette and is updated in box associated with a transformation tool.
the current file. Regardless of the method you choose, turning this
option on or off in any dialog box updates the
Moving patterns option in all dialog boxes. (See “Moving, copying,
and deleting objects” on page 117.)
Patterns begin tiling from the ruler origin and
continue to tile in a left-to-right sequence, from
bottom to top, until the object is filled. To adjust
where all patterns in your artwork begin tiling, you
can change the file’s ruler origin.
 ADOBE ILLUSTRATOR 8.0 209
User Guide

To transform a pattern and object using a Changing gradients, blends, and

transformation tool:
patterns into filled objects
1 Use the selection tool to select the pattern-filled
object. The Expand command can convert gradients,
blends, or patterns into filled objects. This
2 Double-click the transformation tool you want command can be particularly useful if you are
to use. having difficulty printing objects that contain
3 Select one or both of the following options: gradients, blends, or patterns. The Expand
command can also convert fills and strokes into
• Patterns to transform the pattern tiles.
individual objects, and can convert gradients into
• Objects to transform the object. mesh objects. (See “Creating a mesh object” on
4 Enter the desired transformation values in the page 192.)
text boxes and click OK.

To transform patterns using the mouse:

1 Select the pattern-filled object.

2 Hold down the tilde key (~) and drag.

3 Release the mouse button when the transfor-

mation is as desired. Original gradient and Expand command applied
Important: The borders of the object appear to be
transformed while dragging with the mouse, but
when the mouse button is released the borders snap
back to their original configuration, leaving only the
pattern transformed.

To select the Transform Pattern Tiles preferences

option:
Original pattern and Expand command applied
1 Choose File > Preferences > General.

2 Select Transform Pattern Tiles to select Pattern

Tiles automatically in the transformation dialog
boxes, and click OK.
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Using Gradients, Blends, and Patterns

To convert fills or strokes into objects: Using the Pen and Ink filters
1 Select a filled or stroked object, or an object that The Pen and Ink > Hatch Effects filter creates
has been both filled and stroked. textured gradations, such as cross-hatching, and
2 Choose Object > Expand. irregular random textures, such as wood grains,
that you can apply to artwork to simulate the look
3 Do one of the following:
of an ink pen drawing. A similar tool, called the
• To expand only the fill, select the Fill check box. Photo Crosshatch filter, can convert a bitmap
• To expand only the Stroke, select the Stroke photographic image into a series of hatched layers,
check box. so that it appears to be sketched by an ink pen. (See
“Using the Photo Crosshatch filter” on page 245.)
• To expand both the fill and the stroke, select
both check boxes.
4 Click OK.

To convert gradients, blends, and patterns into

objects:

1 Select objects that have been blends, or objects

that have been filled or stroked with a gradient or
pattern.
The Hatch Effects filter converts a selected object
2 Choose Object > Expand. into a mask and then draws lines or shapes behind
3 Do one of the following: it. The shapes created by the Hatch Effects filter are
objects and can require significant program
• If you are expanding a complex object, select the
memory. Thus, consider applying Pen and Ink
Object check box and click OK.
effects as the last step in creating your artwork:
• If you are expanding a gradient, select the Make the entire drawing and paint it as desired.
Specify Objects option, enter the number of steps Then apply the hatch effects.
to which you want to convert the gradient, and
click OK.
Hold down Alt (Windows) or Option
(Mac OS) as you choose Object > Expand
to expand a gradient using the last number of
steps entered in the Expand dialog box.
 ADOBE ILLUSTRATOR 8.0 211
User Guide

The hatch (or hatch style) is the design element of 3 Choose a hatch from the Hatch pop-up menu
the Hatch Effects filter. The particular options and an effect from the Hatch Effect pop-up menu.
associated with a hatch are called hatch settings. 4 To improve the program’s performance by
You can select from hatch settings supplied with turning off the hatch preview, deselect the Preview
the Adobe Illustrator program by using the Hatch option at the lower right of the dialog box.
Effects dialog box. You can also create your own
hatched designs by drawing or selecting an object, 5 To adjust the number of hatch elements applied
naming it as a hatch in the New Hatch dialog box, to the selection, drag the Density slider or enter
and then applying it to artwork by using the Hatch values in the text box. To intensify the effect, click
Effects dialog box. Try experimenting with a gradation within the density adjustment bar.
applying different hatches to your artwork before Original hatch
creating your own. Low High
value value

Applying a hatch effect

To apply a hatch effect to a selected object, you Density
choose a hatch setting and its associated hatch
style, modify the settings if desired, and apply
them through the Hatch Effects dialog box. The
Hatch Effects dialog box lets you adjust the hatch. Dispersion

To fill an object with an existing ink pen hatch:

1 Select the object you want to fill with a hatch.

Rotation
2 Choose Filter > Pen and Ink > Hatch Effects.

Scale

Thickness

Hatch concentration and direction

212 CHAPTER 8
Using Gradients, Blends, and Patterns

6 To specify hatch uniformity or design character- • Fade specifies whether the hatch fades across the
istics, adjust sliders or enter values for Dispersion, object. Choose the fade properties from the Fade
Thickness, Scale, or Rotation. pop-up menu: None for no fade, To White to fade
Enter an angle along which to apply the effect by the hatch to white, To Black to fade the hatch to
entering a value from -360 to 360 in the text boxes. black, or Use Gradient if the object is filled with a
Then drag the slider or enter values in the text gradient and you want that gradient to define the
boxes to specify a range, as follows: fade’s direction and colors.

• Dispersion, which controls the spacing of hatch

elements, ranges from 0% to 300%.
• Thickness, or stroke weight, of the hatch
elements ranges from 10 pts to 1000 pts. (This
option is dimmed if the selection is unstroked.) A B C

• Scale, which sets the size of the hatch elements,

ranges from 10% to 1000%.
• Rotation, which sets the angle at which the hatch
elements are applied, ranges from –180 degrees to
180 degrees.
D E F
7 Use the dial or text boxes to enter a value
between -360 and 360 for effect variables as A. Original hatch B. Constant C. Linear D. Reflect
E. Symmetric F. Random
follows:
• Linear increases the effect progressively. 8 Select from the following color options for the
• Reflect varies the effect from the center of the hatch:
object outward. • Match Object’s Color changes the hatch fill to
• Constant creates the same effect evenly across the selection’s fill.
the shape. • Keep Object’s Fill Color applies the hatch in its
• Symmetric varies the effect proportionately and original color on top of the object’s fill color.
evenly, for example, if applying hatches to round 9 When you finish adjusting the hatch options,
or cylindrical shapes. click OK.
• Random applies the effect irregularly.
 ADOBE ILLUSTRATOR 8.0 213
User Guide

Creating and saving hatches To save hatch settings:

You can create and save your own hatches or 1 Choose Filter > Pen and Ink > Hatch Effects.
modify existing hatches and save them for reuse. 2 Specify the hatch settings and any style options
To save hatches, you use either the New Hatch or you want to save.
the Hatch Effects dialog box.
3 To save the settings in the file, click New. Enter a
To create a hatch: new name for the settings, and click OK.

1 Draw the objects you want to convert to a hatch

To delete hatch settings:
design for the ink pen effect.
1 Choose Filter > Pen and Ink > Hatch Effects.
2 Select the artwork.
2 Select the hatch settings and any style options
3 Choose Filter > Pen and Ink > New Hatch. you want to delete.
4 Click New. Enter a name for the new hatch and 3 Click Delete, and then click OK.
click OK.
5 To improve the program’s performance, To delete an existing hatch:
deselect Preview to turn off the preview of the 1 Choose Filter > Pen and Ink > New Hatch.
hatch and click OK.
2 Choose a hatch from the Hatch pop-up menu.

To modify an existing hatch: 3 Click Delete, and then click OK.

1 Make sure that nothing is selected in the
artwork. Using Pen and Ink hatch libraries
2 Choose Filter > Pen and Ink > New Hatch. When using the Hatch Effects filter you may want
to import hatches that you previously created in
3 Choose a hatch from the Hatch pop-up menu.
Illustrator, or save the current set of hatches you
4 Click Paste and then click OK. made into a hatch library. Hatch libraries are
5 Edit the hatch as desired, and then select it. stored in the Illustrator 8.0 \ Plug-Ins \ Illustrator
Filters \ Ink Pen folder.
6 Choose Filter > Pen and Ink > New Hatch.

7 Click New. Name the new hatch and click OK.

Once you have opened a hatch library, all the
hatches in the library are loaded into the Hatch
Effects dialog and can be viewed in the Hatch
Effect pop-up menu at the upper left corner of the
dialog.
214 CHAPTER 8
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To load a pen and ink hatch library into Illustrator:

1 Choose Filter > Pen and Ink > Library Open.

2 In the dialog box, locate the hatch library you

want to open and click OK. The hatch libraries are
located in the Illustrator 8.0 \ Plug-Ins \ Illustrator
Filters \ Ink Pen folder.
Once the new library has been loaded, use the Pen
and Ink filter as described in “Applying a hatch
effect” on page 211.

To save new hatches in an ink pen library:

1 Create new hatches as described in “Creating

and saving hatches” on page 213.
2 Choose Filter > Pen and Ink > Library Save As.

3 In the dialog box, name the new file, save it in

the Illustrator 8.0 \ Plug-Ins \ Illustrator Filters \
Ink Pen folder, and click OK.