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- Hey gang, this is Deke McClelland. Welcome to Deke's Techniques. Now last week, we created this wild optical illusion inside Illustrator that features all these devices competing for our attention, that are communicating with each other wirelessly via these tiny wifi and Bluetooth icons. And so I thought this week I'd follow up by showing you how to create one possible wifi symbol. And I say, one possible because there is no standard. There is an official wifi logo that looks something like this. This is a knock off that I found online. But, honestly, who cares? I'm not sure there's anybody who looks at this and says, oh yeah, a rounded rectangle plus two teardrops, equals wireless connectivity. We want something like this right here. Now, not to get too nerdy on you, but this is the symbol that's featured on iDevices, such as iPhones and iPads. And you can see, we've got a central circle that's masked, along with two arching bars, whereas if you're working on a Mac, you get three arching bars. But there's all kinds of other alternatives. You can see the entire circle in some cases. Or, you match the circle by adding round caps to the bars right there. And then, you can create an entire cell phone tower or something along those lines. I've seen this one on some PC laptops. And incidentally, if any of this interests you I am providing this as an exercise file, as an editable exercise file. It's an Illustrator document, and each one of these guys is expressed as a group. So have at it if you like. But, I'm going to create this one right here. Which one is it? This one, because it's the coolest, it's the simplest after all. Now it's so simple you may scoff at it. But while it is easy to put together; it's just three circles and a clipping mask, it's easy to put together roughly. What if you want to get the balance right? You want to balance the central circle with the other two, and you want to make sure these line weights match the negative space between them, and that the diagonal sides of the clipping mask are exactly 45 degrees, in which case here, let me show you exactly how it works. All right, here's our final version of the wifi symbol, open, of course, inside Illustrator. I'm going to start off inside this file, which has a couple of center guides. And I'm going to go over here to the Layers panel, drop down to the tiny page icon at the bottom of the panel and Alt or Option, click on it to bring out the Layer Options dialog box, and I'll call this guy wifi, and change the color to gold, just so it stands out. All right, now I'll click on Okay, and I'll go ahead and bring up the Shape tool fly out menu and select the Ellipse tool. And then I'll go up to the View menu, and make sure my Smart Guides are turned on, which in my case they are. And then I'll position my cursor over the intersection of these two center guides, and I will press the Alt key or the Option key on the Mac, and click to bring up the Ellipse dialog box. And I'm going to change the size of this guy to 150 points wide, as well as 150 points tall, so, we're looking for a circle, and I'll click Okay. Now I'm going to change the color of the fill to this guy right here, color two, which is a dark shade of blue, although you can go with any color you like. And then I'll also change the stroke to that same color, like so, and I'll crank the line weight value up to 50 points to produce this effect here. All right, now I'll press Ctrl-C, Ctrl-F, that's going to be Cmd-C, Cmd-F on the Mac, to copy the shape and paste it in front. All right, now I'll get rid of the fill for this particular shape by clicking on that very first swatch up here in the options bar, and setting it to none. And then I'll go up here to the Control panel, and notice these shape controls, which are available to those of you who are working inside Illustrator CC. Go ahead and link those two values together, and change either one of them to 350 points, and that'll update that other value as well, and that will end up with this effect here. And that's going to leave a 50 point gap between this outer stroke and the inner circle. All right, now we want to create another copy of this guy. And you can do that by changing the first value, the first shape value, up here in the Control panel to 550, but instead of pressing the tab key this time around, press Alt, Enter, that's going to be Option, Return on the Mac, in order to make a copy of this circle, as we're seeing here. All right, now I'm going to go ahead and select all these shapes. And just to make sure everything's the way it's supposed to be, I'll click on the word Transform, up here in the Control panel, and you want to make sure the center point is selected inside the tiny reference point matrix, and then confirm that the X value is 504 points, which is half the width of the artboard, and that the Y value is 336 points, which is half the height of the artboard. And so if those values aren't quite right, just go ahead and enter them. And now what we want to do is create a clipping mask. And the most surefire way to do that is going to be to select the Line Segment tool from the Line tool flyout menu, and then you want to move your cursor over the intersection of those two center guides once again, and Alt or Option, click in order to bring up this dialog box right here. And we're looking for a length value of about 420 points, should do it, and we want the angle to be 45 degrees, at which point click Okay to accept that change. Then, go ahead and click and hold on the Rotate tool, and select the Reflect tool from the flyout menu, and you want to Alt or Option, click right there on that bottom left anchor point. That's going to bring up the Reflect dialog box. Go ahead and set the axis to Vertical, is what we're looking for, and click the Copy button in order to create a copy of that path. All right, now go ahead and switch back to the black arrow tool, which you can get by pressing the V key, and Shift, click on the first diagonal line right there. We don't need this stroke to be so thick, and so we're going to be able to see better what we're doing if we take that line weight value down to let's say two points, and then you want to go ahead and join these paths together by going to the Object menu, choosing Path, and then choosing Join, or you can just press Ctrl, J, or Cmd, J on the Mac, and then you want to do it again. So this time I'll just press the keyboard shortcut, Ctrl, J, or once again, Cmd, J on the Mac. And that doesn't actually look like it's tall enough. That's going to end up clipping the top of that circle right there. So, I'll press the A key to switch to the white arrow tool, and then I'll click this top left anchor point, and I'll press Shift, up arrow a couple of times and Shift, left arrow a couple of times as well, and then I'll select this top right point, and press Shift, up arrow a couple of times, followed by Shift, right arrow twice in a row. And that way, we'll move the points upward, while ensuring that these diagonal segments remain at exactly 45 degrees. All right, now I'll press the V key to switch back to my black arrow tool, up here at the top of the toolbox, and I'll press Ctrl, A, or Cmd, A on the Mac to select all of my shapes, and then I'll go up to the Object menu, drop all the way down to Clipping Mask, and choose the Make command. And that will go ahead and mask all the circular shapes inside of that front-most triangle. All right, now I want to scale my artwork, so it takes up the entire artboard. And I'm going to do that by selecting the Scale tool, which you can get by pressing the S key, and then I'll move my cursor onto this anchor point, which is the top anchor point in the outer-most circle, and I'll Alt, or Option, click to bring up the Scale dialog box. Now we don't want the value to be this big. In fact, I'm looking for a uniform value of 200%. And notice because my Preview checkbox is turned on, I can see that it's scaling the circles, but I'm not scaling the strokes. So I have these big gaps in between, which is why I'm going to go ahead and turn on this checkbox, Scale Strokes & Effects, in order to create this effect here, at which point, I'll click Okay in order to accept that change. And then, I'll press Shift, down arrow three times in a row to nudge the artwork down 30 points, and then I'll turn off my Guides layer, and I'll deselect my artwork by pressing Ctrl, Shift, A, that's going to be Cmd, Shift, A on the Mac. And that's how you create a wifi symbol, specifically like the ones you see featured on Apple's iPhones and iPads, here inside Illustrator. All right now, if you're a member of Lynda.com, or LinkedIn Learning, I have a follow up movie in which I show you how to create what is ultimately the official Bluetooth logo, complete with what appears to be a rounded rectangle. It's actually a stretched oval. If you're looking forward to next week, why, I've got a doozy for ya. It's really great, but, you will need the most recent version of Photoshop or Illustrator CC, in which case, you have access to a font that you probably don't even know about, that goes by the name, Trajan Color Concept. It's a full color font that comes with all kinds of varieties, and it's a lot of fun. Now don't forget that there is also this file that's available to you with the exercise files. If you can't find it, come to deke.com, D, E, K, E.com, and download it for free. Now you'll have to be a member, but membership is free as well. We don't even ask you for your Facebook or social media information. You just create an account and a password, and you're good to go. We do ask a few questions, of course, such as your bank accounts and routing numbers, but otherwise, it's very easy. Deke's Techniques, each and every week. Keep watching.

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- Hey gang, this is Deke McClelland. Welcome to Deke's Techniques. This week, we are gonna take that artwork that was inspired by the cover of Madonna's MDNA album, which was created, I should say in part, at least, by the fashion photographers Mert and Marcus, and we are gonna add this text set in the font Didot, as I'll explain in just a moment, and styled with this pattern of vertical lines. Here, let me show you exactly how it works. All right. Here's that text made entirely of vertical lines, just so you have a chance to see it large and on screen. Now, for our purposes, we're best off using a font in the Didone family. And let me show you what that looks like. You can see the word Didone is spelled D-I-D-O-N-E. These are also known as the modern fonts, and they include examples like Adobe's New Caledonia, we've got Berthold Walbaum, and one of the best known fonts there is, Bodoni, which is available from a lot of different type foundries in a bunch of different styles. But the font I'm gonna use is Linotype Didot. And incidentally, Didot is spelled D-I-D-O-T, and I'll specifically be working with this style right here, Headline Roman. Now, this is a commercial font that you can by either from Linotype or Adobe. If you're looking for a free font, then you might wanna check out a site like Font Squirrel, which carries Theano Didot. And you can download and use that entirely for free. But here's the deal: if you go with a different font, you are going to encounter different results. All right. I'm gonna go ahead and switch back to Photoshop. And, just so we can better see what we're doing, I'm gonna turn off the model layer down here at the bottom of the stack, and then I'll scroll up to the top of the Layers panel and click on that topmost layer. Next I'll select the Type tool. And I'm gonna start things off by establishing a few formatting options up here in the Options bar. For starters, I'll click inside the font name and then I'll type in "D," followed by i, d, o, t. And that will allow me to see all the variations of Didot loaded on this system. The one I'm looking for is this guy right here, Didot LT, which stands for Linotype Standard Headline. Next, I'll change the type size to 134 points, which I just happen to know works inside this image, and I'll select the Center Text icon. Then I'll click inside the image window and I'm gonna enter some strange letters, tknqz, not only because that looks like the word techniques, but also because these five characters allow me to uniquely demonstrate how this technique works. Now I'll press control a, or command a on a Mac, to select all the text. And I'll bring up the Character panel by going up to the Window menu and choosing the Character command, or, when text is selected, you can press the keyboard shortcut control t, or command t on a Mac. Now I'll drop down to this kerning option right here. That's found below the type size. And I'll change it to Optical, just so that we have better character spacing. And then I'll turn on this All Caps icon, which, again, when text is selected, also has a keyboard shortcut of control shift k, or command shift k on a Mac. And now I can hide my character panel. Now, to accept what I've done so far, under Photoshop CC, I can press the Escape key. If you're working with Photoshop CS6 or earlier, you'll need to press the Enter key on the numerical keypad. All right. Now I wanna position my text. And it's gonna help to have a guideline. So I'll go up to the View menu and choose New Guide. And I'll change the orientation to horizontal, as you see it here, and then I'll dial in a value, a position value of 89%, which may seem weird, but obviously, I came up with this through trial and error. And now I'll click okay. And we have a horizontal guide near the bottom of the image. The next thing is to switch to the Move tool. And then, just go ahead and drag the text down until it snaps into alignment with that guideline. Now, it doesn't matter at this point if the text is horizontally centered, because the best way to horizontally center text is to press control a, or command a on a Mac, to select the entire image. And then go up to the Options bar and select the second to last Line icon, Align Horizontal Centers, and we have now managed to exactly center our type. All right. Now I'll press control d, or command d on a Mac, to deselect the image. Now, this next step is the most technical, which is why I've created a diagram to demonstrate how it works. And that's this guy right here. So you can see we've got this big letter N because it is the most illustrative of the letters in terms of trying to figure out what our vertical line pattern looks like. Because, after all, the N gives us two stems that are very thin. So they've got to be filled with white. And so imagine that we've got this alternating line pattern of white and black vertical lines, like so. We've got to have those white lines fall inside the stems of the N. Meanwhile, the black lines can go pretty much anywhere they want. So what we've gotta figure out is, how thick are the white lines, and then how thick are those black gaps between the white lines? And the best way to figure this out is to use the Rectangular Marquee tool. And now I'll go ahead and draw around this stem, the one over here on the left-hand side. You can use the right-hand one, if you want. Doesn't matter. And notice the heads-up display is telling me that the width of this line needs to be 8 pixels. And so that's something that you probably wanna write down. Just make sure that you understand that your white lines are 8 pixels wide. Now we need to figure out the distance between this white line and this one right here. So we've gotta figure out the distance between the stems. And to understand that, you wanna drag from the left side of this first stem to the left side of the other stem. Now, it seems like you'd wanna take it all the way to the right side of that stem. That's wrong because after all, we need this pattern to repeat within this range, between the left side of one stem and the left side of the other stem. And that range, as you can see indicated by the width value there in the heads-up display is 255 pixels. So, in other words, the white lines plus the black lines have to fit right inside this space right there, as indicated by this red rectangle. And so what we need to know in order to figure out how these guys are gonna repeat is what is the factor of that distance, the mathematical factor of 255? Now, a factor is a number that divides into 255. And of course, there's gonna be a lot of them, and you may not know what they are offhand. I mean, who does? Which is why the Internet is such a fantastic tool. So if I go ahead and switch back over here to Chrome, or whatever your browser is, create a new tab, and then just go ahead and type in "factors of 255," and press the Enter key, of course, in order to bring up your results. And it appears there's, you know, 23 million plus to choose from. I'll just go ahead and click on this first one right here. And it tells me, down here at the bottom of the screen, that the answers are 1, 3, 5, 15, 17 and so forth. Well, we want something that's roughly equal to twice eight because we want the black and white lines to be more or less the same width. And so we can either choose from 15 or 17. I decided to go with 15. And so I'll show you what that looks like. I'll switch back over to Photoshop here, and you can see now, if I switch to the next layer comp, that white + black = factor of 255 or, in our case, 15 pixels. And so these increments, by the way, are represented by the distances between one green line and the next. And you can see that distance is 15 pixels there in the heads-up display. So now that we know how thick the white lines are, and how thick our factor is, that is, the white plus the black lines, we can subtract one from the other in order to figure out that the black lines should be 15-8, or 7 pixels wide. All right. Now that we've gotten all the nitty-gritty math out of the way, let's actually build that pattern by switching back to the image at hand. And I'm gonna get rid of that guideline, just because it's distracting, by going up to the View menu and choosing Clear Guides. And now I'm gonna zoom in on the Q, just because it gives us a lot of black background to work inside of. And I'll select my Rectangle tool, which I can get from the Shape tool flyout menu, and then I'll press the d key followed by the x key, so that my foreground color is white. And I'll draw a rectangle that's eight pixels wide. And it really doesn't matter how tall it is. But I'll go ahead and make it 50 pixels tall, let's say. And notice that we end up with this white rectangle. Now, Photoshop CC sees fit to display the Properties panel every time you draw a rectangle, which is really irritating, in my opinion. If you find it irritating, as well, by the way, click on this little flyout menu icon and turn this first option off. And then you can go ahead and hide the Properties panel, knowing that it won't automatically pop up in the future. All right. Now you wanna switch back to the Rectangular Marquee tool, and you wanna select all of that white rectangle, like so, as well as seven pixels' worth of black. So in other words, in that heads-up display, you should see a width value of 15 pixels. All right. Once you've selected this region, go up to the Edit menu and choose Define Pattern. I'm gonna go ahead and call my new pattern "V lines," let's say, "8/7," 8 for the width of the white lines and 7 for the width of the black lines. And then I'll click Okay. And now you can click anywhere outside the selection to deselect the image. All right. I'm gonna go ahead and rename this rectangle, something like "8 px line," let's say. And then I'll go ahead and turn it off, because we no longer need it at this point. Next you wanna select your text and then just go ahead and zoom out a little bit so that you can see all of the letters. You might wanna zoom in just a bit. I g