Yu can do this with the pen tool without the need to combine the lines
You start bey clicking with the pen tool and dragging upward then with the smart guides on you move the pen tool a distance you want the first wave to be and click and drag downward hold the shift key after you start drag to restrain the angle of the drag to 90º.
Then while the path is still selected place the pen too at a distance where want the return path to start the next wave and drg upward
Then place the pen tool while the path is still selected at the distance you want the wave to be
and so on. You can extend the ends of the paths by either select it with the direct select tool and dragging it downward or you can place the pen tool where you wan the path to extend to and clicking and then click the pen tool at the end of the existing path that will add to the path.
I tis best you do a search for a tutorial on how to use the ten tool and or purchase Mordy Golding's book Real World Illustrator CS(#)
Mordy has a way of writing about software that is extremely clear and very user friendly I had a lot of difficulties with Illustrator until I read a few passages written by Mordy that clarified the program for me.
You can then add a different stroke width or brush. When drawing a precision path I often use a thin stroke and ad to itlater.
If you wish to join the two paths (one of which may be a rotated copy of the other) (as) seemlessly (as possible), rather than having to create an entirely new path, it may be done.
You may, with Smart Guides on (keeping a copy of the original paths to prevent regrets):
1) Place them as closely as possible (as you have already), not necessarily exactly on top of each other;
2) Unless the Smart Guides say Intersect where you want to join them, add a horizontal path there, in the back;
3) For each path, with the Scissors Tool, cut where it says Intersect and delete the unwanted part, and delete the horizontal path;
4) For exact alignment, open the Align palette/panel to see Distribute Spacing, select both, then the one to stay, and then click Horizontal Distribute Space (with Auto or 0);
5) Object>Path>Join choosing Smooth.
The scissors tool definately helped. My line looks alot smoother. I might just have
to play with it to get it more accurate. I didnt understand the part about adding the horizontal line, but i did get good results. Thanks.
This works, but it doesnt answer my question fully. I need the curve to start heading upwards before it goes below the bottom of the first curve... if that makes sense. The design has a bottom to it, and that bottom is the opening of the first arch. In your example you make the second arch go below the "horizon" or whatever you want to call the bottom of the first arch. haha, there has to be a graphical term for that, but oh well. Thanks for the advice.
See the hard black line? That would be the bottom of the image. The curve cant go below that. I got these results with the scissors tool, which is closer to what i needed. I just need to do the same thing about 2-3 more times and then start changing the height of the arches and I think i will have a good base.
There's your answer!
Yes this method works very well also! Thanks for all the help!
The horizontal line was a means to overcome misalignment.
Depending on the desired regularity of the shape, you may create a more hand drawn appearance by creating one path with the Pen Tool, or you may create a highly symmetrical/regular one by using repetition of basically identical path segments. I understood from the OP that you wanted a high degree of regularity, based on the latter.
If that is the case, one extreme way is to use one path segment and repeat it by scaling, reflecting and rotating, with editing according to need and wish.
The swiftly made samples below are based upon the segment to the top left with just two Anchor Points, scaled to one half and one quarter, with and without the joining shown in the first two AWs, which have a swing to end the symmetrical W. In the third AW, the rightmost part of the W is identical to the leftmost part of the A (thin original), and scaled to 5/8; and shown over the leftmost part of the W (thin). In the fourth AW, the leftmost segment of the A is scaled to 3/4 (thin original).