Alluring Diversity for Classic Repeat Patterns Using Illustrator and Photoshop to Enhance Patterns | Delores Naskrent | Skillshare

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Alluring Diversity for Classic Repeat Patterns Using Illustrator and Photoshop to Enhance Patterns

teacher avatar Delores Naskrent, Creative Explorer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (55m)
    • 1. Intro Alluring Diversity for Classic Repeat Patterns using AI and PS

    • 2. Introduction and Overview

    • 3. Moroccan Trellis 2 Methods

    • 4. Watercolor Fill with Clipping Masks

    • 5. Creating Motif Variety with Varied Methods

    • 6. Additional Motif Development with Overlays

    • 7. Transformation Template Pattern Repeat with Gold Foil Border

    • 8. Varied Quatrefoil Fills and Textures

    • 9. Wrap Up and Conclusion

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About This Class

Hello, my friends! Thank you for your interest in this class which is part of my latest series. This class will focus on enriching the patterns we have learned to create in the Flip Flop Techniques for Intricate Pattern Design, and the S-Curve, Ogee and Quatrefoil Exploration class. In those classes, we used a live transformation template which works much like the Pattern Maker tool in Illustrator, but with the added bonus of the ability to reflect (hence the “Flip-Flop”). In this class, I assume you have some knowledge of pattern-making, have completed the template, and want to learn additional techniques. We will be talking about both the design and technical aspects of reflected repeats and we will experiment with structures and layout techniques that help add depth and interest to our designs. Throughout, I like to teach efficiency as well, so that is tied into each of the lessons in some way. I’ll be demonstrating use of the Appearance Panel, and effects using transformation and live transformation, and much more. This class is based in Adobe Illustrator, but many of the concepts could be applied to Affinity Designer or Procreate with their similar function. We also work between Illustrator and Photoshop to add some of the textures and foil effects.


In this class, we will explore in a more in-depth way the quatrefoil and ogee-inspired Moroccan Trellis motifs. The quatrefoil is the ancient symbol for good luck. The word is derived from Latin roots and means four leaves (think four-leaf clover). And then, there is the Moroccan Trellis, which is closely related. Designers have recently taken a particular interest in Moroccan design elements due to the ability to capitalize on the flexibility of the bold colors, unique textures, and exquisite fabrics.  Moroccan shapes and designs showcase bright, magnetic colors, intricate geometric patterns, and layer upon layer of texture that takes can elevate the pattern.  The unique geometric shape – the ogee in particular – is an interesting and subtle way to introduce Moroccan elements to any new or existing design style from traditional to modern. Both the quatrefoil and ogee shapes have a deeply rooted history and were heavily used in the Gothic style of the 14th and15th centuries.  I will discuss some of the history in class, but will also include links to further resources in the course outline in the resources and discussions area.My main goal was to l show you how to use the template to produce multiple variations of repeat designs including modified s-curve, ogee and quatrefoil patterns. I guarantee these skills will help you produce some unique and exotic motifs by the time you are done! Take this next hour or so to work your way through this class. You will have a so many new ideas by the time we are done! I love the way my final products looked, and you will too!


In this intro, I will give you an overview of the contents of this class. I give you a quick glimpse and synopsis of the course material. We will be exploring adding diversity to classic repeat patterns created in this class and previous classes.

Lesson 1: Overview, Inspiration and Examples

I do a quick review of the transformation class results and I show you the beginnings of the improvements to my design. I will explain how this class steps off from what we accomplished at the end of the other classes. I will also do a quick history of the ogee, quatrefoil and Moroccan trellis designs.

Lesson 2: Moroccan Trellis Construction - 2 Methods

In this lesson, we will construct our first classic pattern. I will show you a couple of techniques for producing the Moroccan Trellis we will be using in upcoming lessons.


Lesson 3: Vector Watercolor Fill and Clipping Masks

In this lesson, we begin to really develop the pattern. In this class, we will be creating a vector watercolor fill and then using the clipping mask we create from the motif. We also do a bunch of adjustments to reduce the amount of anchor points.

Lesson 4: Creating Motif Variety with Varied Methods

In this lesson, we work on creating variety with the watercolor motif. We experiment with colorways and flipping or designs. At the end of the lesson we have a finished, usable pattern layout.

 Lesson 5: Additional Motif Development with Overlays

In this lesson, we will add additional detail to the motifs using overlays. I will explain pitfalls to avoid and give you plenty of tips and tricks.

Lesson 6: Transformation Template Pattern Repeat with Gold Foil Border

In this lesson, we will use functions like transformation to create our gold foil quatrefoil. We will create the clipping mask in preparation for the next lesson where we will import varied textures.

 Lesson 7: Quatrefoil Using Offset Path and

This lesson is about producing varied quatrefoil fills and textures in conjunction with the clipping masks. By the end of the lesson we will have produced a pattern layout ready for use on mockups!

 Lesson 8: Extracting the Pattern and Color Fun

In this final lesson, I want to encourage you and demonstrate many possibilities. We will extract the file pattern tile. Be prepared to be inspired! As I was going along you will see how excited I got just thinking ahead to what I could achieve with this template!

Wrap Up and Conclusion:

This last segment will wrap up all we discussed and give you a starting point and encouragement to start today!

Concepts covered:

Concepts covered include but are not limited to Illustrator templates, transform effects, clipping masks, rotation and reflection effects, mockups, expanding shapes and lines, adding textures in Illustrator, exporting patterns from Illustrator, templates in illustrator, live transformations, Moroccan trellis patterns, ogee and quatrefoil patterns, and alternate motif creation ideas.

Meet Your Teacher

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Delores Naskrent

Creative Explorer


Hello, I'm Delores.  I'm excited to be here, teaching what I love! I was an art educator for 30 years, teaching graphic design, fine art, and theatrical design and video production. My education took place at college and university, in Manitoba, Canada, and has been honed through decades of graphic design experience and my work as a professional artist, which I have done for over 40 years (eeek!). In the last 15 years I have been involved in art licensing with contracts from Russ, Artwall, Studio El, Trends, Metaverse and more.

My work ranges through acrylic paint, ink, marker, collage, pastels, pencil crayon, watercolour, and digital illustration and provides many ready paths of self-expression. Once complete, I use this art for pattern design, greet... See full profile

Related Skills

Graphic Design Creative

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1. Intro Alluring Diversity for Classic Repeat Patterns using AI and PS: Welcome. My name is Laura snaps grunts. I'm coming to you from sunny, Manitoba, Canada. We're having some gorgeous fall weather and I couldn't resist. I want to share with you this video that I took in the area where my parents live there currently in the process of selling their farm. And, you know, we may not be able to take a look at this view very often. So I stopped at the side of the road and because video and yeah, I hope you enjoy it. I'm bringing you my new class here, which is basically the third one in a series that I've done in the exploration of really traditional and classic repeat patterns, we've been taking a look at really traditional patterns like the OG and the Moroccan trellis and the quatro foil pattern. And this class is the third in the series in which we've been exploring these. I get started with you. I show you all the basic techniques. And then it leads into some further development and a little bit more fun. So this third class here as the one in which we're going to do a lot of exploration of adding texture and interests who are designs with each of these different motifs. I've got some different techniques and ideas for you, so I hope that you'll enjoy it. I really think that finished patterns turned out really well. I'm definitely going to be using for something at some point. So most of what we're going to be doing today is done in Illustrator, but we definitely need Photoshop for some of the techniques and finishes that we're doing. So you'll see me going back and forth between the two will definitely be using the transformation template that we created in the first class. But I've also got some other methods that I want to definitely explain to use so that you've got the full skill set. Knowing all of the different techniques is really helpful for you in the long run. So that when you are creating, depending on the application, you've got all the skills that you need. That's always my goal is to really help you develop your skills and know all of the different methods. I would consider this an advanced course. If you haven't taken the other two, you'll definitely feel like you don't have all of the information. So I would suggest you take my first two levels before you take this third level. If you've got basic pattern-making skills, you can still follow along and learn a lot. It's totally up to you in the course materials. I've also supplied a lot of links that you can find out a little bit more about the history of these kind of patterns. I'm going to talk about them briefly. But if you really want to go in depth, definitely check out those links. If you have trouble with anything in the course, please take note of the lesser number. And at what time during that video you're reading it to a particular issue. It makes it a lot easier for me to help troubleshoot your problems. I'm always open to suggestions. And of course, if you have questions, definitely put them in the discussion section. When you have problems, chances are someone else is going to have the same problem. So it helps everyone if I answered the questions they are publicly. So are we ready to get started? I sure am. I'll see you in that first lesson. 2. Introduction and Overview: Hi guys, welcome to Lesson one. In this class, I'm going to show you the basic overview of what we're going to be doing. I'm definitely gonna be reviewing what we've done in the last couple of classes as well. So that if you haven't seen those two classes, you get a better idea of what we're doing. I'm going to try to cover a little bit of the history in this lesson as well. Alright, let's get started. In one of the other classes that I have in this series of three, I talked about the quadrat foil and its origin. The quadrat foil is really ancient symbol, and most of the time it's considered a good luck symbol. The word comes from Latin roots, and it means four leaves. So think four leaf clover. Quadra stands for four, and foil means leaf. In the Christian faith, believes represented the four evangelists of the Bible, Matthew, Mark, Luke, and John. Other cultures look to the hydrofoil because it's so symmetrical, is easily divided into equal portions or other shapes and also stands for harmony. Quarter foil has been used for hundreds of years. Specifically, we see lots of examples of it during the Gothic and Renaissance eras. So like the 12th to 17th centuries, during this time, the symbol was mainly used on Windows or in gothic architecture. Designers like us take a particular interests in rock and design because it's easy to capitalize on the flexibility of the bold colors and easy to add unique textures to make it more interesting. When I was in Morocco, I was really struck by how the designs showcase that bright pallet, magnetic colors, really intricate geometric patterns, and layer upon layer of texture. There was amazing talk about eye candy. If we use geometric shapes, the OG in particular, it's an interesting and subtle way to introduce Moroccan elements, giving that really exotic field to any design we produce with them. The OG is sometimes referred to as Moroccan, but it can trace its history all the way back to Ancient Persia. What I like about the OG is the flow, the flow in the pattern really give a whimsical feel. At the same time as giving that exotic feel. It has been just super popular recently to architects and artisans and even landscape architects. It's no wonder that this particular design is one that's sure to be engineering. So let's try to capitalize on that. At the end of last class, we basically left off at this point here Designing a quarter foil. So really quickly, let's just have a little bit of a review so I can show you a few of the techniques that I use, like offset power to create this repeating square. I used my transformation template created in even the previous class to that. So this is the third class of the series. And the cool thing about it is we basically just have to create this one corner of artwork. And the transformation template does all of the other work. So if you look at it in the layers panel, we had this live transformation layer. This is our transformation rectangle in the background. So that would be this one here. It, we've got all of the information. Basically this entire layer here has effects applied to it. So if I was to select the layer or target the layer, you can see in the appearance panel the transformations that do the reflecting and the repetition to create our overall powder. So this guy's pretty much everything that the pattern options does. The only thing with the pattern options is that it does not allow you to do reflections. So that's why we've created this template. We're going to use this template today to create a few really interesting patterns. But we're also going to experiment a little bit just using the pattern options are the pattern tool available here in Illustrator. In the later lessons, I'm also going to show you ways to create the pattern without using either the transformation template for the header and options. We're gonna do some cool stuff just using the transform, each command and the movement. So you'll see that later on. I want you to know all the methods so that you can decide which one actually works best for you or for that particular task you're trying to do an artwork that you're trying to produce. We're also gonna do some really cool stuff with cooking masks and so on to allow us to add details like texture or gold to create the kinda looks that you see. Now, if you hit Pinterest, can you search for quantifoil designed with foil? You'll see you that that kind of a look is still very prevalent today. I just saw a wallpaper like this at Home Depot this week. So it's something that is out there and being used and not just for wallpaper, it's being used in so many different ways. Wallpaper, phone cases, you name it, and so many other accessories. So we're going to add foil to some of our designs as well just to have some fun. So here I want to show you in my surface pattern design board on Pinterest. The different ones that we're going to concentrate on today. So we're going to do a regular quadrat foil. So basically collaborating on what we did here in the last class. And then we're also going to do some Moroccan trellis kind of patterns throughout. I'm going to be talking to you a little bit about the history and origin of each of these types of pattern. And then I definitely want to go into a little bit further depth in showing you how to add interests using textures and foil. Alright, so I will meet you in the next lesson where we're gonna get started. 3. Moroccan Trellis 2 Methods: Hi guys, welcome to lesson two. In lesson two here we're going to explore the traditional Moroccan trellis pattern. It's a form of an OG pattern. Let's get started. The first basic pattern I want to show you is the quintessential Moroccan trellis pattern. There's probably a 100 different ways I could explain to create the basic shape. I have seen it explained in many different ways. I'm going to just kind of wing it and show you the way that I would do it. But one of the methods I consider really quick and restart with an ellipse. So L on your keyboard would give you the Ellipse tool, that option click and specify a five by five inch circle. And kinda just gonna work with round numbers because I think it's going to make it easier for doing some quick math in my head. So I've got the first circle there. I'm gonna duplicate it. So I've copied paste in front. And the next one I'm going to line up on the left side here. And most of the trellis patterns that you see also have a kind of an inverted circle at the top. And you see here, when you put the two circles together, you kinda get that rounded triangle that you're gonna need for the top. So I just wanted to point that out. I'm going to use these circles to create that. So again, I'm going to copy and paste in front. This time I'm going to line those up to the top. I could get all technical about the positioning of the second set here. But I'm basically just going to eyeball it and move it up until I see this part of the triangle forming what would be the top of my trellis. Okay. It's just and actually something you can do by eye. And what I'm gonna do on these two circles is actually eliminate the parts that I don't need. So basically I can just get rid of all of that because what I need is the point here. And on this one, I'm going to get rid of the bottom part. Get rid of this center part. And then these two lines here can just be joined. So I just drag select over the two that I want to join and hit Command J. And here I'm going to hide my art board. You can see that I've got the perfect Moroccan trellis shapes. So now all I need to do is reflect this. So I'm going to Select All so you don't want I'm going to join this tip here that'll pick as joint and we'd have select all now and I'm going to use transformed each. My shortcut is Command Option Shift D. Or you could really just control click and get your transform down here. We'll hit reflect work going to reflect the horizontally, so that's correct air and we're going to hit Copy, so fight US, transform each. I could have moved it as well, but it's like I said, we're doing this real quick. Now. I've got my trellis shape here and the only thing I need to do is join these. And again, I would, let me just actually go into preview. We know this bottom half is one piece. I'm gonna change my keyboard increment 2.001 and just move that with my arrow keys until I've got it perfectly lined up. Now, I will just hit join. They'll command J again, same thing on this side. And we've got our nice trellis shape. So here we could do a number of different things to create a thickness that we want that we've seen here. And it's again, your judgment call. I mean, some of them are really thick. Some of them are fairly fan I think I'm going to go for something fairly thick like what I see here. I'm hoping to. Something like this one here or this one here where we have a little bit of a neat texture or something going on. So the two ways that are really quick and easy first one is to just pick in the stroke. So you go into your strokes palate and make sure that you hit the stroke, Align Stroke to the inside here, and then just increase your stroke thickness. Okay? Now, it looks like our miter limit, which is ten is okay. We're not getting any weird spikes coming out from these corners here. And we've created pretty much what we need here to do the repeating pattern. I'm going to just experiment with that though. Change this to five and see if that changes that at all. I don't think it's going to matter because it's going to be something that we can deal with when we're in the pattern maker to all or pattern options too old. So now you can just select all. And my shortcut to read a pattern is command apostrophe. If not, you can open up your pattern options, which I don't currently have open here, had her options and just watch what happens in here. I'm going to hit my shortcuts. That brings out my options here. I'm going to tighten this up a little bit. You can see that we're basically getting a really, really thin line. So I'm going to change this height. I'm using my arrow keys to bring that down a little bit closer and you don't want to get to what you want. And I'm going to just change this to nine by nine so I get a really full Look at my pattern. I think I am just going to pull that back up a little bit just so I get a really nice rounded shape here and possibly move this a tiny bit in as well. So I'm fairly happy with how that locks. That is method number one for creating the line thickness and the patterns. So you can see up here at my swatches palette, I have that Swatch added there. So I'm going to escape out of here now. And I'm going to show you another. So I am going to undo back to the point where I had the stroke and I'm actually going to select it again and remove that stroke. The other way that I like as well is to use offset path to create that line thickness. And we used that in the last class. So my shortcut of course is Command, Shift and backslash. And here you can set the size that you want with an actual measurement. And again, whether you do minus or plus makes a difference in which side of your original line that gets attitude. So I'm going to use this, this time because I want that line to be added to the outside so we can experiment with that in the pattern maker. So again, I've got my measurement highlighted and I'm using my up and down arrows to adjust the size. I'm kinda like he now, so I'm gonna hit OK here. We're going to fill one of these with bla. You get the idea. And now that's completely different than what we did on the other one. But let's make this one into a pattern as well. So I'm gonna hit my shortcut command apostrophe. That's one of the things that I do is if it's a function that I'm going to use quite often, I always add a shortcut for it. So now we've got a different version. Let's go a little bit smaller in size again to meet a goal with a nine by nine. And I'm going to make a slight adjustment here. And I've got another version that will be added here in my swatches palette. I should have named that first one, but, well, here we go. We've got 12 trellis patterns. Let's do a quick comparison before we end this lesson, I'm going to draw two rectangles, duplicates, and we'll fill this one with that pattern, NuScale the pattern, the percent. Now we will use the other one. Same. And you can see they're basically the same thing. So two means to the same end. You could decide on which way you consider faster and yeah, then you're ready for the next step. Now the reason, one of the reasons that I do choose to do it this way is that I've got two separate paths already. If I had done it, the brush stroke method, let's just pull that over. Do it again with a brush stroke. Then I would have to actually expand this in order to have the two paths like what you see here. And that is important for us when we are going to be creating clipping masks. So if you had done it with this method here, you would go to objects, Expand Appearance. And you can see here that we've got that central stroke still. I would expand again and then make sure that I go into preview mode here, choose that middle path and delete it completely. So you end up with the same thing. So two different methods. One less step if you do it with the offset path. Alright, so in the next lesson we're going to just do a little bit of experimenting with adding some texture to this particular trellis design. I'll see you there. 4. Watercolor Fill with Clipping Masks: Hi guys, welcome to less than three. And less than three here you're going to learn a technique for vectorizing watercolor to be used in the background of our trellis pattern. We're gonna be using clipping mass and a lot of other techniques. Let's get started. So we're going to use this trellis motif that we designed very much in this way. I want to add texture into the background with the kind of a release of white that shows the actual order. So somewhat like this or this, these are the two kind of ideas that I have in the back of my mind. So in Photoshop here I've opened up a couple of textures. And I think I've decided that I prefer this one here. So we're probably gonna use different sections of this. I'm not quite sure exactly how yet, but I want to start with this section here, so I've copied it and simply gone into Illustrator and pasted it. So we've got everything that we need here to get started. So like I said, I want to use the border and have it kind of in a white or slightly off white color. And then we're gonna use this inside part to create a clipping mask that is going to just show this artwork to save myself a little bit of aggravation later on, I'm going to actually convert this into an actual vector because currently it's a raster pattern right from here, gets mapped. And in Illustrator, I want to create a vector patterns. So to do that, what I need to do is image trace it. Your image trace controls Come up here in your control bar. As soon as you paste a raster image into Illustrator, I'm going to actually open up my full panel here. So that's this one down in the bottom that has some of the same controls, but it's got some advanced controls that we're going to use as well. So I'm going to just pop that open or we can see everything that we have available to us. I'm going to change this to color. I'm going to do a little bit of experimenting. I'm gonna preview mode, and you'll see that it'll do the initial tracing depending on how large your image is, it can take longer right now this is set at 30 colors. And so you can see that that's still given us a very nice, very watercolor looking backgrounds. So I think I might just reduce that a little bit. What I'm looking at down here is the amount of anchor points, because the higher the number of anchor points, it's, the harder Illustrator has to work to make things like a repeat patterns. I'm not even sure that it's possible. This is going to be an experiments for both of us submit it reduces down to 24 and see what happens here. Watch this number here. Anchor points that's reduced its slightly. I'm going to slide these down a little bit too. That did not make any difference at all. The higher i put the value of noise here, it's the less tidy little bits of detail that we have and that usually also reduces the amount of anchor points. No, I'm okay with that. Let me try going even a little bit less here. This is going to be my last setting change. And it looks like that's improved a little bit. So I'm going to say okay here, actually I'm going to hit expand at the top here. And that's going to convert it into a vector. So I'm going to shut down that palette. I've now got a Vectorized pattern so that x and I want to do is change my color here, I'm going to use my eyedropper. So I on my keyboard and I'm going to sample that light pink. Maybe I'll even make it a little bit later, double-click on it and bring it down. I'm going to make a new color group. It's in case I need to add more colors. And I'm going to delete all of the unused swatches. All this kinda stuff helps us simplify my document and make it a little bit less unwieldy in the long run. So what I'd like to do is get part of this pattern showing just in the inside of this motif. So what I need to do is create a clipping mask that will allow me to do that. So let's go into the Layers palette here and take a look at what we've got. What I really wanna do then is have this motif above the pattern. So let's move that over, select all of it, move it over, and let's make it a little bit smaller. So before I move ahead and do too much more, I am going to save. And then Seth pink watercolor Trello. And I'm going to make a new layer here on which I'm going to duplicate the two paths that make up the actual trellis pattern. So I've got them both selected here. I'm going to copy and paste directly in the same position. So paste in front. And I'm going to drag though was that this holding area, this other layer, and I'm just going to lock and hide that for now. Okay, so what we're gonna do next is going to be to create a clipping pass with our trellis outline here. I think I'm just going to, we don't even need this path as far as I know. I think I'm going to just eliminate it as well. So I need to select both of these layers here. What's your will work with the target, but let's give it a shot. Actually let me change back to preview mode so you can see what's happening here. And before I do that, I'm going to change this to have no Phil, let me select that and we'll give it no fill at all. So you can still see the watercolor in behind it. And let's switch back to the layers, will select both. And I'm going to hit crop here, kind of. So now when I switched to preview mode, you can see that everything has been eliminated on the outside. They're actually, I'm gonna go back to where we still have the whole watercolor bear. And let's just go to simplify only to find out how many points there are. I'm not going to actually do any simplification, but there's actually 42 thousand points. So let's cancel out of here, will do that crop again. And let's take a look again in simplify and see what we've ended up with is 19 thousand points. So we've gotten rid of a good 20 thousand points. Now one of the tricks that I have for simplifying further is to copy this colored shape in behind here. So I'm going to select it and would it make a copy of it? So I'm going to paste it in back using shortcut Command B. Now I'm going to drag that below my group here, and I'm going to fill it with the pink. Now I can simplify this. And generally what happens when you simplify something like this is you end up with little gaps of white there. But because we've got that pink that we can change in the background, I think I'm going to be okay, so I've got the settings that I can mess around with. Remember what we have here is 19 thousand points. So you can see here, I'm already reduced the amount of points by far. I'm going to hit OK here. So the only thing left to do now is to select both of these visible first I guess, and select it, go to the Pathfinder palette and divide and then take out this interior sections. So now we have our lovely motif here that we can use for creating our patterns. So in the next lesson, we'll do that. We'll create the pattern and talk about other things that you can do to enhance that pattern. So I will see you there. 5. Creating Motif Variety with Varied Methods: Hi guys, welcome to lesson four. Unless it for here we're going to be testing that watercolor pattern that we developed. Let's get started. Let's first take a look at what this one will look like when we do it in a nice grid repeat. So I'm just going to hit my shortcut, which is command apostrophe for me on my keyboard, that's a shortcut I've put in, but it has been super useful to have, I'll tell ya. Alright, so this is just the basic grid repeat. We could also do the half drop. I've landed here at about 41 eighth inches, but that just goes to show you how pretty that could look. I'm actually going to go back to the grade here. And that kind of gives you an idea of what that pattern would look like. Personally, what I would do is alternate fills maybe create a grid of fault four or six of them with either alternate areas of that water color or different colors. And then I would make my pattern repeat based on the whole thing. So in order to help you visualize that a little bit, I'm going to create a grid of a few here. So what I'm gonna do is put the border into the same layer. I just thought I saw kind of an outline there, but it's just some kind of a screen artifact. I'm going to grab this whole layer and pull it into this. Then I'm going to make a few duplicates. Caught that selected. I'm going to use my transform each. I know that the measurement is around eight inches, so 8.193. So I'm going to actually copy that. So I don't have to actually remember it. And we'll do the transform each. And what we're gonna do is move it. So we're going to move at that horizontal move of, whoops, wrong spot, horizontal move of 8.193. And we're going to make sure that it's the copy. And now we'll select both. Everything here selected will do that. Transform each again. And this time we'll make the move vertically. Just hit preview here without hitting copy. Now, when I eat copy, I've got the perfect duplicates and they're absolutely accurately represented here. So I'm thinking what I wanted just to illustrate to you, what would you like to use this war has my pattern repeats. I'm going to select each of these individually in recolor them. Now the one thing I want to do though, is not recolor my border. So you can see here this is the border that I've got selected and this is the group. So that tells me that this is really all I want to select here. I don't want to select any of the borders. And I'm going to use the recolor tool. Before I do that, I'm going to open up just one of the default libraries. Let's go with floral. When the flower ones, usually in here you can find Pink's. So let's add this one and this one. So I've got these colors now that will show up in my recolor tool so that I can do this really quickly. So if I were to just choose one of these other color groups, you can see that it recovers everything. And because I didn't choose that border or select the border when I was making my changes. You don't get any change on that border, which is what we want. We want it to stay like God, my say OK here and move to one of my other centers. The reverse one, that's the one we just did. Let's select this one Now if the recolor tool, and let's change it with this, we can randomly change the color here and thinking that this pink here is a little bit too bright. So I'm just going to change that will make them all just a little bit more harmonious yet different from this one with the company. I'm going to do a couple more adjustments here and just time-lapse hit. So what I have here now are four distinctly different colors. I think when I Will you lighten that might miss area little bit and just so that they aren't so symmetrical and showing the same dark area in this corner. I'm going to flip a couple of these, so let's select this one. And I'm just going to use the transform each again and reflect it in both directions. Let's preview that. Oops, we're not going to move it. And that has kind of nicely made this one look a little bit different. And of course you can definitely go in and make changes, more changes to the color. But now we've got these four that we could use to do our pattern repeat. So let's check that out and see how it would learn. Now you can see that this has even a little bit more variety to our pattern. I would definitely spend a lot more time figuring out how to avoid, let's say, an area in here that's the same. All of them. I would choose a different section of my original watercolor and repeat the whole process so that I had that. Yeah, that would be another alternate that I could have. I think what I would do is then use that pattern over top of number one to just select all of this and copy it. And slide that down below that pattern. Let's check out the size of that square. Let's make it 35 inches square. And then we can make this 135 inches square and align them, of course. And we've got an actually pretty interesting final pattern ready to use on. Well, anything you want really, you could put that on cellphone cases, you could put it on upholstery. I'll probably end up illustrating this one on a mock-up at the end of the class. So that's just our strange watercolor look, which I love. But I'm also wanting to show you one that has a little bit of texture on some of the alternate motifs, which is another way that you could really take what you've done and expand it and show alternates in a really interesting way. So I'll meet you in the next lesson where we're going to do that. 6. Additional Motif Development with Overlays: Hi guys, welcome to lesson five. So less than five here, what I'd like to do is really take a look at the pattern repeat and how we're going to add some variety to our motifs. I've got a bunch of different ideas. So let's get started. So my inspiration for this lesson comes from some of these examples that I've seen on Pinterest that I absolutely love. So something like this. Adding a little bit of texture to some of the alternate motifs or a new pattern definitely makes the whole thing overall more pleasing. You can see that there are areas that have still got repeats. For example, some of these watercolors, and especially ones with a little bit of a flaw like this, little dots really stand out. But you stopped focusing on that when there are alternative things to look out if that makes any sense. So these are some great examples that I've found. And so I'm just going to quickly show you how to go ahead and add a bit of a pattern. I'm going to use patterns that I already have existing, so it doesn't take too long to demonstrate. But this is the kind of thing that I am aiming for. This is the inspiration piece. So I just copied from Pinterest to have here in my document as I work through this particular challenge. And this pattern here is one that I had created in my Canadian folk art collection in one of my previous classes. I have taken that and dragged it out of the Swatches palette. So let me just get rid of it here. What I did is drag the patterns watch out so that I could have the individual vectors to work with. And then I took the color scheme that I had here and apply some of those colours. So those are the steps I did off camera. Now here in my repeating pattern, I have placed that little new pattern that I created. By the way, when I dragged it out. You can see here that there was that backing rectangle that I need in order to create any patterns. So when I drag it from the Swatches palette, I made sure not to disturb that. Then you can see it's still here on this one here. So then when I needed to make a new swatch with my new colors, because actually experimented with a color, a couple of different colors here before I arrived at that one. So I did kind of a light pink at first. That was to contrasty. This one was a good, the pink was good, but I didn't like the white flowers, so I changed them and my final choice was something like this. But when I was ready and I had that completely the way I wanted it, I was just able to drag that whole thing right back in there to create the swatch. And that's Watch works because of that one little rectangle, square in the background that defines the powder. So those are things that I cover in quite a few of my other classes. So I didn't want to completely ignore telling you that, but that's something like I said, is covered well in other courses. So not really in the purview of this course today. So I just want to let you know how I got to that swatch. And then once I have this watch, I was able to apply it to this motif. Now, one of the problems that I have talked to you about before is that I can't use this whole thing and make a pattern with it now because I'm going to get this message that tells me that I can't make a pattern that has a pattern in it. So I'm going to show you how to get around that problem. So Patterns cannot contain anything filled with a pattern. So I'm just gonna click OK here. So in order to deal with that issue, all we need to do is expand this pattern. So that's why I went through a couple of experiments before arriving at the color scheme that I wanted. I didn't wanna do the expansion until I was absolutely sure I had the colors the way I wanted them. So we'll select that pattern filled motif here you can see it's the one that had the pattern because you can see the pattern is selected here in the Swatches palette. And we're just gonna go to object and expand. We're going to expand the fill and let's take a look. So these are not a pattern anymore. You can see that these are individual motifs. So I will be able to drag them into the swatches. And before I do that, I'm gonna do paths at simplifying. Command period is my simplify commands shortcuts. I can tell that Illustrator is working really hard here because it's taking forever. And I could hear the fans have kicked on, which means that my processor is working really hard and actually probably generating some heat. And when I work hard I generate heat. So you can see here 59 thousand points. And that is definitely very unwieldy. So we're going to reduce this down a little bit further and see if that speeds everything up a little bit. This is one of the reasons too, that service pattern designers may often choose to finish their patterns in Photoshop because you can take this pattern into Photoshop and have none of the issues that you would be having an illustrator. You wouldn't have to deal with any of this at all. So I am going to simplify as much as I can here. Alright, so let's try that new for that new swatch outlets. Actually tighten up that spacing. And I think that's good enough for our tests, so will escape out of here. And let's replace that with our new pattern. So you can see that that would work. I'm only going to do the one for demonstration purposes. I think that's adequate and design these guys up. But you can see that that can work well to create this sort of a pattern. So that would take a little bit of development on your part. And you'd probably have to think about your different motifs and how, how detailed you want them, what kinda looks best me, there's a lot of symmetry in these patterns fetch, this artist has chosen. So maybe that's the way to go. But that gives you yet another way to possibly develop this sort of Moroccan trellis powder. So in the next class, I want to demonstrate the use of Photoshop for doing some of our pattern. I'll see you there. 7. Transformation Template Pattern Repeat with Gold Foil Border: Hi guys, welcome to lesson six. So we're back to the quatro foil again. And this time we're going to set up the whole process of adding foil to our quadrupole pattern. Let's get started. So print this lesson when I want to do is something like this. I want to do a metallic kind of quatro foil and I think I'm going to start from scratch with my template. So let's do that first. I'm gonna go to my pattern design folder and into my life transformations and open up that S curve master that i created the template. So when I open the template or double-click on the template, it gives me an untitled document, which is basically starting at square one. I'm gonna take out what I do have on the transformation Layer and I'm ready to go. And yet I still have to go in here and rename it because I still haven't gone in and fixed the templates so that this says transformation. I will eventually, alright, so I've got my document and I'm gonna do the same steps as I did at the beginning where I'm going to draw a five-inch ellipse. I'm going to position it using the align functions up here. I walked my transformation just so it doesn't move on me and I'm going to copy the ellipse. So Command C, and I'm going to paste it right in position, so Command Shift v. So now I have a second ellipse over here, that one I'm just going to quickly make into smaller circle just by holding command option and reducing it in size. This is yet another method to create that double line. Now what I'm gonna do is select both of those, get rid of that guide and lock the clipping mask, which I'll put on the top again, selecting both of the circles at the same time here. And I'm going to copy and then paste in place, which is Command Shift v And that duplicate set, I'm going to move. So i'm going to hint, return on my keyboard. I'm going to move it 2.5 inches horizontally. And I'm going to move at minus 2.5, which will move it up and give me the ellipse that I need up here. So I've shown you those other two ways of creating that thickness. One of them was by stroking the path and the other one was by using the offset path. This is method number three. Before I divide, I'm going to create a rectangle or a square in the corner here, measuring five-by-five, line it right up to the very corner, aligned top and align left. I'm actually going to select all of this stuff right now and take the stroke off of it just to be sure that we don't run into any problems. And I'm going to use the divide function here, which is going to give me a bunch of pieces here. And I can switch into preview mode so that I can see which ones I want to get rid of. So I want to get rid of this. I want to get rid of this. I basically want to get rid of that and I'm gonna get rid of that corner. So all we are left with here is the piece that's going to be the foil field area in our design. And we can actually combine these. So I'm just going to quickly grab the shape builder tool over here. And just drag over them though I've got exactly what I need here. This is going to make my clipping mask. I feel like I've got an extra point here, so I'm gonna get rid of that. Yeah, this is going to be what we're going to make, the clipping mask width. Ok, so that's invisible at the moment if we just look at it in Preview mode, but we know it's here, that's going to create our clipping mask for the foil. So I'm going to just call this one foil so as to not get it mixed up with this clipping mask, which I'm also just going to call clipping mask. And we're ready to move on into the next stage, which is finding the foil we want to use and then adding it in here. So let's take a look at some foils here. I went to Creative Market and I purchased this set. This cost me a total of six bucks, which allows me to reproduce it. I think I'm going to be able to use those. Again, Creative Market is a great place to search for great textures and great foils. I want this kind of a soft look like the one we saw on Pinterest as our example. So I purchased that, downloaded it, and I've got it ready to go for my use. So hearing Illustrator, I'm going to open up one of those textures I've saved here in my assets folder, there in Photoshop just to take a look at it and I realized that I needed to make it into a seamless powder. The original version was not seamless, so I follow the same steps as I normally do. And if you want to know more about how I go about doing that checkout, my course on seamless repeat patterns. But now that I've got it, it's ten by ten. I've saved it and I can go back into Illustrator, and this is the one that I just worked on. I'm going to open it and it's in a separate document, I can copy it and paste it. Or the other method would have been to place it right in the document that I needed to ways I'm just gonna click by ten is the size it it'll come in as that was what it was originally. And I can line that up in position. Now what I'm gonna do is create the clipping mask out of the shape that I created originally. So I'm going to do that in a separate layer for now because I don't want to do it in the live transformation. So I'm gonna copy it and I'm going to go into this layer here, and I'm going to paste it in position. So now that I've got it in this layer, I can select everything and I can go here to the flyout menu and make clipping mask. So now I've got my portion of the quadro foil in the foil. So we're ready to slide that into the flare. And now we've created our beautiful final quantifoil. And then we'll start doing a couple of our little experiment. One of the things I'd like to do is to create clipping mask that I can use completely separate from this live transformation so that I can do different fails on each of these. We can actually make this one into a pattern because of this linked object. What happens when you have something in there like that and you try to make a pattern out of it is it just does not work. This would have to be clips in Photoshop and then replaced in here. I'm going to work around it. I'm gonna do it in a different way. We're just going to create some clipping masks that we can use to work with this transformation that we already have. One of the things we can do if we want to make a pattern that has, let's say, nine different motifs as we can easily go in and change the repetition. Add another row here by making changes in our appearance panels. And when we come to that, I will show you now let's just quickly make a clipping mask for this interior part here. Ok, what I'll do now is I'm going to duplicate the Bing mask. So you can just go to the flyout menu and do the duplicate that way or you can drag it onto this page icon at the bottom. I'm going to pull that into this other layer because i want to duplicate it and flip it. So I'm going to do kind of almost what the transformation does, but I'm going to do it so that I can get a full motif, the whole ten by ten inch motif that I need. So let's select this path. I'm going to use my transform each to do this duplication because I find it's just the most accurate way of doing it. I want to, first of all, down at the bottom here, use this indicator, which shows me that I'm going to flip it right here on the right-hand side and I'm going to reflect. So you shows me that it's working exactly like I wanted to. I'm going to hit Copy and then I'm going to select both are used, transform each again. And this time I'm going to use this indicator which will reflect at the base and you can see how it's gonna work perfectly. And I hit Copy again, so I've got the entire motif here. I really just need this inside bit. Well, it doesn't really matter outside, inside a bonsai have this shapes or when I'm just making sure is that things that I import all have the corners anymore. So I'm going to combine all of these. I think I can just hit pathfinder and unite and make it all into one shape. I think I'll just make the unilateral decision to use the inside. Now, there's a part of me, the old print shop, me that wants to give it a bit of a joke or wanted to have a little tiny bit of an overlap into that order so that there's never any possibility of a gapped weed. And, you know, the entire shape here. I also want to make sure that it's got no stroll can feel and see that it doesn't over here. So I'm going to just use transform each again to ever so slightly increase the scale. So I'm just gonna do 0.1. Let's just check node here. And I picked that's going to be fine. It's almost imperceptible to the human eye, but it's just slightly bigger than it was originally to overlap into this cooled area. So we can hide this again temporarily. I'm going to go into Photoshop and grab a couple of textures that we can paste in here, I actually need a little bit of a coffee break. So I think what I'll do is come back to you in the next lesson with a few textures ready and waiting for us. All right, so I will see you in that next lesson after I have a good cup of coffee. See you there. 8. Varied Quatrefoil Fills and Textures: Welcome to lesson seven. So in this lesson, I want to really show you the use of the clipping mask that will help us to put some really unusual fills into our whole pattern. By the end of this class, we should have something really special. Let's get started. Right after my coffee break, I went through the process of kind of perfecting my process for filling these different motifs. So I've actually got a bunch of them here. And I am going to quickly try to explain what I did and the steps that I followed. So I had this finished path, which is what I'm going to use as my mask. And eye went into Photoshop and created a bunch of different fills that I figured I could use that would kinda work with one color scheme. So I've kinda picked this dark kind of magenta color scheme. And I did a bunch of just experimenting with different ways to fill those different motifs. So my process would be to copy meaningless, see if there's another one here I can work with. So let me just check the size of it. Command option, I show us me, it's about well, it's more than ten by ten, which is the size I'm looking for. And a 150 pixels per inch should be okay, so I'm going to copy, go back to my document and paste. Now that is in the layer that I have the clipping mask in. So I'm going to select both of them. Normally you can go here and make the clipping mask, but there's times when that doesn't work. So I just go to the mask here under the object menu. I know the shortcuts, so generally that's what I do. It's just a Command seven, and I've got that motif filled. So that's what I went ahead and did with all of the motifs. And this is a selection of different textures and artworks that I've found that I thought could were. I now have two here. I can use this one in a second. When I duplicate this, I wanted to show you how to add another couple of rows here to make the pattern bigger. This is a case where we're probably not going to use the pattern options or pattern maker tool here in Illustrator. It just isn't going to work with all these placed images. So what I would do, this is the layer that has all of these motif borders on it. I can duplicate this using the move command. So I'm actually just going to press return on my keyboard wishes the move dialogue that comes up as long as I was on one of my selection tools here. And I'm going to move at 20 inches horizontally, 0 inches vertically. That's exactly what I'm looking for here. I see in the background. So he just hit Copy. And now I've got another full set of motifs here so I can take and select that one that I just created and I, and also use the move tool. And 20 is what I've got set. So that works perfectly and we've got that in position. So fairly quickly, I've gotten all of these failed. And literally once you've got that original With the clipping mask, it's so quick because you just duplicate that. But you can drag it onto this Create New Layer icon or you can duplicate layer, go and find another fill. Check the size five by eight. So I'm going to select ball so that I have a really good copy here. I'm gonna have to resize it a little bit here in illustrator soul, that size, that quality will be probably quite decent. Resize it. The lungs are not resizing it like ten times the size of your quality is still going to be probably okay. I generally don't go more than twice the size, usually maybe a 150% and that's it. But now I've got that. Let me just get rid of the one that I had there previously. Drag that in and now I've got an alternate. And then this one I can select and move again, return key. And this time I'm going to move it 0 horizontal, ten inches down. And of course you can also duplicate them if you want like this one here, for example, I could put down here. So I would just have to locate that one. I had dragged them all into this lear. Where are you hiding? So I'm going to duplicate this layer. And this one, I'm going to move 20 issues down and 20 inches, 20 inches vertical and 20 inches down. So quickly I've filled out this whole set of motifs. It wouldn't take me long to do these ofs three, I was looking for a bunch of different textures, real variety. I just took a whole bunch of stuff I had saved on my computer, so I didn't have to do much searching and I didn't create any of these Titi definitely for I was creating this pattern for some sort of presentation or as part of a collection, I'd probably go through a lot more time trying to choose the patterns or create the patterns. I just want to do this for demonstration purposes in this class, I added a background. And you can see this could be super dramatic as almost anything. You could use this for cell phone case, for skin, a computer skin, you could make it into a really dramatic how history, that promise at the end of this class that I'm going to show you a few of these patterns in use on mockups. But I think that's it for this lesson. So I will see you in the next one. 9. Wrap Up and Conclusion: Guys, welcome to the wrap up. So we've done it again. We've creates a really great patterns. I often start out a process like this, not knowing exactly how it's gonna turn out in the end. And I'm always really pleasantly surprised when I come up with a few of these kind of ideas. I know that this is something I want to really further develop into a collection. After completing these three classes, I have so much stuff that I have to do. I really can't wait to play with this. I hope that at the end of these classes you feel the same way to. I want to encourage you to learn more about these traditional kind of patterns. I've added a bunch of links to the course materials. So open up that outline and you should be able to click directly into the links to take you to some of the research that I've done. I also encourage you to check out my two Pinterests sites. The one is Dolores art, Dolores Nas Grant, and the other one is teacher Dolores now script. I add lots of reference there every week. There's always new stuff going into my boards and it's really filled with tons of artists resources. Feel free to check out my website at shaft dot Dolores art dot ca, join my mailing list and then you'll get all new information like blog posts and things that I post there. I'm going to really work on this site and develop it as a really good resource for you. Also check out my stories. My biggest one is that, but I also have some at art if we're here in Canada and red bubble and Society six, it's been so nice spending this time with you today. Take a minute if you can, to give me a review. I love hearing your anecdotes and definitely, let's start a conversation in the discussion section. Alright, make sure you hit follow. I'll see you soon. Bye for now.