Blending Traditional and Digital Approaches to Create Elegant Pattern Repeats | Delores Naskrent | Skillshare

Blending Traditional and Digital Approaches to Create Elegant Pattern Repeats

Delores Naskrent, Creative Explorer

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9 Lessons (53m) View My Notes
    • 1. Intro

      2:08
    • 2. Lesson 1 Photoshop Steps for Prep

      3:09
    • 3. Lesson 2 Testing the Repeat in Photoshop

      4:06
    • 4. Lesson 3 Image Trace

      6:34
    • 5. Lesson 4 Making the Pattern Seamless

      7:58
    • 6. Lesson 5 Touchups and Last-Minute Adjustments

      4:54
    • 7. Lesson 6 Testing the Fitting of the Pattern

      5:11
    • 8. Lesson 7 Color Experiments

      7:52
    • 9. Lesson 8 Mockups and Finishing

      10:53

About This Class

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In this class Blending Traditional & Digital Approaches to Create Elegant Patterns course, I will show you how I took a traditional hand-inked pattern and brought it into the digital realm to create the pattern repeat and colorize it. This class is intended for students who have already learned some basic pattern making skills are seeking alternative methods to create more advanced patterns. The starting point is a hand inked pattern, so drawing and inking is essential and the hope is you have something in-hand to practice with. Having basic knowledge of Adobe Photoshop and Illustrator is an asset and I will try to clearly explain all the steps as we proceed. The process can be intimidating at first, but using these techniques make it much easier. 

This course will arm you with all the knowledge necessary. This alternative pattern-making skillset is an ideal competence if you are fabric designer, illustrator or surface pattern designer, or simply a graphic designer on a mission to create a self-sustaining career. Many insights about designing will be shared and hopefully they can inspire you to take a look at your current pattern designs and have you planning many different projects in the future.

Intro: Understanding a full range of techniques when entering the pattern design industry is essential. In this course I will teach you how to take an original hand-drawn pattern and finish it digitally using both Adobe Photoshop and Adobe Illustrator.

Lesson 1: Photoshop Steps for Prep

We will prepare for Image Trace in this lesson by touching up our original scan and adjusting settings.

Lesson 2: Testing the Repeat in Photoshop

This lesson gives you an idea for quickly testing your repeat in Photoshop and getting it ready for image trace in Illustrator.

Lesson  3: Image Trace

We explore all the settings for Image Trace in Illustrator as I demonstrate how these affect the final look of our document’s lines and edges.

Lesson 4: Making the Pattern Seamless

I demonstrate methods to improve upon the overlap spots using tools like the Lasso, Simplification, Joining, Pathfinder and more.

Lesson 5:  Touch-ups and Last-Minute Adjustments

In this lesson I will demonstrate techniques for touch-ups and last-minute adjustments of our final pattern swatch.

Lesson 6: Testing the Fitting of the Pattern

Testing the fitting of the pattern is the focus of this lesson and we discuss settings and other factors.

Lesson 7: Color Experiments

In this lesson, we will start the process of choosing color. Different avenues are investigated. We will discuss important considerations.

Lesson 8: Mockups and Finishing

We will start the process of testing our pattern on a variety of free mock-ups in this lesson. 

What you can expect:

In this class, we will go through specific concepts in 8 lessons that cover...

  • The process for preparing and image for the image trace function in Illustrator
  • How to use the image trace function in Illustrator
  • How to work with your image trace when applying color
  • How to test your pattern
  • How to work with mockups

Key concepts will include:

surface pattern design, hand inked pattern, touch-up in Photoshop, adjusting levels in Photoshop, Photoshop adjustments and selections, motif design, consideration of color in pattern design, image trace in illustrator, simplification and other path adjustments in Illustrator, Illustrator pattern making, working with color in Illustrator, Illustrator re-color tool, mock-ups

You will get the bonus of…

  • over 50 minutes of direction from an instructor who has been in the graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each challenge
  • a list of helpful online sites to further your education into surface pattern design
  • ideas for finding free mock-ups and instructions for their use

Happy learning, my creative friends. I can't wait to see the patterns you'll create!

Transcripts

1. Intro: Hi there. Thanks for cooking on my class. My name is Dolores, aspirin and oven illustrator and service pattern designer living in Canada. This cloths for you. If you're interested in the traditional methods of creating a repeating pattern, have you tried a few different techniques? And now you're interested Maybe finishing off something that you found in a sketchbook? Well, that's exactly what happened to me with this viney leaf pattern that I found in a pile of old papers and patterns that I had drawn probably several years ago about myself. This is perfect. This will be great for the traditional way of creating a repeating pattern. So I'm gonna show you exactly what I did to bring this from its very raw hand and look to the final digital full color that we're gonna use at the end to make mock ups. It's a little bit of a journey, So this is a class that's completely different from anything that I have been doing. So I hope that you've taken a couple of other classes with me and we'll find this one as interesting, just in a completely different way. I consider this kind of an intermediate class. And I'm assuming that you have something ready to go that you can use for this. If not, just follow along. Watch what I'm doing. And I'm sure you're going to figure out and pick up the technique that you convince use for your own project. The other thing you could do is just take it kind of a quick look at this as I explain it in the first lesson and then just stop and do a simple ink drawing that you can use for this. Okay, most of this class has spent an illustrator, But the first lesson, we're actually good A take the raw scans into photo shop, and we're going to test our repeat before we even get started. So we're actually gonna do a little bit of touch up in photo shop as well. That will help us to get a really good image trays. Once we're in, Illustrator. By the end of this class, you should have your own fully realized pattern. That's our goal for this class. All right, so let's get started. I'll meet you in less than one 2. Lesson 1 Photoshop Steps for Prep: Hi there. Thank goodness I didn't scare you off. So in this lesson, like I say, we're going to spend a few minutes in photo shop. Just kind of touching up our pattern. All right. You could see that. Scanning it from the tissue paper. You know, you get a lot of sort of weak areas in your lines. The background comes out a little bit muddy. The first thing I would do here is to adjust the levels to adjust levels. The shortcut in 40 shop is command el. Then you're gonna get this dialog box that comes up. I take the white, I drop her click into my background area, I take the block and I try to kind of find middle ground here. Not necessarily the darkest but not necessary, the lightest part of my black. Just to improve it slightly. Try that white again. You know you're not going to be using this for finished art. You're using this as a complete for tracing an illustrator so you don't have to have perfection. You just want to improve it. Because what you want to do is have it so that the tracings as accurate as possible without a whole bunch of extra noise and junk. Okay, so the first thing I do is this which is to adjust the levels once I'm happy with it. I'm pretty happy with it right now. I'll just click, OK. And in cases like this, where I've got kind of this line across the top, I can just use my marquee or feathering and just cut that off. Just double click on this background to make it a layer. That way, I don't get that message when I'm just cutting it a leech and I can get rid of. I think I could actually crop this to get some of those edges off of there. And then I still got a lot of this What I would consider Dustin Scratches. So I'm going to apply that filter as well. So you go down Teoh noise here, Dustin scratches and I on the window here and you can see already it's gotten rid of a lot of theme noises in the background. So, again, this is another one where you're kind of experimenting, trying to get it as good as it possibly can be. Remember that what dust and scratches actually does is it reduces the focus or softens the focus, so you have to have kind of a balance. You don't want it to be running the lines together like this. So it looks like about two is two or three. Try three. That's not too bad. I might go in on some of these hung duel. Where do I see that's got something like us and do a little bit of erasing as well? I don't spend too much time on this because it's just here where it's running together. I will do a lot of my touch up in Illustrator. I would touch that up just so that they urge connected when I go into illustrator something like this down here as well. So here I'm just using my eraser. You could also use the last you tool. What I used to do is I just kind of get started, and then we'll down my auction key, get straight lines, and I can pretty quickly we in and get rid of some of this extra stuff in here. All right, it delete in that area is clear note. So I'm gonna do a bit of that touch up off camera and go through all three parts of my pattern. And then I will show you how in photo shop here, I actually go and test. My thing was repeat really quickly before I take it into illustrator. Right? So I'll see you in the next lesson where we'll do that. 3. Lesson 2 Testing the Repeat in Photoshop: Hi there. Welcome to lessen too. Yes, I went through and did all of my little bits of touch up between the leaves and branches. Just making sure that there's clean areas and no actual spots where they're bleeding together. So well, like this, for example, was quite a bit of dirt in there that was gonna affect my tracing in Illustrator. So I know that right here on this line, what I actually did was grab the pen tool soapy through the pen tool. I drew a line here. I'm just pulling Teoh, make a straight edge than back around here, closed my path, took the wreck, select so a and get some adjustments. So we just adjust that curve a little bit with that line out, adjust that curve. And all I need this path for is to make a selection so I can delete and straighten up that line. So go to the paths here. I've got this work path selected. Which is this one here at See it on the thumbnail cut school meals too small. But me. I can goodies panel options here, and I'll make it large and see if you can see something there, so you can just barely see it. But it's right there. Anyways, all you need to know is that the past that's active is the one that you've got selected. Go to this fly out menu wrap that makes selection motion and click. OK, here, you see, Now it makes a selection, and I could hit delete. And there that line is correct. It looks like something that would take me a long time to do. But I literally do it in seconds. And I can get that nice smooth curve so much more easily with the pan tool than I can with you razor. Okay, So onwards and upwards, Commando. I'm gonna fit that in the window. And you can see here that I've created a document that is way bigger than that square. And I did that using the cropping tool. And you can see here that roughly got repeat for space for repeating this pattern. So I cast it out. So the crop, when you first said it, of course, is the size of your documents. But then you can pull out the corner and make it this big, then hit. Okay? This case I know it's fine because I already did this. And then what I did is I duplicated a square. So this layer, by doing command J and you can see, have made duplicates here on the side. Then I moved them. I just manually move them and visually tested this. But you could actually set the offset at exactly 10 inches, if that's what you're working with. Whatever your repeat size, you can set that by going into I'll show you in a second. Here, you can go into filter other and you can go to offset. And you can type in the exact measurement here in pixels left and right to move your layer or your square, as you can see here, I'm creating what will be a grid rip each. So basically it's 10 inches over to left and 10 inches over to the right. So I went ahead and did that off camera, and so then I got this strip. Then I did the same thing. Command J duplicated it and moved it up and had a duplicate at the bottom and very quickly and very easily. I can cast that repeat, and this is absolutely exactly what I want it. So I'm thrilled to pieces that my nice inked artwork worked out. Well, I see things I'm gonna chop in, Illustrator. Definitely. I can make adjustments in areas like this right here, for example, where I would want that branch continue and connect there. I would go along and check everything. There's another spot right here, and I would check the edges, but overall, I mean, that's awesome, right? Like just I think. Really lovely. Now I'm ready to go into illustrator, and I'm gonna do my auto trace of that cleaned up photo shop sketch or lying art ink Leinart that I did the old fashioned way hand. Once we have the trace and done, then we can really have some fun with the pattern. So I will see you in Illustrator Bye for now. 4. Lesson 3 Image Trace: Hi there. Welcome to less than three. This is a lesson where we're gonna do our image. Trace and illustrator. Let's get to it. So it's now time for us to get into illustrator here and work on our pattern. What I have here are two presets that I use very commonly for a lot of my Adam design work . And I'm going to use this 10 by 10. And what we're gonna do is place that nice ink drawing so that we can do the auto trays. So I can either place it this way as I'm doing, going in here manually and bringing it in or what I could do. If I have my photo shop open, I can just select. So this is my original square here. You can select it. Sure. Got everything hit. Copy and just simply paste. Okay. But I got here for image size. Probably because I have this resolution way too high. I am going to change this right now. Teoh 30 by 30 and 300. Come on. You can do it. Marries. I'm going to select it. Copy it. Let's see if this one will work for me. A stitch that worked might resize it just a touch so that most of the repeat is within that square. I can do that pretty much any time. I don't need to really waste my time doing it now. But then now I'm able to start my traits so you can see here now that I pasted this image here, I have got a bunch of controls here a the top, and the one that I'm interested in here is this image trace image. Trace is also one of the pellets that you can open here. It's one here, a con it, and you'll get this entire pallet that opens up. So I am going to explain this real quick, and I'm gonna also attach a supplementary sheet that you can print out as reference for this. So that will be in my download materials. So here is already set at black and white, which is what I want in this case. And you can see that I've also got some controls here. Teoh, lighten or darken. So had I not done that working for the shop, I could use these controls. Teoh, increase the amount of light let's preview on and just hit, okay? Because we do want it to work for us. So it doesn't an initial tracing here, and that's what is going to use for the preview. So you can see now when I make adjustments here, Teoh the threshold, it'll re trace. And, you know, if you noticed that there, but it definitely made all the lines appear darker. So it made them sicker. When I sometimes do is I go into an area that is good tea, busy or something that I really worked on a lot in the other in photo shop, just to be sure. And I know that was that one little area that we were using the pen tool Teoh. Great note. And I enlarge and I and can get a better look at this when I adjustments on the threshold and whatnot so that that's great. That's a lot better. You So I don't know if you noticed, but it definitely straight note some stuff that was happening in here. So this is one of those things. That's a judgment call on your so you just have Teoh experiment until you have what you want. Now that is just adjusting threshold you could go in and adjust the paths as well. What I want you to keep an eye on here is the past and anchor points. Remember that with a pattern. Repeat. You do definitely have to kind of balance out how much of ah quality or how good the quality should be with the amount of anti points that you're then producing. These were probably the settings that I had with my last auto trace. And I'm gonna go in and just make a few more adjustments here so you can see keep an eye on this in the background. How there I saw that it added more points in some of these leaves, made it more accurate. But if you look down here, I went up by over 2000 anchor points in doing so. So that issue No, you just definitely have to balance it out. Keep an eye on this. Now it's going to change to probably 21,000. Well, 20,500 corners again. You can have last detail or more detail and keep an eye on this again. Not too bad, actually. Didn't change it. It actually changed it for the better in this case and noise reduction. I did a lot of work on that in photo shop, so there isn't a lot of noise being picked up, but, you know, check that out, go from one extreme to another, just to see whether it makes much of a difference here. Sometimes on the edges of the past, I haven't done a lot of erasing or fixing in the other program. So then you get to some of this bumpiness. But that's one of the things that you need to kind of think about also is how perfect do you want this to be? Do you want it to still look, hand inch and I actually do in this case, So I'm not gonna go too much in too much detail here. I don't mind that. It's actually giving me some of this bumpiness. That may be something that I go in and fix. It may not be able. See, I'm gonna put that back to about a medium. I notice that some of the lights were kind of getting lost there, and now they're back again. So that's that's okay. They're like that now. Nothing I want to do is ignore White because I don't want to have all of this white in the background being traced at the secondary shape. I just want on Lee the black lines. So that's what that would mean. And I think I am ready to commit. And so when you are and you're happy with it, you would hit expand here up in the control bar than all of your image has been traced. So if we go into outline view, you can see here that I've got anchor points and lines anywhere for my shapes. So these are all now edit herbal shapes. If I use my direct select, you can see that I can move any of these points and make any adjustments. And I think that's what I'm going to do. And I'm gonna do a lot of that off camera because it would just be too time consuming for you to watch. And again, that's one of those things that's really a judgment call. I might go in and do things like correct where things have overlapped. That would have been something that I probably should have caught when I was in photo shop . Let's go look at that photo Shop one and see if that's actually if you can actually see that there. Where was that? Well, let's look at this one here. And that would be an easy one to see. Okay, so that's on the great big main on the left Long Brian here. So right here in this area. Let's look over here. That would have been in here, and so I probably should have cleaned that up a little bit in order for it to do a better tracing. But now that I haven't traced in, Illustrator, I might as well do my corrections in hair. You can keep an eye on what I do. In the next lesson, I will see their 5. Lesson 4 Making the Pattern Seamless: either guys, welcome to lessen. For So in this lesson, what we're gonna do is work on making our pattern completely seamless. Okay, let's get started. So in this lesson, what I want to do is make sure that pattern is going to fit seamlessly. So there are a couple of trouble spots. What we're looking at right here is the screenshot that I created from my Photoshopped documents. This is a really good way for me to check and get started on what has to be done on this other document. Just being one of them. That's one of the things I will definitely work on. You could see that there are spots where leaves touch that. I won't wanna have touching the overlap, so we'll do some work on that. But first things first. I'm just gonna clean this area up and set up my document properly. Here's the main swatch, and the first thing I'm gonna do is work on this area here. I'm gonna hide my art boards because they're not necessarily useful. Like having no edge. Just go to my screen shots here, and I'm matching in a place rather than copy and paste in this case, so I just pull it out, Teoh. Good. Usable size. I'm gonna lock that. So command to will lock it. Probably time lapse. A little bit of this, But you can keep an eye on some of those repairs that I dio. This will be the first thought. I work on its down here in the bottom hand corner, and I need to just make thes stems just a little bit longer so that they will coordinate and line up to the other side. Sometimes I just manually do it or just do it by sight. And I have a couple of other techniques that I will show you as we go along. I want to bring in some brushes that I can use for some of this work. So I know that thesis lower Leinart brushes will be useful. All I really want is just some off the plane brushes that I created. See? Select first. But I'm gonna drag a couple of these in here now. These could be useful. They're just nice sick line brushes with little toothpicks full with this one here and see what that one's like. That's a little bit better. I know that I'm gonna expand these shapes anyway. So I'll have outlines toe work with and agendas closest possible maybe using stroke weight and adjusting that. And then I'll just do a little bit of fun eagling here to get it approximately to the shape that I wanted. This is one of the reasons I wanted time lapse. It probably don't need to see every little tiny detail I do here. I get the idea. I think I'm going to you join those two. So I'm averaging them and expand appearance. And then I'm going to combine the two shapes using Pathfinder and then I'm going to make some adjustments. So sometimes, once you combine a shape, it moves that black giant shape in the background forward. All you have to do is send it back. I use my manned rocket to send it to the back where you can right click on it. And you can use Thedc. Rance form controls that you'll find there. Let's take a look over here and see what else we want to work on. Did notice up here that this one has to be down a little bit. I'm just going around it out. Sometimes that's easier for overlap. I also see here that there's a little blow. Our that's overlapping. So let's get close there and we'll take a look at what we can do that would be on this branch here. So it's just swirl. And I think if I just simplify it, you can see here how many points there are. And I think what I'm gonna do is just select thes and remove some of the points. So I'm using my lasso tool to just select, make sure I've got it all in there. Actually, I think it might just be easiest to just use my simplification and just reduced the amount of points here that's going to make it a lot easier for me to adjust the lines. You can see that the curves were still pretty decent. So, no, I can get my direct select again A on my keyboard, and you see these points here. I could actually just use these to just bring down that top curve just a little maybe a justice one as well, and I think this is going to be perfectly fine. And then that little star shaped by our we'll be less likely to be touching. So you may find me just time lapsing this a little bit in this next little section, I'm going to move some leaves around and just make some slight adjustments Based on what I see in my screenshot. If there's anything super exciting that comes along, I will explain it to you think I'm gonna move this one over just a touch. So again, I'm using my lasso tool to just grab what I want. And I'm gonna just use my arrow keys to move it over and then make any adjustments. It the lines become distorted. In some cases, you see me, we're moving points just so that I can get a smoother curve again. I just want to reiterate that I don't want it to be super perfect looking. I like the fact that it looks like it was done by hand. That was the whole point of this particular project. Now, in a case like this, where I want Teoh thin out that main stamp, you could see that I'm using my lasso tool to just select key points and move them over. And then I can either de select points or use my direct, select and get rid of anything that I still see. Every once in a while. I come across one of those to clean that up. So this is a really good time to talk to you about keyboard shortcuts and how much faster it is to just switch between tools on my keyboard rather than going over to the toolbar. I know I do both, but there are times when it's just so much faster to just hit a or hit the minus key. The those were three that I use quite often, especially when I'm working on something like this. And then there's the shift See, which allows me to change from smooth point to 1/4 point or vice versa. Just simple. See on the keyboard as a sister tool of necessary and obviously the lawsuit tool, which I'm using quite a bit right now. And I would say that is one of your key. He were short cuts to learn. You could see have only selected part of this branch, and now I can use my arrow keys to move things around real quick. So Q Q. On your keyboard for the last suit you'll. So let's take a look at this corner here. I think I want Teoh adjust this a little bit, so I'm gonna select it again with my lawsuit. Maybe I'll just eliminate a couple of these points without this long curve. And I'm going to use one of thes little circles to feel in that space a little bit. So this is really an exercise in observation, looking at that screen shot and then going back to my main pattern and finessing it. That's what I'm gonna copy and paste. And now I can move it position where I want it and drag, Select as well. Always refer back to your pattern to see you might want to move things. And I'm just using some of these circles to fill in spots that I think could use it. So I'm getting close to the point where I think I might want to do a little bit of a test to just to see how these have lined up. And in the next lesson, I'll probably show you a couple of tricks that I use to make that easier. So I'm not just guessing you see me just taking off a bunch of these extra points so that I can really smooth this ouch with one nice big curve. So sometimes with simplification process ending up with too many points. I have to do a little bit of this kind of stuff. It's not hard. You can get it done pretty quick when I'm showing you and talking. Of course, it takes me longer, but when I'm in the zone, that can do this kind of stuff really quickly. After a while, you get to know your auto trace settings and your simplification, all those kind of things, and you have very little touch up to do quite often. So let's sign off for this lesson and I'll see you in the next one, where we're going to do a little bit more work on getting this perfect. 6. Lesson 5 Touchups and Last-Minute Adjustments: you guys welcome to less than five. So this is our time to do some touch ups and kind of fix up our pattern anywhere that we can see that needs it. So let's get started. So, overall, my chasing looks pretty good. I can see that there are some areas I need to touch up like this. Sometimes in the simplification or the tracing get from little artifacts like that that you have to get rid of. I'm just using my minus key with my pan tool to get rid of extra points to take a quick look around here and see if there's anything else like that. See a spot here. Now, I want this to connect. Really? I'm pulling it in, putting in position where I want it getting rid of some of the extra points at the end there. And then I'm going Teoh, join. So here I will get rid of this endpoint, even add a point on both sides. So that stays generally in that area. So, as you can see here, these points need to be lined up, and then I'm going get them close together, and then I'm gonna use this joint tool. Basically, all you need to do is go over it like a highlighter and it will join those, right? So that gives a nice little point to that half there, which is what I wanted. Here's another spot where I see a little bit of junk. Select that. Get rid of it in some spots here. I just want to smooth out the path or can use thes move tool here on the control bar To do that. If that ever happens and you're trying to select something, just lock the ones that are moving that you don't want moving, and then you can access them more quickly. Sometimes I get rid of extra points so that I could make a nice smoothing on the line. I probably time lapse a lot of this cause it's just a continuation of the same things that we were doing in the last lesson. We'll go through this real quick, and if there's anything else that I want to explain, I will stop and explain it to you. Remember that this happens sometimes and you have to arrange and sent to the back. So I'm showing you to short cuts there. I'm gonna unlock and get rid of that screenshots because we're going to proceed pretty soon with testing this swatch couple last minute things here that I see that I want to fix now that I'm in close, he was a good example of using the convert anchor point tool. I want to make little corner points here so that I can bring the sand tighter, not have so much of a curve here. That helps me to straighten up the scam a little bit. I know I said I wasn't gonna fuss over this too much because I wanted to look hand on. But sometimes it just can't help myself remember that you can use the little corner widgets at times when you want to smooth out a curve. And when you are doing a long, sweeping curve, it's usually easiest to get rid of a lot of the points and have just the main endpoints. You can see here, too, that I switch back and forth between the actual view and the outline. View Amanda. Why is the shortcut that I use for that makes it really quick, and sometimes it's just easier to see it in the outline mode. Some time lapse ISS go through it really quick and you can see that I also in large on sections that I'm working on. And the fastest way I do that is to demand option and select area that I want to move in on really quick. So that's just a really fast way to zoom already. So it looks like I'm done here. Perfect. So I'll see you in the next lesson. Bye for now. 7. Lesson 6 Testing the Fitting of the Pattern: Hey, guys, welcome to lessen six. I'm always so excited to get to this point and we're gonna do some testing on our swatch. Let's get started. I'm looking at my pattern here, and I'm pretty happy with it. And I like to do a test now, So let's do that and see how all of this is looking for us. So I'm gonna select all my shortcut for pattern creation is command and apostrophe. If you haven't made a shortcut yet, you're gonna find it here under pattern and make. We know it's a grid pattern. So I don't need to change anything here except for this. Bring it in nice and tight. And let's check out how we did with some of this over here. So that's pretty. During good. You can see a little bit of adjustment that needs to be made here. Open up, my navigator so I can move around. The edge here could shorten this leaf on the bottom is a little bit of ah, boo boo there that could be fixed. But overall, I'm happy with the way this is fitting. And I mean, really, that is not a lot of stuff to have to clean up. So we're just looking all the way around here. So I think what I'm gonna do is a screenshot of those couple of things that I want. Teoh adjust. So there's that leaf. And then there's this over here. So I'm going Teoh, do a screenshot right here. I find that screenshots are super helpful. Sometimes I print the bomb, see it come up here in the corner of my screen and open that preview. And I'll send that to print here in the background while I do a little bit more checking here. There was that spot to you. So spring shot there and without with or anything else. I don't remember that there was anything up here. Yeah, that will be the same as the bottom anyhow. And I think the sides were good. So there's those two little things. So I'm gonna escape out of this, actually, take both of those swatches and delete dunned. I'm going Teoh place, both of my. So I've got a shortcut here for places. Well and shift be or what? That's what I'm gonna dio go to the desktop. We have those two that was one of them shift p again. Six. I can locate the other one. So I'm gonna grab both of those swatches Command shift P and select them both, and I'll be able to play some one it right after the other. So I know that this is one of the culprits. All I need to do is shorten. This probably didn't even really need the screenshot for this honestly. And then the other spot was this. And in order to do that really accurately, what I'm gonna dio is grab my whole tile here. And does it matter if I've got everything is really all I need is this top little area here it hit return and make sure that that's a copy, and I'm just gonna change it into a guide, So command by will change it into a guide. And let's just take a look at this area. So this looks like it's gonna work perfectly fine. Might maybe smooth this out a little bit. And then over here we could see exactly where we need to move this. So I'm just going to bring it down so that it more than covers the very edge we know that's going to work absolutely perfectly because we've got a guide. So that is one of the things they're really like doing. Is just duplicating what I need and turning it into a guide. I'm going Teoh that a point here because I think I want to bring it right down to where the seam or the connection is between that leaf and means Damn kind. I'll do the same thing over here, and that's going to smooth out that area. I'm not lining it up perfectly to the guide because there is that part of the leaf at the top that obviously thinned out a little bit there. And I'm totally OK with the way this is going to look all right, so we can get rid of this guide now sort of guides and clear the guides because you can't have the guide. If you accidentally select the guide, it will tell you that the patterns watch can be made and we can get rid of these two. I probably really didn't need those at all, but I want to show you that process. So now I'm going to select all me to do my pattern. Repeats 10 by 10 that. Ah, All done. And I love it. Probably once I'm completely done this class, I'm gonna go in and do a couple of little things that I can see here. But the scope of this course got everything we need to go ahead now and search playing around with some colors. If you're curious as to what I would adjust, let's go down here. Well, just enlarge here. I would probably move thes leaves over a little bit so that they tighten up in this area here. And, uh, perhaps add a few extra little dots to fill in some of these, but otherwise, I'm very happy with the overall Look at this. And I've got my patterns to watch over here in my swatches panel. And now I think we can go ahead and do a bit of testing with color and color schemes. Well, that's what we're gonna do in the next lesson. I will see you there. 8. Lesson 7 Color Experiments: you guys welcome back. So this last, it should be really fun, because what we're going to do is test out some color ideas, and then we'll move straight into doing some mock ups. All right, so we're at the stage where we're going to do some testing of your schemes. And the first thing I want to do before I get started and make a new swatch is to add a nice square in the background that we can use for colorizing. So I grabbed my rectangle tool. I'm gonna option click type in 10 by 10 and I'm going to align it my art boards real quick . So now I know that I've got a rectangle in the background here that I could color rise to any color, actually, maybe let's do that. Let's just colorize that. So I'm going Teoh People look at some nice color inspiration on Pinterest. So I've got a whole board is dedicated, Teoh. Lovely color scheme. So let's go take a look at that. So here it is. I mean, talk about feast for the eyes with this. Sometimes it's just really hard to choose. I'm going to try to narrow it down to a three color palette. Thought maybe that would help would come up with that. But I'm just looking for something really simple. Sometimes it takes me a while to do to actually choose a really nice color scheme. But I really like this one. So what I often do is I'll do just quick screenshot so command ship for but captured that over here. I'm going to open that up in preview real quick. Select all copy. And just like that, I've got that color scheme here that I can use to sample some colors. So I'm going to do that real quick. First we're going Teoh swatches, and we're going to use the eyedropper tool to do that. But I want to do is sample three colors air. So from this image, I find that the quickest way is to use the eyedropper tool. So to access the eyedropper tool, it's the letter I on your keyboard and make sure that your feel swatches in the front and then click on whatever color you want from the image. Now that I've got that one filled, I would duplicated probably twice in this case, but you could keep going. And the way I did that was I drag the 1st 1 and then command de would duplicate. I'm just gonna undo Shall my sample all of these? So maybe I'll just leave it there because I think that I could dio two or three different color schemes based on some of these colors I see in here. So now I'm gonna access that eyedropper tool again. Click on the square that I want to change and just quickly sample some colors. There's kind of a little off yellow in here that I like a swell, maybe a little bit soft. And I'm going to duplicate this whole sit here back to my eye dropper. Select one of them and I want to just sample a few colors from in here because this is also a very delicious color scheme. So So quickly and easily I have to complete sets of ideas here. So the way you go about adding that now to your swatches panel. So I just select and then I just drag it into the color group, sees Mr Chambon, um, each color group. So I'm gonna do this whole strip here, so see that I select. And then I just drag it into this little folder. Created a second color group. Normally, I would name these so that I could save them in to my color library. But I'm not gonna bother. Today may get rid of this one reach. And so basically, we're done with these. Get rid of them, and we're going to just do some colorizing here on what we've got. So I'm thinking I'm going to start with this first color scheme I created. I'm going Teoh, fill that background with this soft yellow, then that into the back and this black I'm going to select. And to make it easier on myself, I'm going to select same fill color, and I'm going to fill it with I think this blue here was green. Then do the same thing. I'll select the white and go to same fill color and make a shortcut for that. It's also up here now on my control bar so I can go here too. Same feel color. It will select them all. And I'm going Teoh color that with this beige e what was the wood color? Now I'm gonna just hide my edges here But you can see that that yellow and that beige color do not work together at this level of saturation. So I'm going to select this. Better go back and select that beige and double click on the swatch here. I'm gonna go in much lighter there, and I don't really like it. But, I mean, it's Ah, start. Maybe I will lighten this one as well, so that could very well be one of our color schemes. So let's let's do a little bit of experimenting. Let's duplicate this. Actually, let's use the re color tool. Why not? So it's going to be quite easy using the re color tool because we have so few colors. So with this amount of colors here and with my color groups here, Aiken, do some really quick experimenting. Of course, you know that you can dio randomly change another order here. That might be something to experiment with a little bit at first, and, you know, I actually already like that better. This is ah really a Nwe to experiment. You can also drag from your color groups or click on your alternate colors to change two other colors quite instantly. I want to change that to this lighter color. And I'm gonna change this to that color. You can see how much fun you could have here. And don't forget, you construe also experiment with the saturation hue and value sliders down here. Ooh, that one's pretty. So I'm not sure where all I end up with the colors here. I'm gonna do some experimenting, but I just want to show you that that was the basic workflow for testing your swatches. So I think I might go into completely different color scheme later on. But for now, I'm gonna leave it at that and click. OK, The swatches have changed here because I clicked okay at that last to dialog box that came up And what I sometimes do is I'll take and completely duplicate. Sometimes I even put on a different document. A copy and paste went over here, and I'm just going to show you a couple of other things in the re color dialog box. So we're in here with three color and you can also do this which randomly changes the saturation and brightness. You can still experiment here. Just remember that once you see something that you like stop and save it because there's no going back. It won't allow you to do that. I want Teoh. Try something completely different here and change the hue on all of these to be a little bit more into the purple, purples and pinks. Even something like this monochromatic is actually quite pretty. That's something completely different. We've got to social, very different color schemes here and off camera. I did a couple of other tests here. This particular color scheme I saw on a TV show I was watching last night. So it kind of took note of it in my mind and thought I would give it a try. And I really like this soft and D factory ated color scheme. I think this one would be a really nice pattern for pillows or upholstery. I think what I may end up doing is a couple of really good samples here that I can take and use in some mock ups. So I think that's going to be my last hurrah here is doing a couple of mockups for you and then we're going to wrap up this class, so let's do that right now. 9. Lesson 8 Mockups and Finishing: Hey, guys, welcome to this last lesson. So, in this lesson, we're gonna just use our patterns, watches to create some really cool mock ups. I've got some great ideas for you. So when I did off camera is amazed. Watches here with those two different color schemes. I left off the background because I thought this would be a little bit more versatile. I really like how they are on the white background anyways. But I'm gonna show you a quick ho. You can go about adding background colors. So I'm gonna copy both of these squares, and I'm gonna pace them in back, so command be will paste them and back. If we take a look at the layers, you'll see that those two rectangles air still currently filled with pattern and I'm going to be changing those to a solid color. So what I'm gonna do is I'm going to grab this will set here on making new layer. I'm gonna cut so command X to cut and then command F to paste in front, which it on its own layer. So this should just have the two rectangles, that airfield, and I'm gonna do the same thing with the zone new layer cut. And then when I get to that new, earlier paste special piece in front. So it put it right back in the exact same position, and I can hide those original swatches and things that I had over there on the left. So now what I'm gonna do is I'm going to Josh, change the background, Swatch. So what I'm doing here in the layers palette, I can choose just the back most square so I can just change it right now. It's field, of course, with the pattern, but we can fill it with a different color if we'd like. So that is super ugly. But it just goes to show you what you can do. You can obviously go in here and change that background color to be anything that you'd like going to do the same thing with this layer. Select that back most rectangle and let's try feeling that one with, Let's say, a light blue, but a really light in that blue say, see, I double click on the swatch and that allows me to do that it So we've got to nice Hatters watches here that we can use for our mock ups. And I'm going Teoh, actually, Just keep them with white backgrounds. In this case, you Everything I can do here is I can change the scale of the pattern within that swatch. So I'm thinking I'm gonna make some make this watch is a lot bigger so that we could use them on something like upholstery or I don't know, whatever we could find in mock ups. That's interesting. So I've made them a lot bigger, but I want the pattern to repeat a little bit more within this. So I'm gonna select that square, do my shortcut for transform each, which is command auction shift D. You would find that under here, object transform, and you want to transform each. Now the reason we're doing that is because we just want to affect the pattern, the size of the pattern within that square and not reduced size of square. So that was my last setting, obviously. 50%. I don't think I want to go quite that small. Maybe 80% type in 80 and 80. The reason is just transforming the pattern is because here on the options, I've got transformed pattern and scale strokes and effects selected. If I had transform objects, it would also reduce the size of the rectangle. I don't want that. Now I'm gonna say OK here. And I think I will do the same transformation when this one here. So I gots to nice big swatches that I'm gonna say, Vote. If I had these on separate art boards, it would be really quick that I can also use Thea Asset Export Channel here. So what I'm gonna dio is drag this artwork into the panel. That will be my first asset in a drag this in. And those are my two sets for exporting. And this is set about two different versions here that are gonna be saved A J peg version and a PNG version. I'm gonna hit export, and I'm gonna go Teoh my assets folder for a repeating pattern and I'm gonna exported here . So if I go into my finder and we take a look at that Assets folder, it has created this some reason didn't export the other color, but it creates this folder with the assets in it. So let's go back and take a look at why that didn't work. OK, I had just the one selected there accidentally. I should have had them both selected. But now I can export that. I could save it right here into this folder and go back to my finder. But now I have thes P and G and J pig samples that I can use for my mock ups. So let's locate a couple of mockups to use for our experiments. So to get some free mock ups, I just recently caught this class by cat Coke. Elashi is a top teacher on skill share, and it just so happens that she has partnered up with Create C, which is one of my favorite mock up companies that I found on creative market. And if you sign up for her class, you get a bonus of a bunch of downloads of free mock ups to use. So I went through her class, and I have decided to download them. You just have to click on the link that she provides down here at the bottom and click on that creates the link you get to this page. You unlock your free mockups by entering your email here, a gun lock and you will be taken to this Dropbox documents where you can find all of the different walk ups and then you just can go ahead and download those. So I'll do that off camera and when I'm ready will come back. And some of those patterns and dances were just kind of messing around with color just for the fun of it. Let's lighten this one here. Just it really kind of a soft, almost like agree. And then we're going to select this and recover it. And I'm going to go to this panel instead where I can just kind of freely move around the colors to sample something completely different. Know how fun is that? So the closer I get to the center is the lighter the color will be and you can see down here at the bottom. If you watch this as I'm moving it around closer to the outside edge, what that does with the saturation and brightness. Oh, I think that's kind of fun. Gonna lighten this blue a little bit. I think what I'm gonna do is go in and change that rectangle color. And what a difference it makes when you play around with that saturation and brightness, don't you think? I think I like that just for the fun of it. So let's save it. And I'm gonna save this out as a J. Paige. Real quick on this will be alternate color three. So I've got those mock ups downloaded from cat Coca. Let's course 80 mockups and let's play with this cell phone first. So I'm going Teoh, double click on the smart option. I'm gonna open up, actually. Think of about the dark green here already. So I'm gonna select all and copy. Go back to that PSB file, paste it in. I should have made myself a bigger sample, but because the work for the purposes of this class So I was gonna hit save on that and then go back to the phone case And what is so pretty, Alum bat? So that would be a mock up that I would save, and I'll save it as a J pig right into that same assets holder. Let's open up with two alternate colors. Also, that we created about three in total here electoral on that copy back to that PSB file. Obviously, I should have saved these a little bit bigger considering the size of the mock up. Remember to save or it will update in the mean document. That is also very pretty. Almost one phone keys to what? That is a J peg. Probably just going to be using this for the purposes of this course at this time. So this will be fine. You get the idea and let's check this fabric one out, and the first thing I'm gonna do is check the image size. I'm going to save this file here because I'm also going to just reduce it in size. I want to keep that original eyes is And I'm going to reduce in size for what we're doing today that I hit OK. And this one would take a well because you can see here that to be different folds of the fabric are all different and separate PSB files Here you can tell on the side here if I double click on this one first wealth, hide it to know which one it is. It's this far right peace and double click on it and it opens up just what will be in that strip. So let me just show you here quick with this sample and you see, it just shows up on that part. So let's see. Is this this is the one directly beside it part of the same rule of fabric. So that's piece that in. And like I said and I would definitely have had these save in the right size just to show you this is perfectly fine. Okay, so off camera, I'll go through it. I'll do these other two roles, and then we'll come back and let you see what those look like. So here is how they look when they're done. Kind of like that. I thought I'd open on that. I already have here, so we could play around with it. So with this mock up and most of the mockups that I buy, especially from create See, I can just double click on these smart object to open up PSB file, and that is where I can put in my pattern or whatever I want on my mock up. So I'm gonna open up those samples that we just made it in that assets folder and I will open up just the J pig, so I need for right at this moment and I'm going to select all and copy and go into that PSB file and paste months. I save it and go back into my Marcopper. You can see that it is. They're pasted and in position. Do the same thing with this pillow here and just for the fun of it, let's just do this Alternate color van Hit, save, Go back Toothy woke up and you could see that that saved there as well. When you're creating them all cups, you can also just have some fun and play with the colors. Well, you're in with a shop. So in a case like this, I'd probably save the one that I want as one of the alternates or one of the examples. And let's put that also in the Assets folder say this is a J peg medium file size and okay , it depends what you're gonna be using this for. It could be including this as possibly screenshots. If you're going to be selling your pattern on, let's say creative market at this to a look book. If you're selling this particular pattern, you could uploaded to instagram any of those different things Jay picked for now will be just fine. Just for the fun of it. I'm going to go into the actual PSB file again, and I'm going to play with the human saturation here to just change my color scheme. Slide that Hugh. So I've got minus 1 14 plus 40 and plus 11. Now. I could just place that in there safe and do the same thing on this one. Save. Go back to my walk up and there's my other pretty pattern. Let's say that one as well with the ultimate name and have created two quick walk ups, so I'll see you in the next lesson.