Convert Conventional Art or a Fabric Print from Analog to Digital into a Seamless Repeat Tile | Delores Naskrent | Skillshare

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Convert Conventional Art or a Fabric Print from Analog to Digital into a Seamless Repeat Tile

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

8 Lessons (1h 13m)
    • 1. Intro to Analog to Digital Pattern Repeats in Phtoshop Using Pattern Preview

    • 2. Overview and Explanation

    • 3. Using the Rubber Stamp

    • 4. Creating Seamlessness

    • 5. Using Selections for Repair

    • 6. Lesson 5 Creating the Swatch

    • 7. Lesson 6 Creating Motifs to Fill Out Swatch

    • 8. Lesson 7 Export Swatch and Wrap Up

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About This Class

Have you ever wanted to convert your own hand-drawn patterns into digital patterns repeats to be used for fabric, clothing, wallpaper, or even gift wrap? In this course you'll learn how to transform your traditional art into print-ready patterns. This class is for pattern designers, graphic designers, illustrators, artists, crafters and anyone else who is interested in learning how to use existing art and turn into digital format using Adobe Photoshop. You'll learn my method for creating a digital repeat using Adobe Photoshop. We'll start working with analog materials then refine and multiply the basic pattern swatch in Photoshop, patching and blending wherever necessary to create the seamless repeat. By the end of this class, you will have a digital repeat pattern ready for printing on a product of your choice or onto yard goods like fabric or wallpaper.


Adobe Photoshop is an indispensable tool for surface pattern designers to translate their vision into a striking design and a printable, repeating pattern. However, even with the power of Photoshop, creating a pattern often meant repeating steps and careful calculations which could be time-consuming, and could cripple the creative process. In the past, the designer had to work on the foundational tile and the overall pattern, simultaneously paying close attention to both. Yeesh! Thankfully, in Photoshop 2021, a new feature has been added to help us out: The Pattern Preview.

You will be guided step-by-step through the process of producing the epeating pattern design, using the rubber stamp tool wherever necessary. This tool can be used alone or in conjunction with selections. Not sure what that means? You will see. Alternately, we will also use selections. With the selections we will do more than patching. We will use it to isolate elements from the background to use on the seams to help disguise the joins. It works perfectly! We will use all three versions of the lasso tool, with different applications of each. There is much to learn about making selections, and this will be a great introduction.

In this class I’ll walk you through:

  • my step-by-step method for making seamless patterns from an existing artwork
  • making selections for isolating elements
  • my workflow for use of layers and other great features
  • adjusting patterns to perfect the flow and adding elements in the second iteration of the design
  • fully seamless background creation
  • methods for adjustments and recoloring 

The verbal guidance and demonstrations will help you learn all the necessary core skills that can be applied to so many of your future designs. Whether you are new to surface pattern design, or a fairly seasoned designer who has been using Photoshop with calculations and measurements to repeat your patterns, the new Pattern Preview will change your life! If you’re an aspiring pattern designer with a good basic knowledge of Photoshop, you’ll be able to go through all the steps. This class will benefit anyone who wishes to simplify creation of seamless patterns and methods to improve efficiency.

The key concepts I will include:

  • review of my pattern alterations and adjustments methods
  • approaches you can take in your creative work

This is an ideal class for you, even if you are not sure what you will use the pattern for, whether it be for fabric design on sites like Spoonflower, scrapbooking paper, custom web graphics, or whatever! Learning new Photoshop workflows is always desirable. I guarantee you will create something really appealing, and it’s so much fun, once you get the hang of it!

Intro to Convert Analog to Digital Pattern Repeat in Photoshop

This short intro will give you an overview of the class.

Lesson 1: Discussing the Overview and Objectives

In this lesson, I will show you the objectives for class and explain the merits of the technique I use.

Lesson 2: Using the Rubber Stamp Tool

In this lesson, I will show you the experiments I did with the rubber stamp tool and talk about next steps.

Lesson 3: Creating the Seamlessness of the Tile

In this lesson, I will explain the settings and sizing of the brushes. I will show you some of the key techniques I use and explain every step of the way. By the end of the lesson, you will have the repair of one of the circles done, with the use of the rubber stamp, mainly.

Lesson 4: Using Selections for Repairs

This is the lesson in which I teach you about creating the seamless tile. We are left with an obvious area that needs to be filled. I show you a bunch of adjustments for selections as we work our way through this lesson. I also demonstrate using the rubber stamp tool to work on making the tile seamless.

Lesson 5: Creating the Swatch

In this lesson, we start getting to the nitty gritty of the final swatch. You will see me use several different techniques to for making and adjusting, then finally testing the swatch. I will show you a technique for adjusting the color and for using the levels control to adjust the tonal values.

Lesson 6: Final Pattern Testing and Correcting

At this stage, we pull our layout together, and I will correct the small details that make it work. I use areas of the artwork to isolate into motifs we can use with our repeat. We take a quick look at color adjustments and talk about next steps. This will show you just how versatile this technique can be and how valuable experimentation is in your development as a surface pattern designer.

Lesson 7: Conclusion, Mockup and Next Steps

We will conclude everything in this lesson. I show you a couple of quick mock-ups with the pattern and we end with a chat about next steps.

Concepts covered:

Concepts covered include but are not limited Photoshop repeat patterns, the new Photoshop Pattern Preview tool, making selections with the lasso too, using the magnet lasso tool, using the rubber stamp tool, converting analog to digital patterns, isolating and repeat individual elements, using layer adjustments like Hue and Saturation and Levels, techniques with blending, and much more.

You will get the bonus of…

  • 1 hour and approx 5 minutes minutes of direction from an instructor who has been in graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge
  • an outline with links to further research
  • a list of helpful online sites to further your education into surface pattern design

Meet Your Teacher

Teacher Profile Image

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, 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, Patton, Trends, Metaverse, Evergreen 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... See full profile

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1. Intro to Analog to Digital Pattern Repeats in Phtoshop Using Pattern Preview: Hey guys and welcome. My name is Dolores Sanskrit and I'm coming to you from sunny, Manitoba, Canada. So in today's class we're going to be solving a particular challenge for artists who have worked in traditional media to produce artwork or to produce fabric and are looking for ways to move into the digital market. What I'll be doing in this class is showing you how you can take your hard copy and photograph or scan it and from that, create a pattern. Repeat. The idea for this class came from a student named Robin col. Now Robin is a traditional artist who has been producing some amazing patterns on fabric with a bunch of different techniques. So she's got his beautiful samples. She sent me some swatches. And what she wanted to learn was to do the process digitally to create the pattern repeat. So a lot of her patterns weren't in an actual repeat. So it was definitely a challenge to try to figure this out. So in this class, what I'm going to do is walk her through the process. And I'm hoping at the same time, I can walk you through the process. So this would work if you also do painted pieces that could be translated into patterns. Or if you'd thought sketchbook art or journal art that could be converted into patterns. I did a bunch of experimenting with my own sketchbook art to just see how it would work out. And basically it boils down to learning two or three really key techniques. What's techniques include using the rubber stamp tool and then making really great selections. So you'll be using the rubber stamp tool and you'll be learning to use the last sue tool. And there are so many other little things that I will teach you along the way as well. By the end of the class, you should have at least one really good repeat pattern that you could use to upload to POD sites or to Spoonflower to create fabrics or any number of other uses that you would normally have with a repeat pattern. I hope this sounds interesting to you. I've done a couple of other classes that are maybe a little bit more involved. The one that I have where I take a sketchbook piece with flowers and they use it as a repeat to as isolated bunch of flowers and create the full powder Repeat. That's another one that teaches you a lot of the techniques. The only difference is that at that time I had Adobe textile designer, and that is currently not available in Photoshop. Now, I heard rumor that the textile designer has been sold to a company called a query, and we'll be eventually available to us again. But meantime, we're going to be using the Pattern Preview tool that Photoshop has in its latest Photoshop iteration. So if you have Photoshop 2021, you have this pattern preview already. The kind of snuck it in there. And if you don't know, you probably wouldn't have even noticed that in the menus. Now if you haven't done so already, please hit that follow button up there. That way you'll be informed of any of my classes as I released them and any other resources that I might give out will come into your inbox. You can also add your name to my mailing list on my website. So that's that shop dot del Horizonte dossier. So if this all sounds interesting to you, Let's get started. I'll see you in lesson 1. 2. Overview and Explanation: Hi guys, welcome to lesson 1. And less than one here I want to provide you with an overview of what we'll be doing. Let's get started. I was thinking about what would be the best way to just kinda get started explaining the whole process that we're going to use for taking the patterns that Robin supplied me and creating a seamless pattern. Repeat, because that was really the goal here was for me to help her and help you to figure out how to do that. So what I have on my screen here is not a fabric can painted fabric. It's a hand painted journal page that I've found that I have that probably the closest to the circles pattern that Robin supplied to me. So the one that supplied me with somewhat like this, I've already made some adjustments to this. I've added a couple of motifs, some of these circles, and I've done the work in creating the actual pattern repeat here. So I could just kinda show you overall what it is that we're trying to achieve. So the cool thing about Photoshop is that it's been used for a long time, and I've been using it for a long time to make my pattern repeats. There have been some recent developments that have made this a lot easier. But essentially what I used to have to do was to use Measurements of the pattern and in this case, the measurements of the original swatch. So that's the Single-page As if I want to repeat this exactly as is. I would look at the measurements and here I've got it in inches, ten inches by seven inches. You can see that I have a really high resolution here, which is something that I strongly recommend that you do. So whether you're taking a photograph or you're scanning, ultimately what you need is a really high pixel count on your images. We could actually change the measurements here to be in pixels as well. So this measurement here, 6000 by 4200 pixels, was exactly what I needed to do, what's called an offset. And that's found in the Filter menu down here to Other and then down to offset. So what I would have needed to know here is the pixels, the width and the height. So that I could figure this out. How far to move my tiles, so to speak, so that I could get the seams offset in such a way that I could then go through and do the fixing on the edges here to make part of the original swatch. So that would be like the bottom of that original swatch line up with the top of the swatch and then figure out a way to blend those two together so you don't see this hard line here though. I do have a class already on this and explains this exact processes, entire process from start to finish. I think I did it with a background or with the idea of creating backgrounds for repeating patterns by its the exact process here of creating and doing this so that you can go in and do the blending. Okay, so I would have done the horizontal would have been half of whatever the width wise and I don't remember it was after 7 thousand. Let's try that. It wasn't let me just take a quick look at that again. 6 thousand by 4200. So I'd go back and I had actually a shortcut for this myself. So you can see here, it's not there anymore because I really just don't use this a lot anymore. So I would have moved this 3000 and I would have done this 2100 because that's exactly half of the width and an exactly half of the height. What this shows you here is the things that you're going to have to adjust or change so that you can get what is considered a seamless repeat tile. Now the good news, if you are just new to this and you're currently using Photoshop 2021. And you can find out by taking a look here, and the latest release is 22.1. I'm pretty sure I'm close to having the latest because I think there might be one update that I need to do. But when you look at about Photoshop here, you should be able to see this number here, 22.1, and that is coastal latest release. If you haven't done any updates, then I'll check and see. But I'm sure that's pretty close to the most recent. And now, instead of having to do that offset, you can go here and there's an automatic way of doing it. And that's just by going here to Pattern Preview. Now what pattern preview does is exactly what I just showed you and that's to line up your tile or your swatch so that you can see the bottom and the top lining out, okay. And that's what you need in order to do your repeat and have it becomes seamless. So I asked Robin to send me a couple of patterns, and this is one that she sent that I thought would be a really great example for you. So I'll just quickly jump into that pattern preview, which I'm going to in a second setup a shortcut for, and I'm going to show you how to do that. And this shows you exactly how it looks now and this is after making those adjustments. So I have already created. A seamless repeat here by making some changes and adjustments here. And that's the process we're going to go through that I'm going to teach you. And a lot of it I did using the rubber stamp tool. And that's going to be one that we're going to really focus on. And then we will be doing some selecting. So what I did is I isolated some of these shapes so that I could repeat them and I don't actually even remember which ones. But when I go through this with you and it'll probably end up looking different than this. I can guarantee you get well, we will figure out ways to create that absolutely seamless repeat. So if we take a really a close look here, you can even see the grain of the fabric. And I've got this soul manually lined up or fixed up that you can't even see any sort of joined here. Now, there's a couple of things here that were caused just by doing this quickly and I haven't completely repaired. So it here is a really good example of something that we have to go in and repair. But I just wanted to really show you quickly the overall success of doing this and the way we're going to be doing it in order to achieve the results that we want. So this one wasn't too difficult. Now, she also sent me this one which I thought would be really fun to work with. You can see by the Layers panel here that I've gone through and created a bunch of little motifs just by doing really quick selections with the last sue tool. And I created a bunch of these additional little motifs to help kind of hide the repeat, which I'm going to show you in a second. So we'll go back to that pattern preview. And now you can see why I created all of these additional motifs. And that was in order to hide that original repeat, because it really is a lot more difficult once we get some of these shapes that are pretty obvious now where the repeat is and you can see the edges. And it's not necessarily what I would consider a great one to repeat. And once you start doing these yourself, you're going to find that you're probably going to create the patterns that work more easily converting into digital format. So it's not that there's anything wrong with the pattern. It's just that some are easier to work with than others. So this one was a little bit more challenging. Like I love this section in here with all of the textures and stuff going on in that son. But I found that that big yellow rectangle that became part of the repeat as an element is not really that exciting or interesting on its own. I think that we could do a bunch of work with this to make it really a pleasing part of a design. But this isn't my design, of course it's Robins. So I just did a few things here to just show you some of the things that you could do to disguise that a little bit or to integrated a little bit better with the design. This sign here with the split between the yellow and red section kinda worked. Well. I thought I think what would be probably really neat would be to go back and maybe reshape this so that it's not just a rectangle. You know, we could make some kind of an interesting kind of a graphic shape here. I like this leaf coming through and splitting and kind of reflecting here. So that's something that we could possibly work with. We're going to try a few things just to make these work really successfully as pattern repeats. But I just wanted to kinda introduce it all to you and explain that pattern preview because that's one of the most amazing additions that we've had here in Photoshop. There used to be a set of plug-ins that you could get, and it was called Adobe textile designer. And in textile designer, we were able to create all different sorts of repeats. And the preview was like this. You can move your elements around. So if I had these elements here, I could move all my individual elements easily. And you can see that as I move them, it all of the repeats, it mirrors whatever I'm doing within the original, right? So Adobe textile designer was like that. It also had a method to do easy rij coloration of your patterns actually still have the icons here. I could probably get rid of them because they don't operate and work like they did before. But I've kept them here because the latest news out there is that the plugin will become available again at some point, but through a third party provider. So that's accompany called a query. Oh, I haven't heard anything other than that announcements, but that's something I would keep everyone posted on in my classes because I've had a lot of students take key Adobe textile designer classes from me. So at some points, Let's hope that's back again. But for now, we're using this pattern preview hour, and thank God we have that. Now the biggest issue with it at the moment is that you can only do a grid repeat like this. So you can't do a half-drop, you can't do a brick. Repeat. If you don't understand what those are, I'll maybe cover a little bit of that at the beginning of the next lesson, The showing you company that is really into art fabrics and has an interface already built that you can go in and experiment with a different sort of a pattern repeat. So I'll show you that in the next lesson. Alright, I'll meet you there. 3. Using the Rubber Stamp: Hi guys, welcome to lesson 2. I'm going to break it down a little bit as missteps that will be taking. Let's get started. In this little lesson, I want to show you or talk to you a little bit about those different types of having repeats. So I mentioned to you, of course, that in Photoshop here, what we're looking at is a grid repeat for our pattern. So what that means is that the pattern repeats by taking that original square and laying it right beside itself. So whatever you see on the left here, repeats here on the right. And whenever you see at the top, repeats at the bottom, so there's no drop. You can see no matter where I position this, that the same thing is happening. This circle repeats over here. You've got this little bit sticking out over the edge here or there. So let's just take a quick look at this fabrics website. So this site you can set both in Canadian and American funds. I am sure its ships quite readily to any location here in Canada or the US. I'm not sure about anything else because I have actually never ordered from the same purely showing you this means to explain those repeats. It might be worth checking out. It may be kind of a competition for Spoonflower. I'm not sure. It just depends on what your final use is for your fabrics that you're creating these repeats four. So there are definitely all kinds of different links on here. I looked at their blog, it looks quite interesting, lots of information there. I'm not gonna go into great detail here, but I've provided this link on the course outline so you can check it out. Now, they're designed galleries, pretty cool. Once you get to the epic over here, I chose start designing. And then it took me right into their pattern Lab. And of course we're going to start with a blank, or we're going to upload our image here, assuming that we have an image that we want to try to do a repeat pattern with. So I'm going to just quickly grab something. I've got this green journal art scan, which I've already uploaded previously. So it's here. If it wasn't here, I would have hit the upload button. Now that it is here, I can just click on it and it will populate this grid repeat for this is exactly like the pattern preview or here you can grab this handle and make adjustments, reduced, enlarge, whatever it is that you might want to do for your pattern. So you can see the same problems would occur here on the edges. Some, nothing really matches up. But I wanted to show you here the different repeats that you could experiment with. So a half-drop is a pretty common pattern repeat type. So if we were to reduce down the size of our original, you can see there that the repeat happens by dropping the original rectangle down halfway. So instead of it repeating in a straight grid from side-to-side, We're seeing it dropped down. And that's what a half drop repeat is. So you can go in here and take a look at some of these different layouts to decide whether one of these might work for you or not. Up here in the left-hand corner. You can hit the garbage can to get rid of anything that you don't want. And of course, as soon as you go to move your image, then you're going to be able to grab that handle again and make some adjustments. So the only one that I thought really could work for something like this for me would be a mirror repeat. So the reason it would work would be that it would reflect and therefore the reflection. I'm going to get rid of that original one. But the reflection itself does what you need it to do at the edges here to make it blend together. So maybe this repeat wouldn't be perfect, but a four-way might be. So let's check that. Oh man, you can see from that that all four sides would then blend in nicely to each other. So really nothing here which completely worked for me in the way that I would want it to because I wouldn't want to be able to make adjustments and perhaps repeat some of these elements myself. So that takes us back into Photoshop. So let's go back in there and let's take a quick look at robins pattern again. So this is the one I'm going to use for most of my demonstration. The reason I've chosen this one is because the elements are very easy to replicate if necessary. And this background here would allow for some really good or really easy patching with the rubber stamp tool. I guess I should even say really easy. It's easy, but it's not really easy. You have to be able to visualize the final products and decide what is acceptable and what is not with the repeat. What I mean there, for example, would be that and I don't know if you can tell really easily, but in this area here, I've used this little area to help me patch in this spot here. And that might not be acceptable to you as far as the repetition. So you're seeing this exact little Venus almost looks like a bird head here, but this little judge in the pattern, you're seeing it repeat over here. So if you didn't notice it in the first place, well, great. Then pick kind of a cautious what I was trying to do in doing that patching. But it's not really always that easy to do because especially with a beautiful hand printed fabric like this, there are a lot of nuances. Robin has done some beautiful wax resist or batik work in the background here that is not easily replicated. So something like this with It's also different shades and different nuances of color can be quite difficult to just rubber stamp and replace or fixed up. So we're gonna go through and do a few of the things that I did to make this look this good. But I am sure about Robin as the artists looking at this will definitely notice things that she would have done better or would have done differently. So that's, of course, the end goal is for you as the artist to be able to completely control the way your final pattern repeat looks. So you may be able to adapt some of the patterns, swatches that you already have. Or you may start thinking differently about those patterns, swatches as you create them. And what I mean there would be that you might want to create some of these separately so that they're easier to composite. So you might have a full background without any of the circles that you can then use in behind and then drop your circles Onto afterwards. So if that sounds confusing, I'm hoping that the next couple of lessons will help clear that up. So let's meet in the next lesson where we're going to really start dissecting Robins pattern and figuring out what we can do to make the repeat verb. Alright, so I will see you in the next lesson. 4. Creating Seamlessness: Hi guys, welcome to lesson 3. So in less than three here we're going to be taking a look at that rubber stamp tool. Let's get started. Let's just take a look at a couple of the settings here to confirm that this will be a very usable file and it certainly will be. This is a huge file and I'm going to change the size here to 300 pixels per inch, and we'll go to an even 10 inches wide. So you can tell here that the quality is really good. Everything appears to be nice and sharp. We don't have a lot of pixelation. And overall, she got this quite flat. There's a little bit here that I'm going to adjust. And, but it actually first of all, double-click on it to create a layer. So here in the Layers palette, if your images on a background, if it says Background, Double-click on it and it'll convert it to a layer. So now we can transform it. So I'm going to hit Command T to transform or you can also go under no, My going to feel to figure it out yes, under Edit to transform. I don't know a lot of these menus that anymore because I use shortcuts for almost everything, shortcuts help you to be more efficient. So I suggest, I strongly suggest that you learn your shortcuts as quickly as you can and maybe set your goal at using one shortcut per session that you're doing your learning. I'm going to be letting you know all of the shortcuts that I use as I go through this. So with the transform command, if you grab the corner, you're going to be able to transform it in perfect proportion. Now if you want to do a little bit of skewing, like I need to do here to correct this corner, I would hold down my command key and I'm able to just pull on one corner at a time. And you'll see that that skews it and that's perfectly fine. I'm going to hit return. And we've corrected that little wedge that we had in the corner. Now the other thing I would suggest that you do is if you do any corrections like that is to crop your image. So click on your crop tool here, leave this setting at width times height times resolution, and then hit your Return key. And the first time you hit your Return key, you'll see the image that was overlapping on the edge there. And we want to remove that because that's going to cause complications when we're doing our pattern repeats. So then hit Return again and your image will be perfectly cropped. The next thing I wanna do here is to take a look at the pattern in a repeat. So here I'm going to go down to Pattern Preview and I get the message about the Smart Objects. I've been experimenting with Robin's pattern, and I don't need to convert it to a smart object at this point for it to work. So I'm going to hit, Okay, and now you can see what the problems would be with the repeat of this exact pattern. Mainly that of course, from left to right, the motifs don't line up and the same thing with the top and the bottom. So we're going to resolve that by a couple of different methods. The first one I'm going to talk about is the rubber stamp tool. And then the second I'm going to talk about and show you is the use of a last sued to select an isolate a couple of circles that we can use to help us fill and repair this problem that we're having with the repeat, not having a match. Okay, I'm marching to get it a little bit easier to see here. And the shortcut that I use there was the command and the spacebar. If you hold both of them down and pull with your stylus, you can make it bigger or smaller. And when it was in view, I'm going to go back to that which is command 0. I'm actually going to go a little bit smaller to select. I can show you something here. Command and the minus key can make it smaller than Command and plus will make it bigger. Now if you also hold down your Command and Option key and you specifically target and area, you'll get that into your image area, kind of in the center of your screen. Now to move it around to get that little hand tool I have to do is hold the space bar and then you can move your image around there on your screen to use the rubber stamp tool, the rubber stamp tool here. And it has a shortcut which is S on your keyboard. And you want to make the brush larger or smaller, you can use the left or right bracket. So I'm going to go kind of a medium size here. What I plan on doing right now is to just eliminate this half circle here. So in order to do that, I'm going to sample a part of the screen that I want to copy to overlap and just erase this, so to speak. You can't just use the eraser because that will literally take everything off your image and you don't want that. So the stamp tool works by option clicking somewhere on the screen and then going over to the spot where you want to paint to replace whatever you see there. Now I can see here right now that I've got a really hard edge brush and I find this works better with a softer brush. So let's go into our brushes over here, and I'm going to just skim the general brushes, choose this soft round here. So I'm going to do that again. So I'm going to sample kind of over here and just kind of start gently painting it this out. So what it's doing is it's grabbing the information from over here where I clicked with my option key. And then it is exactly duplicating that over here. So you can see that as I'm doing this, that cross here is what I'm copying and you can see the exact duplicate of it happening here. So this little part, that full motif here or this little part of the pattern is repeated. So what I like to do too is often changed the origins. So Option click in another spot again and then go over maybe something that looks like it repeated. Now what you have to be careful of is where that cross hairs is because if I were to just start painting and then my cross here goes into this part of the image. So I've got, let's see, I have the cross hairs right here, kinda close to that circle. If I start painting in the direction of that circle, you can see that I would be picking up edges of it here, which I don't want. So I'll undo that last move. And the other thing I'm gonna do for purposes of this demonstration is to just change the resolution here would be lower so that, or maybe my file size to be lower so that my brush doesn't lag. Now, before you do this, make sure you're really think about it and think about how you're going to use that final pattern. I recommend that you do keep it at 300 and a 10-inch unwise watch is ideal. I'm going to go down to 200 pixels per inch and eight inches wide. You can see that that's reduced it down considerably here. If you look at the image size and what that'll do is it'll just make my computer on a little bit faster. And I'm just doing that because I'm demonstrating it. So if I was actually going to be exporting this, I would definitely be keeping it at the high resolution. So I think I'm going to sample a little bit down here now. So that's into this lighter green section. So I'm option clicking here and then painting. And I'm going to save this image because it's still seems to be lagging. So I want to do a couple of other things to see if I can speed up. And I'm going to call this circles demo and hit Okay, and I'm going to go into the edit setting here, go to purge, and I'm going to purge all. Now what this does is it erases everything that is being saved about this image. So think about that carefully before you do it, because what you'll be getting run out is every move that you've made. Normally you can go into the history palette here. And if you don't see it here, you can go under Windows to show the history here. You can see I've got mine showing, so that's why it's showing up in my tools here. But see all of these moves that I've made are being seized by photoshop and that may be part of the reason why it is running so slow. So I am going to urge all, and you'll see that after I do that, if I go back into the history here, it's back to just the step that I'm working on right now. So I'm going to continue painting here. You can see that I'm kinda getting rid of everything. That It's kind of in the way of making this one into a perfect circle. I could get rid of it completely. But I think the next step we'll do is isolate a circle that we can use to clone. Or we will maybe rubber stamp this part of it over here to this side using a hard brush. Let's actually try that 1 first. So I'm going to go back to the brushes and it'll back to the hard round brush here. And this time I'm going to sample some option clicking inside this circle. And I'm going to use when I'm cloning there. And you can see that I've gotten to the edge of the circle and that's causing that little bit there to be repeated. So I have to relocate where I have my cross hairs. I'm using that too, create the rest of that circle. So that kind of worked okay, like that circle is now repeated and it's the same everywhere. So you can see here that what we did in the way of repair is showing up in our repeats. So one down and we've got 1, 2, 3, 4, 5, 6, 7 to go. So we're off to a great start. And I think I need to have a little break here. And so all we do in that next lesson. 5. Using Selections for Repair: Guys walking less than four and less than 4. Here we're going to take a look at that last Sue tool. There are a couple of different options here and I'm going to break it down as simply as I can. Let's get started. The next tool I want to show you how to use is the last sue tool. So last week you will actually has three variations and you can get to them here. You see that little triangle that's in the corner of these tools here. That means that there are hidden tools and the way to switch between the tools that are hidden and the one that's in view here is to hold down your Option key and click and you'll see that you're switching from tool to tool. The first one I'm going to show you is the regular lasso tool. And I want to double-check up here to make sure that this is set at 0. And anti-aliasing is the selection that you want. You're in the control bar because I'll help you make selections that aren't jaggedy and bitmapped. Okay, So with that last Sue tool, now you can just trace along the edge of the motif and it's a little bit tedious. And it's also very easy when you get into certain spots to accidentally go a little bit too far like this and end up being right off your line or to go within. So I'm going to show you how to rectify those two problems. So I'm just gonna go back up here and let go. And my selection is shown here now having got the whole shape selected, but I'm going to show you how you're going to add and subtract from what you've got here. So I'm going to hold my Shift key and you see when I hold down my shift key that I get that little plus sign there. So that will allow me to add to the selection. So I'm going to retrace that little area there and loop it around. And I've added that in there. And if you use your Option key, you're going to subtract from the selection. She's what I wanna do in this spot here. So if I want to continue now with adding to this circle, then I'm going to hold down my Shift key to do that. So I can go carefully along the edges here and select. Now, it's up to you that depending on what your selection is, maybe it doesn't have to be this precise. You could possibly go completely outside of that image area, of the circle area and add a tiny bit of the background if you feel that that would be helpful when you are placing it over the other circles that you're trying to hide. So I'm going to continue adding here. And sometimes it gets kind of unwieldy because of the size of what you're working with. So you could easily lose the selection. So let's say I have this all selected. And then I accidentally click somewhere else. And Oh no, I've just lost my selection. Well you do commands add. We'll get that selection back. But just to be doubly sure, you can also go under select here and Save Selection. And you can save the selection that you've made already. So if I'm gonna do circle hammers, say, okay, and what that does is it allows me to reload that selection if I go into a couple of other moves and then I can't do the command said, to get the selection back. I can always go here to Load Selection, and it'll be on the list here. And I can click Okay, and it's back again. So if I wanted to add to the selection now, of course, I can hold the Shift key and I'm just gonna do a really quick selection here. I'm not at the edge at all. I'm going to keep adding. And now let's say this is what I want to save as my new selection. Then I would go under Select to Save Selection. And this one, I'm going to add to the circle. So instead of replacing it here, I'm going to say Add. And it says Add to channel on. I'm going to show you why in a second. So if I say okay here, now I have this new one. If I de-select somewhere and need to reload it, I can go to Load Selection and go back to circle. And now it'll be that complete circle the way I added onto it. If you want to know why it was calling it a channel, if you look in the pellets over here and you go to the channels, you can see that your circle is here and that's another method. If this wasn't selected here, I could use this. I could select it by clicking onto this dotted line at the bottom of the channels palette. Now it's selected. And if I click back to the RGB, then I've got everything selected again. Now the red is just showing the area that's mask. We don't need to worry about the fact that it's red there. We can still use the selection, copy and paste. And now we've got our circle here separately. Now I can turn off the mask just by clicking on the other layer, so it's now disabled. You can also find that under layer to layer mask and you'd be able to enable or disable it here. So now we've got this circle isolated and let's just check it out, see how it looks. So you can see that that looks pretty good. We may need to still go back and take some of that extra background off of it there. But let's see if we can use it to fix this circle here. And size-wise, it looks pretty good. Maybe a little bit bigger would work. Now this is where not having this as a smart object is a problem because you can see that now that circle is basically cut in half in Photoshop Size. And so it would give us an issue with making any changes to it. So I'm going to actually undo and Leave it where it was before and here before I do anything else, I'm going to Control click and convert this to a smart object. Now, when I move this around and if I want to make changes to it, like transforming the size, for example, I do the Command T, and you can see now the transform is happening just here and not on the other half of it. So to make this one fit a little bit better now, I might choose to erase some of that darker green off. Not really quite sure yet. So I think I'm just going to try that, just erasing a little bit. So here I'm going to choose an eraser. So the eraser tool here, shortcut is E. And up here we can select different types of erasers. Now I'm going to select my favorite which is this, Kyle's natural edge. Kyle's brushes are brushes fat now are shipped with Photoshop. If you don't see it here, you may have to download it. That's a subject for another class, but here we can take a look at this and it's telling us that we need to rasterize it before proceeding. So make sure that your circle is exactly where you want it, because at this point we're converting it back to not being a smart object, but of course it is cut in half. So sometimes what I do is I duplicate the layer before I do any editing. So let's just undo and go back over here. It's a smart object. I'll duplicate it. I'll hide the smart object. And when I go to erase, It's going to either not allow me to you or give me that message that we saw earlier. In this case, I'm going to convert by holding my control key and clicking on the layer and hit Rasterize Layer. Now remember that we have two parts to this image here. So it would be a little bit harder to move it around. So you can see here in this case, circle is peeking out that was underneath there. You'd have to decide whether or not to go back and possibly make some changes to that, man. Oh, brings it back to fit in the screen and move a little bit smaller though, I would need to decide whether I want to take some of that background and change that circle or possibly enlarge. And like I said, because it's now it's not a smart object is a problem for doing changes like that. So I would recommend that you get those position before you do any changes and make sure it's the position that you really want to keep. Now I just want to quickly show you another selection tool there. And that's the magnetic last Sue. So I'm going to hold down my Option key. Click on this, and you'll see that tool now has a magnet on the edge of it. And maybe this time we'll select this one using the Magnetic Lasso ous. So this, you may like this because it actually will do the sort of shaping or you, and this is a completely different type of tool. It's drawing a path and that path can easily be edited as well. So sometimes with a more intricate selection, this one works a little bit better. And that's if you wanted to go through and do all of that piece that's cutting in or whether you might choose to kind of override some parts of it and go only where you really wanted to go in. So you might not want it absolutely exactly the same so that when you use it for patching, it does look a little bit different. And you see as soon as you let go, you've got the selection. And again, you can use your Option and Shift keys to add or subtract from your selection. Then if you want to end the selection, do escape. I'm actually going to switch to this last sue to do my changes. So I'm going to do an addition here so that this doesn't come off separately. And I'm going to do copy and paste. And now I've got that sort of a doughnut shape, but I could use to patch this area here. The shortcut for the move tool is V on your keyboard. So now we can pull that little donut-shaped way over here and enlarge it. Actually, before we do that, let's make it into a smart object. And when you're clicking to create a smart object, Control clicking, don't control. Click on the thumbnail here in the Layers palette, patrol, click on the label, and now we can convert it to a smart object. I'm going to make it a little bit bigger. Whoops. I had to move it back into the original document there first before making it into a smart object because it was already divided. And now that I've done that, I can take it over here. Manti to enlarge. It's almost big enough to cover that spot. I would only have to repair this little notch underneath. And I'll do that with a rubber stamp tool. I'm going to switch to the soft edge brush option click somewhere, but I want to copy and I'm actually going to continue with a rubber stamp tool and a down this seam here so that we don't have such a hard edge because that's going to be really obvious in our pattern. So if I can just kinda copy a little bit of that background over this edge of the tile. So that would be along that blue line that I think it's going to look better and I'm going to do the same thing up here. I'm going to select here. With the rubber stamp and just use it to kind of softly blend out that line right there. So you probably will have to go around and do that wherever your background repeats. This one actually doesn't look too bad. I would do it just a little bit, maybe go with a smaller brush. So use the bracket key to get smaller and sample where you want it to and then just go down that seem might have to resample in a couple of spots. And you can sample over on the repeat side as well. You don't have to sample it just from this side. So I'm going a little bit higher here. I had a little haze of white there that I want to get rid of. And slowly but surely we're getting there. So what we'd need to do now is follow through with a few more of those shapes, either by copying and pasting or eliminating them completely. This one up here, That's what I might choose to do. So I'm going to option click here in this yellow area and just paint a bunch of it outwards. So I'm option clicking fairly low down there so I can get some of that yellow. And you can see that it's pretty obvious here that these three bits of the background are the same. So I would say enlarge in that area the smaller brush and eliminate by just sampling different parts of your yellow background there. So some of it can be made to look a little bit different. So this takes a lot of practice. I would suggest that you spend a fair bit of time just getting to know how this is going to work. And then use this to get rid of parts and to repair joins. You can still continue to stamp to get rid of that part of the motif that you don't want to see. And this is going to take a little bit of creativity because we've got green meeting up with yellow. So you have to figure out how to or where to sample from. That's going to make that work. That's where having the soft brush is better because you can kinda get a blend happening. You can see that when I drag, I'm okay when I drag downwards here because I've got this trough of space between the two circles. As soon as I go laterally, I'm getting the edges of that circle repeating here. So I'm going to have to grab from somewhere else sold try down here. And if I want a harder edge like along there, that's where I would switch to a hard brush. And then I can actually paint really close to that motif. And then I would just go back with the soft round and blend the edges that were created with that brush. So Option click is your friend because you can click to get a different area to do your patching. So I'm going to continue on here. I'll maybe do a time-lapse that you can watch that show us the steps that I take. I basically they'd be doing exactly what I've been showing you. So either the rubber stamp technique or the selection. And I'll get this to a point where we can make the pattern swatch. All right, so we'll start the next lesson with that time-lapse. And I'll explain anything important that came up. Alright, so I'll see you in that next lesson. 6. Lesson 5 Creating the Swatch: Hi guys, welcome to lesson five. And less than five here we're going to just continue on with creating that finished pattern swatch. We still have a few adjustments to make. So let's get to it. I'm sorry, but I did not manage to get that time-lapse. So I'm sure here that Robin would have done this probably differently because it is her artwork after all, she'd probably do a much better job than I am. I'm just showing you the way I would do it. And you can see here that I've added a couple of motifs here in there. This one I thought would be kind of Q here, and that might be something she wouldn't choose to do. Note that this one I didn't actually make any real changes too. So it looks exactly like the one here that might be something to consider. And that would be only possible if it was not a smart object, which it is here. So to know that it is a smart object here in your layers palette, you see that it's got this little symbol on the corner. And like I said, too, rasterize it. You would control, click on the label for the layer there, hit Rasterize Layer, and then you would be able to make changes. So here I might now use the rubber stamp tool and just sample different parts of the circle there and just make it look a little bit different than the one above. Just so it's not obvious that we've done that repeats. This one would be a little bit harder to move at this point because if we do or we try to make changes like enlarging it, you'll see that it's also choosing the one that's off the image area. It looks like in this case it would work. Okay. Transforming is usually a problem, especially if it's over the edge. So I've got it now lined up over the edge and you can see why it doesn't really work for that. So if you can have it within the pattern area to enlarge it, then it does kinda work, but just avoid the scenes. You could also use a transform in other ways like rotating. So what I would do here again is go back and create a smart object again. And then I could, now, you'll see that I also did a lot of work on the edges of my tile everywhere to make sure that the background blended in nicely and that you couldn't see any of the joints might not be perfect. But I think at this point, we can definitely run a little bit of a task. And in order to do that here, I'm going to open up my patterns, clean it up a little bit there. And if you don't see this little icon, your tools or your palettes over here. Just go down to window over here and down to patterns and it'll show up. So this will hide it. And now it's showing you can move this stuff around too, by the way. So you can just grab it and move it if you wanted to have it at the bottom or you could move it to be over here. It's up to you. I'm not going to really cover too much about in this class because I think we've got enough going on already. So I'm going to add this pattern. And really it's that simple. You click on this little plus sign at the bottom, and it's going to automatically convert this to a pattern swatch. So I'm going to save her, call it circles. I'm going to say, okay, and now we have that swatch existing. Let's test that one out. I'm going to make a new document and I'm going to make this one fairly big. So maybe 20 by 20 that I have here. I'm going to hit Create. And there are a couple of different ways that you can fill, check your pattern. I think the easiest way is probably going to layer here and you're going to do a new Fill Layer and pattern hit Okay here, and you will be able to choose the pattern, so I'm going to grab that. And today we have now fills the background with that pattern. You can adjust the scale here. So if you wanted to do three-quarter size and just get a really good sense of how that pattern's going to log. You can change it right here. I think this is beautiful. Robin, your patterns are going to be absolutely fantastic. I can't wait to see all of those other swatches that you've sent me converted to these patterns. So you have a lot of homework, young lady. So that's the one way of testing your pattern. The other way would be to have a layer. So I'm going to go to my layers palette here, outer layer. And then on that layer, I can add an adjustment and I'm going to use pattern here. And basically it works exactly the same way. Once you get to that point, you can hit Okay, and you've got your pattern. You'll have fun experimenting with some of these other adjustments. For example, if you were to go to hue and saturation here, this panel comes up. So the properties for the hue and saturation come up. And you can use this slider to find a different hue that you might find appealing. You can also do things like adjust the saturation and the lightness or darkness. If you wanted to have a completely monochromatic design, it colorized and it'll apply whatever color you've got here in your hue slider. So that's another really simple and effective way to create new swatches. Now if you do those changes here in this other document, you're not actually changing the swatch. If you were to do it here with your patterns swatch, then the change and be applied to a new swatch. So let me show you how that works. I'm going to go down here and add that adjustment. So I'm going to do hue and saturation and have some fun playing and experimenting with these other ones too. It adds the adjustment layer here, and it's really easy to get rid of them if you don't want them, you can just hit this trash can at the bottom and it's gone. Make sure you're on the layer thumbnail when you do that and away it goes, add that back on again and make the changes. And just for the fun of it, let's add a second one here. I'm going to add a levels adjustment. What this does is it works with the tones that you have in there, but either darkens or lightens. And of course, you as the artist, are going to be the best judge of how you want your pattern to look. If I want to go back now and work on the saturation and hue, then I can just simply click to that layer and make adjustments. I really quite like that in purples. Once you've made the adjustments that you want, go back to your patterns here. We've run into a roadblock here because currently with these two adjustment levels, it's grayed out, the ad swatch here. So do a quick workaround here. I would select everything. I would group it by hitting this little folder icon at the bottom of the way I selected it is I was on the top layer. I held down my shift key and that selected everything in between that. Now I can duplicate that and to duplicate either a layer or a group here in the Layers palette, just hit Command J. And then in order to be able to create the swatch, what I'm going to do is flatten this group or merge all of the layers. To do that, I'm going to hit the Control key and I'm going to merge the group down here. Now you can see that this button is not grayed out. I can hit that. Plus I'm going to call this circles blue. Yeah, okay. And see if how did the pattern here. Let's go to our other documents. We can change the pattern feel by double-clicking here, and that opens up this dialog box. And here we can select the other option. Now this is not correct because we've got that hue and saturation. It'll affect anything below it here. So let's just get rid of it so that we get the swatch that we want. So that's absolutely gorgeous. I can just imagine this as a really pretty blouse to go with a pair of blue jeans or something. So this is one of the methods that I feel would be very successful for you. If you've got a pattern swatch with some motifs that could easily be repeated without looking obvious. Now in the next lesson, we're going to take a look at another of the pattern swatches and that was the star pattern, the Thun and star kind of pattern. And I'm going to explain how I created those other little motifs used to Elin this swatch. Alright, so I'll see you in that next lesson. 7. Lesson 6 Creating Motifs to Fill Out Swatch: Looking at a different swatch of robins. And that'll help us to kinda figure out ways to bank motifs that we can use for patching up on the edges of our swatch. Let's get started. So in order to fill out this pattern a little bit and to make it look less like, like we've just scan in a swatch. If that makes sense, I want to add a couple of other motifs. So I showed you these before, and these are either created by hand with the use of the tools that I showed you or they have been isolated from the background. And that would be done in the exact same way that I showed you before. So let's just go back to the original swatch here. And I'm going to enlarge in this area here so that we can get a really nice large copy of this motif to use for selecting. So I'm going to use the Lasso tool, and in this case, for the most part, I'm going to use the polygon last sue tool. So remember I said that you can click on that to see what tools are hidden or you can just use your Option key. I'm going to choose the polygon or lasso tool. And what this does is straight lines. So I'm going to make this one a little bit different than Robins originals, So that it really does appear to be a completely different motif. So I'm kind of either going bigger or smaller or just reshaping the sun's rays here, just so that we can kinda get that contrast and have it look like a completely different motif. Now here I accidentally dropped the last Sue. So I'm going to hold my Shift key and you can see that I get that plus sign and I can now start to add to the selection, then this works quite well for this particular motif. So if it doesn't, if you don't want just straight lines with your motif than you would go back to that other technique. And, and now that I'm at the end here, I can just go back down to where I started, then hit Return. And you can see that I've got my entire motif. So now we can just simply copy it and paste it. It pasted exactly over top, so it looks like it's not there, but once we move it, you'll see that it is. Now I'm going to change this inside part a little bit just so it also looks different from the original one that's underneath. So I'm going to pick a hard edge brush. I'm going to use that hard round. And I'm going to option click over here and just paint that in a little bit. Now that's pretty obvious because the red change here. So I'm going to maybe go back and sample that other area. I'll switch brushes at this point because I've got a hard edge that I wanted for it. I'll use the soft edge one to just kind of blend that seem in a little bit better. Also going to sample this white area and just take out this little bit of yellow. I'll switch to the hard round so that I can get right up next to that circle. And I think working with these fabric swatches are going to be kind of forgiving because, you know, you've got all of the wave there to help you hide imperfections. And remember that you can enlarge even more if you want to get in and really perfect the edge of it, command 0 will bring it back down to swatch view. And I'm going to Control click here on the layer label to Convert to Smart Object. Now let's move that one around. And that's one way of creating a motif to help with filling out the design. Another method would be two, a large area of color and use your polygon and last few here and just draw a quick shape. Hit Return. And again, we're going to copy, we're going to paste. Now there I had to switch to my move tool for the copy and paste to work. Not quite sure why. If ever you're having trouble and you're not getting the copy and paste, then tried to switching to the Move tool and you can do that really quickly with VI as your shortcut. So I think maybe I'll also get a little yellow shape here. So again, with the Polygonal Lasso Tool and I'm going to draw a pretty primitive looking at star. I'm sure Robin would do this much better than I can at this point. This is her pattern after all. So I'm going to copy paste. This one works easily and smart object and we can move that one around to fill as well. So let's take a look at a couple of the ones that I've hidden here and see if we can use them to help even out the pattern. Move that pink one down, maybe over to this corner. Remember that if you want to change the size and what not, It's probably best to convert it to a Smart Object. First, command T will give you the transform tools and you can do whatever it is that you need to do to make it work for your pattern. Oh, we've got another little yellow star here. Convert to Smart Object and move that one over here, and it's exactly the same as the one up here. So I think I'm gonna do Command T to transform it and just going to grab that handle there to flip it in the opposite direction. So that's another way to make your motifs look a little bit different from each other. And then I think I will just turn back these two because I can get rid of this one here. So I'm going to delete that one. And let's take a look at this one here. Convert to Smart Object, That's right control clicking on it will put that one up in this corner. I'm going to rotate it. I'm going to slightly change the shape of it. And another way to flip it would be to go up here on the control panel or control bar and put this at minus 100 and that will flip it. Now, I just did with wise, um, I wanna do height-wise instead, hit Return. And because it's a smart object, I can easily move it over the edges of my tile. I'm picking this one here. I might change a little bit. I'm going to make hit. Okay, let's make it into a smart object first. And okay, it's kind of too late to turn it into a Smart Object because I had already moved in, I think so. I'll just reposition it slightly. I do kind of like it here, breaking up this big areas of color because I think that was kind of a telltale sign that we've taken something and try to adapt it to a pattern when it wasn't really planned as such in the first place. So maybe you have a Kinect could do is take the edge off the bottom of this yellow patch. So I'm going to go back down to the main layer. I'm going to switch to my hard round brush. And before I make a change here, I'm going to option click and get my polygon unless you were going to close that for a sec. And what I'm going to do is drag out an area here so that it is selected. And then I'm going to use a rubber stamp tool. So I'm using that hard brush and I'm going to select over in this area here, the darker red and then just brush it into that selection. And what that'll do. You can see that the bottom of this or the part that I've made into a hard line with the selection is going to give us a nice finished edge there. So I need to get rid of this little bit. I'm going to de-select. And I could've done a better job of selecting to really tie that little spot in there. But I think in a way that looks a little bit better. It looks like it's been planned in there, that yellow bit. And you can go nuts with that too. You could definitely do things like select with your last sue in sample different colors. Maybe here we would do the pink instead and rubber stamp, a completely different shape over that edge of that yellow section to make it look like it's really integrated. Command D, by the way, we'll deselect something. So at this point here, we've got a pretty decent looking swatch. The repeat seems to be working just fine. And I could now save that as a pattern and then hit Okay, and you can see here I've got that pattern. So let's go into our test documents. We're going to go into this pattern fill adjustment. And let's try putting that went in and let's reduce it down. Let's go 50 percent and see how that looks. So you know, it's decent. Obviously would take a little bit more work and I'm sure Robin would do this completely differently because she's the artists behind this and she would definitely have different adjustments to make based on what her aesthetic vision is for this pattern. Remember of course, that at this point you can add these adjustment layers and do some experimenting. And sometimes this experiment ends up being just a really valuable way to test your pattern and make decisions about the colors. So something like that is actually quite pretty. You could saturate at more or saturated less. You could make it lighter or darker. And I could see that being a really lovely pattern to use on almost anything really. So that gives you the basic idea of two different ways that you can go through and correct your original patterns. Whether they have a pattern like this that would use a lot of rubber stamping and selecting for something like this where you're definitely doing selections, but I'll try this selection too. Make it appear different and give you all kinds of ideas for different compositions. All in all, it's completely up to you as to how you want to make this into a seamless pattern. And these are just a few ideas that I wanted to share. And I figured that these are probably the easiest methods for you, especially if you're just starting out with Photoshop. All right, So let's meet in the next lesson and I'm going to just show you a couple of mock-ups and we'll do a wrap up. I'll see you there. 8. Lesson 7 Export Swatch and Wrap Up: Hi guys, welcome to lesson 7. So less than seven here, there's a couple of things I want to show you. First of all, I want to show you the export of the swatch itself, which is the final piece that you need to upload to sites like Spoonflower. Then I'm going to show you just quickly the use of a mock-up to show off your beautiful pattern. And then finally, I just wanted to do a quick wrap-up with you with some ideas for next steps. Let's get started. All right, so the first thing I wanted to do here is to show you the export, the initial pattern tiles. So we know that this will repeat perfectly. We can see it here in the preview window. We know that this is the exact finished piece that we need. So what we'll do is go into, we don't have to, but let's turn off the pattern preview here. And this will be our final swatch that is suitable for uploading to sites like Spoonflower. So once you have just this exposed here, it wouldn't matter if the other view was on because just what's in this blue square is going to be what is exported. So what I do is File and Save As. And I have complete naming protocol for my patterns. And I have a central location where I save everything. So I've got my 2021 collections here, for example. And I would go into whichever folder, let's say this one here. And this would be where I would save the final single swatch in this case, of course, I'm just going to save it here with the assets. And we could just call it circles, final swatch or whatever your preferences for naming. And I strongly suggest you also number them and then keep a really good index. Everything that you produce. You'll be thankful that you started at right from the very beginning, believe me, because I had to go back and rename a whole bunch of stuff and it was a couple of weeks of work honestly, to just get everything perfectly set up for exporting. And I mean, I do the same thing with all of my commercial illustration work and so on. So there's a complete numbering system you'll see here with my initials or a shortened form of my name plus a number. Now this is a humungous folder full of stuff, so that's why it's taking so long to open. But you can imagine having to go back, even if you've only done a 100 of these to go back and name them. So I would suggest you do that right from the start. So we're going to just save it into this folder for now and hit Save. I have saved it as a JPEG, you need to find out what the requirements of the manufacturer that you're using needs. Sometimes it's a JPEG, sometimes it's a tip, sometimes it's a PNG. When you are doing the export or the Save As you can choose different formats. So that's what I would suggest that you do is check out what the manufacturer wants, but that's done. Then the next thing I want to show you is a mock-up. And most of the mockups that I buy, I make a point of purchasing mock-ups that have smart objects that I can double-click on to replace the pattern or the fabric. So this is a pretty look of the final original colors. Those this was the exact colors that were in the original swatch. I want to try it with the sort of purple version of this. So let's double-click on the Smart Objects. So the original Smart Object you will have would look something like this. Or LFA place your design here or something like that. It'll be well identified here in the layers palette. Once you double-click on it, it opens up in here. Now if I were to save this right now and then go back to my document. You can see here it's updating. Now when I go back to my document is going to have that pattern in it. So let's make a change. Let's put that new pattern in there. So what I do usually is a pattern fill layer. So that's here. I'm going to take this one off so I can show you write from scratch. So you would go down to the adjustment layers here. I would select pattern. Here you can choose the patterns and of course, we've already created that pattern and put it into the patterns here as a swatch. And you can, of course, experiment with the scale of your pattern. So that would be at 25 percent. Let's try it like 55 percent and I'm going to hit Okay. And then now when I hit Save, As soon as this completely saves, when I go back to and I think that's gorgeous. I really love this pattern, how it turned out. I like that there's this sort of dark and then light area, dark and light. I think it makes a beautiful fabric. So I think that if Robin just continues and she sent me some beautiful swatches, I think within those beautiful swatches are going to be a bunch of great fabric designs that she can put together and maybe make a collection of. And the fact that she has the ability to do these original designs on an actual fabric swatch, I think is a real advantage because it's just so earthy hints, so organic that the beautiful boutiques and printing that she does, that it's going to make her patterns stand out from what's out there. It's just something nice and very different. So I wished her luck on that. Okay, guys. So that's basically it. You now have the finished pattern swatch. You learned how to make a mock-up. And you're ready to start really going to town on all of those beautiful fabric patterns, watches that you have, or sketchbook pieces of art that could work for pattern design. I hope that you've learned enough to at least get you started. There are so many more Photoshop tips and tricks that you can learn that will make your patterns even more amazing. So don't stop learning. Definitely watch as many classes as you can to learn all the new skills. Thanks so much for hanging out with me today and I hope to see you again in some of my other classes. Like I said, don't forget to hit that follow button up there that we'll be informed whenever something new is published and you'll get all my posts. I don't send out too much, so don't worry. I also want to encourage you to check out my Pinterest sites, the loris art fillers past, current and future dollars NASTRAN for all kinds of resources. And my own website at shop, dot-dot, dot-dot. I've got an artist resources section there that I am in the process of developing further. If you have time also check out my stores. My biggest one is that, but I have one here in Canada and hardware and I'm on Society 6 as well. Also want societies six, check out the section four out of the blue. Or the blue is my agent for that kind of work. And so we have a complete section there with all the other artists that I work with. So I hope to see you again and bye for now.