Create Patterns in Adobe Capture for Illustrator & Photoshop | Helen Bradley | Skillshare

Create Patterns in Adobe Capture for Illustrator & Photoshop

Helen Bradley, Illustrator for Lunch™ & Photoshop for Lunch™

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8 Lessons (53m)
    • 1. Intro and welcome

      2:36
    • 2. Capture a pattern for Photoshop

      5:48
    • 3. Create a pattern swatch in Photoshop

      7:28
    • 4. Capture a Pattern for Illustrator

      3:44
    • 5. Create a pattern swatch in Illustrator

      6:34
    • 6. Edit Capture Patterns in Capture

      3:27
    • 7. Project and Wrapup

      1:38
    • 8. Bonus Coloring a pattern in Illustrator and Photoshop

      21:55

About This Class

Learn to capture patterns using Adobe Capture to use in Illustrator and Photoshop.

This class is a quick and fun look at the amazing range of patterns you can create in Capture and how you get them to your desktop/laptop to use there. And I'll show you some tips and tricks for getting the best out of Capture as you make your patterns. 

Adobe Capture is part of the Creative Cloud suite of applications and is available for the iPhone, Android devices and the iPad. Using it you can create patterns for use in Illustrator and Photoshop, if you've updated the app since April 2018 then you will find it can now create vector patterns as well as bitmap patterns.

I'll show you how to capture each type of pattern and how to use these in Photoshop and in Illustrator. You will learn to use the patterns to fill objects as well as how to extract a single seamless repeating pattern swatch that you can send to Spoonflower for example. I'll also explain which type of pattern to send for which application. 

Capture brings a new dimension to surface pattern design - in that, if you can point your device at something, you can make a pattern from it. It's simple to do and lots of fun too. 

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Transcripts

1. Intro and welcome: Hello, I'm Helen Bradley. Welcome to this Skillshare class on creating patterns in Adobe capture that you can use in Photoshop and Illustrator. In this class, we're going to be starting with Adobe Capture. This is a free application. If you've got the Adobe Creative Suite, then you have access to Capture. It will run on an iPhone, iPad and it's also available for Android devices. What you'll be doing in Capture is capturing patterns. You'll be actually making a seamless repeating pattern tile in Capture. You can do this from a photograph that you take live within Capture, and also from photographs that you might have in your photos collection. We're going to start in Capture and make some patterns. Then we're going to see how you can use those patterns in Photoshop and in Illustrator. We're going to do this in two ways. I'm going to show you how you can use the patents for actual things inside Photoshop and Illustrator, but also, how you can get out the seamless repeating pattern tile that you would need for sites like the Spoonflower for example, where you need to actually upload the pattern swatch, not something that is filled with the pattern itself. There's a very big difference there. We're going to look at those two scenarios in both Photoshop and Illustrator. Now, in Photoshop, we're going to be creating bitmap pattern tiles because Photoshop is a bitmap application. But in illustrator, we're actually going to be creating vector pattern tiles. It's very exciting that you can do all this in your iPhone, iPad or Android device and then upload the results that you can use in your desktop applications. Now, as you're watching these videos, you will see a prompt which asks if you would recommend this class to others. Please, if you are enjoying the class and learning from it, would you complete that recommendation for me. These recommendations really help other students to see that this is a class that they too might enjoy and learn from. Of course, any feedback you have for me, I'd love to hear it. If you see the follow link on the screen, click it to keep up to date with my new classes as they're released. If you'd like to leave me a comment or a question, please do so. I'll read and respond to all of your comments and questions and I look at and respond to all of your class projects. Now let's get started on this Skillshare class on creating patterns in Adobe Capture to use in Photoshop and Illustrator. 2. Capture a pattern for Photoshop: To get started with Adobe Capture, of course, you'll need to download the app that convey to your iPhone, your iPad, or to an Android device. Then when you open Adobe Capture, the first thing you'll need to do is to link it to your Creative Cloud account. Now, I have already done that. There are lots of different things that you can do inside capture. But what we're looking at today is the patterns option. Now, the top of the screen, you can select the library into which you want to save your items. I have a special library that I've called Capture Patterns just makes it a lot easier for me to know exactly where those patterns are going to be and to keep them separate from everything else. You could click it up here in the top corner to add a new library, i'm just going to exit out of there. Then once you've created your library, you can just targeted, just tap on it to select it. But i'm going to use my capture patterns library to capture apart, you can do it one of two ways. You can use an existing photo or you can take a photo and make your pattern live. We're going to start with that. I'll click on the camera icon in the bottom of the screen to open up the camera. I have a tree in my notebook here in my sketchbook, and i'm using the tree as my pattern. Now when you select to create a pattern live like this, you get a number of options. One of those is the type of pattern from a simple grid through other types of patterns, so you can select which one you want to create. I'm thinking that one of these two is probably best for my design. You can also select whether you do this in full color, whether you capture full color, gray scale or black and white. Now I find black and white is a little bit tied in the adjustments so if it were me, I would probably be choosing gray scale because I can convert to black and white later on in Photoshop. But for today i'm actually going to select full color. Then i'm going to move my phone around to find the best positioning for the tree image here in the middle of the screen. Now to make sure that you're capturing a bitmap pattern, you'll click on this top middle icon and then choose "Bitmap". The other option is for a vector pattern that, and we're not doing vectors right now, we are going to focus on a bitmap pattern. Now if you see something that you like, you can tap in the middle to freeze the pattern and that freezes or that this point so you can move your phone or other device around and the pattern won't change. If you want to unfreeze it, just tap again and you can go back to setting up your pattern. Now, i'm finding a pattern here that I really like, so as soon as I see what I want, i'm just going to tap to phrase it. But some really handy tool to know because sometimes you see a pattern that you like, you move just a fraction of an inch and it disappears. You may want to freeze it pretty quickly when you see what you want. Now will go to the bottom of the screen and tap the plus icon to check mark icon because that takes us into the editing area. Here we can see the pattern that we've created, but we can also edit it. If I tap on this icon, I'll open up the editing panel, which allows me to make changes to the pattern. For example, I can move the pattern pace around in the little box here just using my finger. I can also stretch it using two finger so I can expand it or contract it. As I do that, you will see that the pattern in the background is being updated. I can finesse the pattern at this point. They have a fair bit of flexibility and it's pretty stable at this point too. If you get it in the right position at generally stays there. You can also rotate your pattern by tapping here. They design it so we will rotate around 90 degrees. You might see a pattern here that you like even better. And I've just seen a pattern that I like even better. I'm going to opt for this one, since I've got what I want now, i'm really pretty happy with this, i'm going to click "Save". You can see here that this is a bitmap pattern and it's going to be saved in the capture patents area. I'll click on Save to save it. Now just before we leave here and go to Photoshop, I want to show you one other thing about capturing a pattern live with the camera icon. I'm going back to the camera for a minute. You can see down here in the bottom we have a flashlight. We can actually use a flashlight on the screen to light up where it is that we're pointing out. Now you can see that in this case it's casting some quite strong shadows and that might be an effect that you like. This is without the flashlight, and this is with a flashlight, you may get differing results. If you are having a few problems with light or if you want to experiment, trying the flashlight will certainly be an option. You can of course, use the front-facing camera two, there's an option here for using the front-facing camera. But i'm not going to do that right now. Now that we've saved the pattern that we've created, we're ready to head to Photoshop and have a look at how we would work with that pattern inside Photoshop. 3. Create a pattern swatch in Photoshop: We're back here in Photoshop and his time to have a look at using the pattern that we created in Capture the bitmap pattern inside Photoshop. Now the patterns are going to be accessible through your library's option. So you can open it here or choose window and then libraries. You'll need to wait as Photoshop updates the libraries that have been linked with your computer and here is the pattern that we created in capture. It's a ping image, that's a bitmap image. Now when I right-click on it, there are certain options available, adding notes or adding it to a group or duplicating, copying, moving it, renaming or deleting it. But there's nothing here that is any way vaguely reminiscent of a pattern-making. Well, this is a problem that you're going to encounter with these capture patterns. Because if you don't have a document open right now, the options that you get on the right-click menu, are severely limited. But if we go and create a brand new document and I'm going to create one right now, that is, this screen size. If I then right-click on my pattern, then there are different options. Just be aware that you will need to have a document created, even if it has nothing in it, to be able to get access to these pattern options. One of them is to apply a pattern. In this case, what happens is that the pattern that we created in Capture is now applied to this document at 25 percent scale. Now we can vary that to example 10 percent and click "OK", and we have a pattern filled documents, so we could use that as a background for something, for example. There are generally two ways that you want to use a pattern. Either you'll want to create something at a fixed size. For example, if you want to create an iPhone case using this pattern, then you would go to the print on demand site that you're going to use, and you would see what they need for an iPhone case and they might need a specified size document. So you'll go and create that document and you'll fill it just like I've done here and then you ship it out to your print on demand site. You'll be sending the finished item if you like, direct to them. If you want to make changes to this, you could. That it's also the sort of thing that you would do if you wanted to create a computer wallpaper, or if you wanted to use this as part of a collage or something else on your computer, you're going to fill a document with your design. Now the other scenario is a site like Spoonflower for example. Now at Spoonflower, what you're doing, is your printing fabric. Ahead of time, you don't really know how big a piece of fabric you'll want, you might want to fat quarter, you might want yards and yards of this fabric. So a Spoonflower acts a little bit differently, what Spoonflower wants from you is not a document filled with the pattern, because this, when it's actually taken to Spoonflower and tried to be repeated, it's not going to be a repeat. This item here, this little flower here is not lined up to the other half of the flower here. So you could not send this to Spoonflower or plate because you're going to be really disappointed with the results, because it's not the same as repeating pattern. So if you need to send somebody just the patterns swatch, just that one repeat, this is what you're going to do. You'll first of all need to have a document open because we already know that we can't get access to these right-click options that relate to patterns unless and until we have a document open. So you're going to open a document of some sort and you're going to click "Create Pattern Preset". Nothing's going to visually have happened, but in fact, behind the scenes there is now a pattern preset for this pattern. Let's go and look at it, Edit, Presets, Preset Manager. There are a number of presets here, we're going to the Patterns Preset. The very last pattern here in this list is the pattern we just created and if we hover over it, Photoshop is going to tell us exactly how big that pattern is, and it's 2660 by 1536. You just need to write those numbers down, and then we'll click "Done" because we can leave here. Let's go to the last pallet right now, I have a layer that has this pattern on it. Well, I'm going to dump that in the trash can because I don't need that right now, what I'm trying to do is extract the pattern pairs. So I'll go here to image and then image size, and I wanted to size this image to the dimensions that I just wrote down, 2660 by 1536. I'll click "OK". Now I have a document that is the exact size of my pattern swatch, exact size of the pattern swatch that I created in Adobe capture, and that has now been downloaded into Photoshop on my pays say. So I'm going back to the libraries here and this time I'll click on the pattern because I wanted to fill a document with the pattern, but I wanted to do it at 100 percent scale because I know that a 100 percent scale, this is going to be a seamless repeating pattern. This is the actual pattern repeat, this is the 2660 by 1536 design that makes a single pattern repeat, and this is what Spoonflower names. It's also what any site that wants you to give it the pattern swatch, is going to require from you. At this point to get it to Spoonflower, for example, we would choose "File" and then "Save As", and you'll save it as one of the file formats that's acceptable to Spoonflower. Now that something like JPEG or PNG or perhaps even TIFF. This also applies to any site that wants you to send it, just that pattern swatch. So I'm going to call this capture patterns swatch. I'll just call it swatch number one because I'll have another one in a minute. Once you've named it, you can just click "Save" and you'll want to save it as a high-quality patterns swatch. So I always go for Maximum, Quality 12, and click "OK". So that is the pattern swatch that you would then upload onto any site including Spoonflower that requires these seamless repeating pattern swatch, just one instance of this pattern. Now of course, before you send it up, you could make changes to it. For example, you may want to color this middle flower pink. Now this is also a flower, but if you want them to sort of alternate, for example, you could color this flower pink and then save it. If you want to color the corner flowers with something, then just be aware that all these four corner pieces make up the second flower. So you would need to color that as well, either the same color or a different color, but this one could be one color, but all these four pieces are going to made to be the exact same color as each other or they won't make up a consistently single colored flower. Just be aware that there are two sorts of options that you would have when you come into Photoshop. Either you're going to fill a large document with your pattern, which was one thing or export just the single repeating patterns, which is something completely different. 4. Capture a Pattern for Illustrator: We're back in Capture now and this time we're going to create a vector pattern and Capture is actually going to vectorize the pattern swatch for us. This time we're going to create it from a photograph that I have stored on my phone. I'm going to my camera roll on an Android device. This would take you to the location where your photos are stored. Now, I've already located some photos I want to use from patterns and I've also cropped them. This is particularly important because the portion of the image that you want to use for your pattern may not be in the top right corner. It might be in the center of the image. In that case, you're going to need to crop your image to place the portion of the image that you most want to use for your pattern as being pretty near the, either the whole image or the top right-hand corner of it. I'm going to make my pattern out of this image of a building that I shot in the UK. We get options for our pattern by selecting the middle top option. I'm going to select Vector pattern, and then of course I can choose different arrangements of my vector pattern. I think I'll go for this option this time. Now you'll find that as soon as you've chosen a vector pattern and the style of pattern, however hard you tap or pull on this image, chances are nothing's going to work. That's been my experience with Capture, but that's just fine because you want to select the style of pattern, you want to select whether you're working in color or grayscale or black and white. Once you've done that, then just click the check mark in the bottom of the screen. Because in the next screen you get a chance to make some edits to your pattern. At this point you can start moving things around. It's way more difficult to create a pattern in the previous screen if you're using a vector pattern or trying to create a vector pattern than it is, if you're trying to create a bitmap, the application works a little bit differently for it. Of course, you can rotate your pattern around at this point and see if you can get something more interesting. Now, I'm really liking what I'm getting here. I'm just going to see if I can pull it in a slightly different position and get a slightly different result. But as soon as I see something that I like, then I'm going to take this as my pattern. I'll select Save. Just way to as the pattern swatches created as an SVG pattern. This is a vector pattern, and of course I'll need to save it, so I'll tap on Save. Now, my pattern is now saved, so I have access to it in Illustrator where I'll be able to use it as a vector pattern. But just before we leave the Capture dialogue, let's have a look at some of our other options. If I tap here, I can also, for example, share or export my pattern swatch. Now that might be appropriate if, for example, you're using somebody else's phone or somebody else's device. If they have Adobe Capture and you want to capture some patterns using it, you can do so. But of course, that's not going to sync to your own version of Photoshop or Illustrator. But you do have the option to export, for example or share. There are some options for working with these pattern swatches even if it's not, for example, your version of Capture that you happen to be using. Those patterns are going to stay in Capture until you do something with them. They're just going to sit on your device. Now we've created the pattern for Illustrator, let's head over into Illustrator and see how we would make use of the pattern inside Illustrator. 5. Create a pattern swatch in Illustrator: We're back here now in Illustrator, and let's have a look at our pattern from Capture. I'm going to the Libraries, which of course you can get to by choosing "Window" and then "Libraries" and just waiting as Illustrator updates itself. I'm going to the Capture Patterns library, and the top pattern here is the one that we just created in Capture. It's an SVG that tells us it's a bitmap pattern. If I right-click this pattern, the same problem occurs here as occurred in Photoshop. There is no reference to patterns at all. But if I create a document, then those options are going to change. Now that my document is created, when I right-click the pattern, we have options including applying the pattern, placing a bitmap pattern, which is probably not what we'd want to do because we went to all the trouble of creating a vector pattern, or place a vector pattern tile. Let's have a look at these options. Firstly, applying a pattern. For that, I'm going to need to have a rectangle or some shape selected that we could actually apply the pattern too. I have the fill selected here. Let's go back to the Library and let's select to apply the pattern, and then we get a pattern filled shape. Now, this pattern is really small. We can change that by choosing "Object" and then "Transform Scale". Turn Transform Objects off because we want the rectangle to remain the same size, we just want the pattern to change. I'll turn Preview on so that I can see what I'm doing. I'm going to increase this to 500 percent, and you can start seeing the pattern appear. Let's go a little bit larger to 1,000 percent. This is the vector pattern here in Illustrator. We've used it to fill a shape. I'm just going go turn the border of this shape off, the stroke on the shape off. This is a vector pattern in Illustrator. Of course, if we wanted to use this for something like creating a iPhone case or the skin for a computer or something of a fixed and known size, then we would create a document that size and fill it with a pattern, and then we would just export the pattern as, for example, a JPEG or a PNG file. You would do that by choosing "File" and then "Export". I like to use Save for Web (Legacy) because it gives me options. I can set it to a JPEG or a PNG image very easily here using PNG-24 or JPEG. The reason why I like this dialogue in particular is that I can set the width and height. If I want it to be a known size, I can specify the pixel dimensions here. Then of course, I would just go ahead and click "Save". Now, I'm going to cancel out of this because that's not what I want to do right now. I'm going to delete this shape, so I'm back to where I started. I'll also just press the letter D so I go back to the default fill and stroke. Let's go back to the Library and let's right-click here, and this time let's select "Place Vector Pattern Tile". When I select that option, I get a place option. What I'm going to do is just drag out this Vector Pattern Tile. This is going to be the size that I drag it out to be. You can see up here, it's 1,223 by 706 pixels. I strongly suggest to you that if you end up with half pixels or quarter pixels at this point, that you come in here and edit this. I'm actually going to make it 1,220 by whatever it needs to be. Well, that was a big mistake because Illustrator's actually now ended up with fractional pixels, so let me just press "Control Z" and go back to where I was, because you really want whole numbers of pixels, so you might need to experiment a little bit to get a pattern swatch that is a whole number of pixels, but that will be really advantageous. There are some problems with saving out of Illustrator when you have something that is not a whole number of pixels. Having done this, this is now a repeating pattern swatch. You can see it's a vector because as I'm clicking over it with the Direct Selection tool or the Group Selection tool, I'm able to select different portions of the image. This has been vectorized. This is the repeating pattern swatch that we would need, for example, if we wanted to go to Spoonflower with this. Let's see how we would package this to go to Spoonflower. The first thing I'll do is select over the entire shape, so everything selected. I'll go to the Artboard tool, I'm going to click on it once, and then double-click on it. From the drop-down list here, I'm going to choose "Fit to Selected Art". I have my artwork selected and so it's going to be fitted to this artwork, and so I'll click "Okay". The artboard is now the right size. It's exact same size as my pattern swatch, and it's also placed immediately underneath it. We're now ready to go to Spoonflower. Again, I would choose "File" and then "Export" and "Save for Web (Legacy)". You'll want to make sure that you have Clip to Artboard selected here, so that only the object that is over the top of the artboard is actually being exported. You can change the size, but you'll want to make sure that this option is selected so that it's scaled in proportion, and then go ahead and click "Save". Whether you're saving a high-quality JPEG or a PNG image, either of those would be acceptable to Spoonflower. Of course, if you're using a different service, you want to make sure that whatever it is that you're saving your file out as, is compatible with that particular service's requirements. I'm just going to cancel out of here because I don't need to do that right now. Again, as in Photoshop, if you wanted to make changes to it, for example, if you wanted to color this middle hexagon, you could do so. Be aware that these four hexagons on the corner belong to each other. They're the four different parts of this second hexagon. If you made changes to anything here, you'll want to reflect that in all four corners. It's a little bit more difficult to re-color this than perhaps the design that we had in Photoshop, but it could be done. 6. Edit Capture Patterns in Capture: Before we finish up, I want to show you how you can edit patterns in capture. Now if you want to edit a pattern because you don't like it, that's one thing. But if you want to keep the existing pattern but continued to work on the basic element that you're working with, that something completely different. Let's say that we really like this one that we've created but we'd like to have another look at the image and see if we could do something else with it. Well, what we're going to need to do before we edit this image is to make a duplicate of it. Because if we go and edit this particular pattern, we're going to lose the current version of it. It's going to be replaced by the new version. Let's go to the little three dots down here and tap on those and we'll select duplicate. Then we'll select what we want to duplicate it to. For me, that's going to be my capture patterns library because I want to ensure that my patterns are always in this library. Now I have two versions of this one pattern, one up here and one down here. Let's go and grab one of them. I'm going to grab this top one here and preview it. You can see the image that it was created from and this is the preview. Now down in the bottom right corner is the edit option. I can tap this to edit this second version of the pattern. Now in this dialogue, we can't change the type of patterns, so we can't make it a grid, for example. But within the style of pattern, we do have some editing options. We can rotate the original image around and see if we can find something else that we like. We can also enlarge or shrink it and move it around in this window. There are possibilities for extracting additional patterns from a design that you like and this is particularly important if you've been capturing your patterns. For example, from a photograph using your camera because the original image, you may not have a copy of the image because you might have been playing around with creating a pattern from it. Well, when you come back in here, you could actually find different positions for that image, create different patterns from it. I'm really happy with this second pattern, so I'm going to tap to save. This is now a pattern in my patterns collection. Let's go back to my patterns collection. This is the one that we captured earlier and this is now the one that we've made from the exact same image but it's a duplicate. We haven't overwritten the original, we've just added another one. If you see any of the patterns that you've captured here and captured anytime and you think, ''Well, I'd really like to have another go at this.'' Well, it's very easy. First of all, you're going to make a duplicate of it and then you can go and edit. Just open it up, tap on edit and here you can see the image itself and you can move it around, scale it, rotate it, find something else that's really pretty and attractive in terms of patterns and then go ahead and save it if you like it. It's important to know that you do have the ability to edit your patterns and also of course make duplicates off them so that you're editing a duplicate rather than editing the original. By the time we came back to Photoshop or Illustrator, these patterns would be available to us in those applications. 7. Project and Wrapup: Now that we've finished the video portion of this class, it's time to look at your class project. Your class project is to pick either Photoshop or Illustrator, whichever of these applications you most want to work with patterns in. Then go to capture on your iPhone or your iPad and capture a pattern that is suitable for use in either Photoshop or Illustrator, the program that you've chosen to use. Then extract not only the pattern swatch itself so that you could, for example, upload it to Spoon flower, but also fill a document with your patents so that you can see how it looks as it repeats. Post an image of your pattern swatch and your completed pattern in use as your class project. Of course, if you have any questions, please post them in the community area so I'm able to assist you. I hope that you've enjoyed this class. I hope that you've learned things about not only Adobe Capture, but also Photoshop and Illustrator of which you were previously unaware. If you see a prompt which asks you if you would recommend this class to others, please complete the class review. This really helps other students to say that this is a class that they might enjoy and learn from. If you're seeing the follow link on the screen, click it to keep up to date with my new classes as they're released. As I said, if you'd like to leave a comment or a question, do so in the community area so that I can read it and respond to it. Thank you very much for joining me for this class. I really hope that you've enjoyed it and I look forward to seeing you in an upcoming Skill share class soon. 8. Bonus Coloring a pattern in Illustrator and Photoshop: This is an additional video for my create patterns in Adobe Capture for Illustrator and Photoshop class. It's come around because a student of that class asked how they would convert the patterns to gray-scale, black and white, and re-color them. I'm going to first of all create a document, we're going to work in Illustrator first and then will swing across to Photoshop. It doesn't matter how big your document is, I'm creating a rectangle that is the exact size of the Artboard, just centering it up on the Artboard. I'm going to remove the stroke and we're just going to look at the Fill. For the Fill we're going to use a pattern. Now, I'm going to use a pattern that I've created subsequent to that class because this one has some more colors in it. I'm going to make sure that I use an SVG, once are here it's Pattern 24 is an SVG pattern. I have my rectangle, so let's do it. I'll right-click on this and choose Apply Pattern, and the pattern is applied to the image. Now, another student asked about why their pattern, particularly in Illustrator, looked a little bit pixelated. The reason probably is that these patterns are really quite small when they're applied in Illustrator, they are larger in Photoshop. I'm going to choose Object, Transform, Scale, and I'm going to enlarge this design. I'm choosing something like 500 percent larger, and I've got preview turned on so I can see what's happening. Transform Objects is disabled because I don't want to enlarge the rectangle, I just want to enlarge the pattern. You can see that the pattern, will handle quite a bit of enlargement, but it is rough. If you have a look inside this pattern and go in very deep, you'll see that there are a lot of rough edges. These shapes are not perfectly smooth, and that really is a process of this pattern-making tool, it's not perfect. You're asking a phone to do the conversion of a photograph in many instances to a vector object, and so that's what your vector conversion is going to look like. If you don't really have a choice as to how the image is converted inside capture, unlike if you were to, for example, trace an image inside Illustrator, you've got all of those tracing options in the live trace panel. In this case, when we're using patterns that have been created inside capture, we just get whatever it is that capture gives us. So that's a proviso for anybody who's a little bit concerned, perhaps that the roughness of the pattern, that's just how this tool works. Let's go here into the Layers Panel, we've got a rectangle that has our pattern applied to it. We're going to look at a few things. Firstly, we are going to look at converting this to grayscale. With the shape selected, we can convert it to grayscale by choosing Edit, and then Edit Colors, and Convert to Grayscale, and that will convert this pattern to a grayscale pattern. When we go, for example, to the Recolor Artwork tool, you'll see that all of the colors in this pattern are grayscale now and they're not colored. Let me just undo that. You can also get to that same look at different way. Select your rectangle filled with your pattern, go to your Recolor Artwork tool. Here are all the colors that are in the pattern paste that we're working on, or you can always convert a pattern to grayscale this way, click here and choose Global Adjusts. There's three little dashes here, you'll just click on those and choose Global Adjust. That gives you access to saturation, brightness, temperature, and luminosity. Saturation is grayscale, so if you remove the saturation from the colors wind it all back to minus 100, you get to grayscale. Here, you can also brighten the pattern or you can darken it. So you could change if you like the tone of the grayscale that you're getting using this option here. It's just a little bit different to the other option, which is just a straight conversion to grayscale. If you wanted that look, that grayscale look, you could come in here and choose that. You'll say when you do that, that you of course have the original pattern piece and you have a grayscale version. Now, black and white probably isn't going to work, because black and white. If you think in terms of black and white, there's actually just black and white and no shades of gray. So a pattern like this is not going to work particularly well in black and white, so I would avoid doing that at all costs. If you do want to recolor it, you don't actually have to take it to grayscale to recolor it. What you can do is just select a shape that's filled with your pattern. Go to the Recolor Artwork dialogue and now you can change any of these colors. You could say, well, I want to change the blues, and so I'm going to double-click on the blues and choose a different color. For example, I thought of turquoise color and then any of those blues that particular blue in the pattern will be recolored appropriately. But you can see that there's a lot of blues to think about, so that may not be the best way of doing it. Let me just go back to where we were. If I click on this eyedropper, I just revert back to the colors that are sampled from the original pattern. If we go to the Edit option, we can re-color the pattern by locking the harmony colors and then dragging around on one of these sliders. Then the relationship between the colors will be kept intact, but the colors will change. The colors will have the same special relationship to each other. There'll be colors that are in this triad if you like but the colors that are actually in use in the pattern will be different. Let's go for a color that we like. You can also drag in on any of these to make it a little bit more pastel or drag out to make a color a little bit more saturated. Am targeting these browns, I might want them a little bit more pastel and when I'm done, I'll click "Okay." Again, we have another pattern created. This is the grayscale, this is the original, and here is a different colored version of our pattern. You can also recolor individual color. Let's go back to the color wide that we're working with here. If we unlink the harmony colors, then we can take any one of these colors and just drag it out and take it somewhere a little bit different. You might bring out all your pinks, for example, into a deeper pink, but you will need to make sure that you're getting all the pinks that you want to bring out. It's a little bit more difficult to do that using individual colors, but it is obviously an option that you have. Let me just click "Okay." Now, another option you have is to find a color scheme to use. I'm going to go and select a color scheme. Let's have a look and see what's available in foods, for example. Well, there's a very small colors schemes. Let me see if we can find something with a bit more in it. Let's go for this one here. As soon as I click on it, added automatically to the panel over here. Lets go and recolor this object, but this time we're going to use these pear colors. You can click here to rotate the colors around, so different colors are used in different places in the pattern. These patterns got a very different look to the original because a lot of these colors because there are only a small number of colors in that color scheme and because we've got a lot of colors in a pattern, a lot of these colors are being remapped onto the same color, but different tints or shades of that color. Again, if you click, "Okay", I'm not going to save the changes to the color switch, I just want to save the pattern color. Here is our pattern and of course we still got all of the other pattern versions that we had, all of the color versions. This time we've just got an additional color version. Now, if you have a look and see how many colors are actually in use in this particular pattern, there are 32 of them. You could build a color group yourself that had something like 32 colors in it. That might make it a little bit easier for you to recolor this entire pattern to a different color wide. I'm going to leave you with that. I've got plenty of options there for recoloring your pattern, either to specific colors or to a general color look sampled from a group of colors that are shipped with Illustrator or make your own group of colors to use. Now, we're finished in Illustrator, let swing across to Photoshop and see what our options are there. In Photoshop, your recoloring options need to be chosen a little bit differently. If you just want to recolor a single instance of a pattern you'd want to fill, for example, an Artboard with a pattern and you want to recolor it and that's the end of it, then you would go ahead and do just that, but if you want to recolor a pattern so that you can use it over and over again, then that's a little bit different. In that case, you'll need to recolor an instance of a pattern. I'm going to choose File New, and we're going to do just that. I'm going to create a document 2048 by 2048 pixels because that's the size of my pattern swatch. I'll go to Edit and then Fill. Then here we can have a look and see which of these patterns swatches are 2048 by 2048, so we could use this one and this one too. Otherwise, we would need to create a document the size of the pattern, this is 512 by 512. Some of these others are different sizes again, but I'm going to choose this one, so I'll click on it and click "Okay." This is now a single instance of this patterns swatch. If we were to recreate it as a pattern and fill a document with it, it would be as same as repeating pattern. Now, one of the things I'm a little concerned with these patterns in Photoshop is that there's a lot of color noise in here, possibly because of the pattern that I actually made, but it's also a chance that it is just a lot of color noise. I'm going to start by removing the noise from this design. I'll unclick the lock on the background layer and earlier versions of Photoshop, you would double click on the layer to unlock it. I'll choose filter and then noise and reduce noise. Now this tool lets me reduce the noise in the image. A lot of this, as I said, is color noise. Color noise is lots of colors intermixed with each other. So you get a pixel of red and pixel green and pixel of blue, and they're very closely aligned to each other. To get rid of the color noise, I'm going to wind color noise up quite high. I'll leave sharpened details about halfway. We don't have to remove JPEG aftereffects because this is a ping image it doesn't have JPEG aftereffects. I've got preserved details that are sort of mid-range, and I've got quite a high strength on this seven or eight to really get rid of that color noise, that will make my re-coloring a little bit smoother too. I'll click "Okay". Next thing is we'll have a look at turning this into a gray scale pattern with the last selected, I'll choose layer and then new adjustment lab black and white click 'Okay". The Black and White Adjustment applied this way gives you a whole series of colors, and you can individually adjust these colors. You could take Blues and Cyans and make them really light. We're going to drag Cyan and also the adjacent colors which are blue and green. Then for example, we could take the magentas, the reds and the yellows and make them quite dark. That will give us a different look to our pattern. They may not want to take them all that distance, but you can say that you can craft the black and white that you want by just adjusting these sliders. Typically some smoothish, S curves through these colors is a good idea, rather than taking, for example, Cyans in one direction and Greens in the other. Because the likelihood is if you've got a lot of noise in this image, which we still probably have quite a bit of color noise. We're taking science to very dark, but the adjacent colors green and blue are going to very light so that it's as likely to build up a whole lot of extra noise in the image if you like. I tend to use a curved shapes so that colors adjacent to each other are adjusted pretty much in the same amount. Close this down, this is now a pattern that we could use to create a pattern from this grayscale image. Select your Black and White layer shift click on the Background layer, so you've got both of them selected because they are going to be your pattern and choose Edit, define pattern and I'll call this grayscale. I'll give it a number 10 because I know that there are few grayscales in there that I've created earlier. We'll just call this 10 so it's easily identifiable. We can test it by choosing File New, and I'll create a much larger document, 6,000 by 4,000 pixels this time, which will record this pattern to repeat a few times, I'll choose Layer, New Fill Layer, go to pattern, click "Okay". The last pattern that we created will be the one that's used to fill this document click "Okay". It's looking like the pattern is repeating just fine. You'll want to double check that just to make sure that you haven't taken the colors in too much of an opposing directional, taken them too far. You've actually broken up your pattern. Now here I'm going to trash that Black and White and let's have a look and see how we could make this pattern brighter and also recolor it. One of the things that's causing this pattern to be a little bit muddy is that there are no blacks and there are no whites. There's just grays, light grays, and dark grays. A typical adjustment at this point would be levels, Layer, New Adjustment Layer and then Levels. This is a typical histogram for an image that has no whites and no blacks, because this is the black point here and this is the white point here. You'll see that none of the pixels in this image, this is a chart, a histogram of all the pixels in the image you see none of them are anywhere near black or near white. Well, if we drag in this little marker underneath the darkest pixels that will make them closer to black. If we do that to the lightest and why does brightest pixels, then they'll take them closer to white. At this point you can also adjust this mid slider to get an overall darker or lighter image. Going to leave that where it is at one. You don't want to be adjusting this slider here. This is just going to make it more muddier, so only the sliders that are under the histogram, black slider, white slider. Now our pattern has a lot more punch to it if you like. We can adjust the colors in any of a number of ways, but let's have a look at a couple of them. Firstly, I'm going to choose Layer, New Adjustment Layer, and I'm going to choose Color Balance. Now with Color Balance, you can adjust the mid tones are shadows and the highlight. We know that the highlights to mid tones in this image, these areas here. We could make them, for example, bluewer and we could make any of the highlights that are sort of in the magenta green range, we can make them either more green or more red, sort of magenta pink, if you like. Any of the blues, we can make the blues bluewer or you make them more yellow. I'm going to take them to the blue side, is going to adjust this in a little bit. Dragging towards cyan is whitening these areas. It's removing red. These are opposite colors. The opposite color to red is cyan. If you add cyan, you're removing red, so you're removing the pink from this and making it a more neutral white. With magenta it's opposite color is green, so you're going to go away from green towards this pinkie, magenta color, and blue and yellow are opposites. You go towards yellow, then you're removing the blue from the image, but we want a bit more blue. This is what we've done so far. This is where we started. We've added some punch to the image if you like, using that Levels Adjustment and then color balance has allowed us to look at the colors and in this instance we had a look at the mid tones. Now we can also have a look at the Shadows. We can work on the Shadows as well. Adding blue to the Shadows and perhaps a little bit more magenta rather than that greenie turquoise look, it's just really what you want to see in the pattern. If you go to highlights and you're only going to adjust the very highlight areas. If you go to mid times, then you're going to adjust the midtone areas. You may just want to do exactly the same thing with the midtones. Now another color adjustment that you can use is Hue Saturation. So let's choose Layer, New Adjustment Layer and that's go to Hue Saturation. With Hue Saturation, we can adjust the whole image so we're on the master channel here. We can just drag around and all the colors in the image are changed. They're all staying in the same relationship to each other, but they're all changing. You may find something in here that you really like. If you do, that's great. Just close the panel down, select everything, and go and save this as a pattern. I really like this. I'm going to save this. I'm just going to call it pink. But having done that, I'm going to come back to Hue Saturation and zero this out because I also want to have a look at targeting individual colors because the master channel changes everything. But we do have channels for example, blues. We can move the Blues around and just change the color of the blues channel. Now when you are adjusting, for example, Blues, you'll see here is an indicator as to what is called blue, so this is the area that's called blue. These are the areas where it petered out to be a little bit more even across. You can widen or narrow this, so you could call more of this image below to just smooth out the look. This is the before and this is the after and we're moving away from that turquoise look into more of a blue look. Now you could go to, for example, the magenta channel, which is the reds, if you like and you could adjust those so you can take those in a different direction. Well, here they are, they turning green. Now the color that you're getting won't always match the color that you're seeing on the Hue Slider. That's because you're adjusting magenta, but you're dragging it over towards the red area. Just be aware that this is not going to give you a good indication as to what color your ending up with, but just keep an eye on what's happening here. That'll give you the hint as to where you're going with this. For example, we could make those areas a bit green and you can adjust the saturation of them so you can make them brighter or a little bit less green and you can also make them lighter. Although the lightness slider is probably the less successful of the three sliders, you probably get more mileage out of saturation. Here you can target a specific channel and then adjust the color of just those objects. Here I'm going for the red channel. If you're getting a little bit of fracturing of color, then you can always come in here and just adjust these to widen what is called red and trying to encompass a little bit more of the pixels around that particular shape and maybe petered it out a little bit. You can adjust at saturation, you can adjust its lightness. This is the original pattern with its Levels Adjustment or Color Balance that we now have a Hue and Saturation Adjustment on top of. If you like this and when you're happy with what you've got, select everything, choose Edit, and then define pattern and call it something different. Now you can test it and you should test them before you go too much further just to make sure that you haven't fractured the pattern itself. Double-click on this field and go and select some of these other color wise that you've created. This is the pink one that we created, and you would zoom in just to make sure that everything looks relatively smooth. Let's have a look at the last purple green one that we did. As well as creating gray scale patterns, you can also recolor your patterns in Photoshop, you've got a lot of options for re-coloring Objects Hue Saturation and Color Balance are just two of them, but you probably find that you get the best mileage from those. I hope that this has been of help to you and understanding how these patterns can be approached in terms of re-coloring in both Illustrator and Photoshop, and thanks again to Jennifer asking the question.