Create a Repeat Pattern in Photoshop from Hand Painted Motifs | Melanie Stimmell Van Latum | Skillshare

Create a Repeat Pattern in Photoshop from Hand Painted Motifs

Melanie Stimmell Van Latum, Illustrator and Surface Designer

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13 Lessons (1h 25m)
    • 1. Introduction

    • 2. Photoshop vs. Illustrator

    • 3. Extracting your Hand Painted Motifs

    • 4. Cleaning up your Motifs

    • 5. Creating a Straight Repeat

    • 6. Creating a Straight Repeat: Part 2

    • 7. Saving your pattern for POD sites.

    • 8. Using the Path Tool

    • 9. Creating a Half Drop Pattern

    • 10. Adding elements to your pattern

    • 11. Testing your Pattern

    • 12. Final Thoughts and Project

    • 13. Bonus


About This Class

In this class I am going to show you how to take your hand painted motifs or paintings and turn them into a repeating pattern using Photoshop.  Whether you love to paint with watercolor, oils, acrylic, or soft pastel, Photoshop will allow you to retain all the subtle variation and nuance that makes your particular painting style unique and it will come through in your seamless patterns as well. 

Melanie has been working with Photoshop and Illustrator for over 20 years.  She creates illustrations and surface pattern designs in both Adobe programs which enables her to keep her painted motifs as authentic as the originals. 

In this class you’ll learn: 

  • Why Photoshop is beneficial when using hand painted motifs.
  • How to extract or cut out your hand painted motifs from a scanned image.
  • How to compose a straight repeat pattern in Photoshop
  • How to compose a half drop repeat pattern in Photoshop
  • How to save for a Print on Demand Site or Spoonflower
  • How to layer your pattern for more depth

You can also find me and my work here:

Illustration and Surface Design:

3D Street Painting:


1. Introduction: Hi there, my name is Melanie stomach and locked him and I am an illustrator and surfaces. Later in this class, I'm going to show you how to take your hand painted motifs for paintings and turn them into a repeating pattern. Most surface designers enjoy using illustrator because it creates a vectorized image that can be scaled infinitely. But when it does not allow, is the retention of your beautiful and authentic brushstrokes and textures from, let's say, a watercolor or soft pastel painting. Photoshop, on the other hand, allows you to keep all the subtle variation and nuance that makes your particular painting style unique set. I'd love for you to join me as I showed you how to create a repeating pattern from your hand painted elements that's constructed. 2. Photoshop vs. Illustrator: Hi everyone. We are hearing Photoshop now. And what I've done is I've brought in my secular painting that I would like to use in my repeat pattern. So let's look at this painting really quick. Oops, I'm going to zoom in. And to zoom in. I'm doing Command Plus. To zoom out, I'm doing Command Minus. Okay? So when I zoom in with my command plus, what I see here is all the chalk strokes are the soft pastels tricks that I use to create the painting. Now, if I were to take this image into Illustrator to create my pattern, I would have to use image trace. So I would cut this little guy out. I would take it into Illustrator and use image trace. And what would happen is if I wanted to keep all this texture and variation of color gradations, lightened shadow. I would have to select a very high fidelity photo option in image trace. And that would create, I don't know, thousands and thousands of paths and nodes. And it would be very, very heavy. And I would likely probably crash my computer. So instead we're going to use Photoshop because Photoshop is not vector-based. And it is going to keep all these beautiful textures just as they are when we create our repeat pattern. Okay, so whatever motifs you're using, if you are using watercolor, if you are using an oil painting, acrylic, anything like that. You can keep all the textures that you create, even the brushstrokes. If you use thicker acrylic, for instance, you can see that come through in photoshop when creating your patterns. So here are a couple of the paintings that I'm going to use. All of these are done with sophists out and all of them have a lot of texture. So what we're gonna do next is I'm going to show you how to take your individual motifs off of the background so that you just have your motifs very clean and very neat to work with on a new file. Alright, so Meet me in the next video. 3. Extracting your Hand Painted Motifs: Alright, we are ready to cut out our succulent. And the easiest way to do that with this little guy is to just use our magic wand tool. And I'm going to click that. What this is gonna do is it's going to select everything of the same color. So I'm going to click on this pink background here. And you'll see that everything that is this brighter pink has been selected. Now, it's only going to select things that are connected to one another. So for instance, if there's a bright pink on the inside here, it's not going to select that, which is good. If we wanted to select that, we would unclick contiguous. Okay, but right now we're going to leave that click DOD, which means it's only going to select the areas that are connected to the space that we clicked. Now, I am going to hold down my shift key so that I can continue to select these pink colors. Okay, so I'm holding down the shift, I'm going to click in this darker area of pink. And you see that my selected area has moved in and grabbed that color as well, holding down the Shift key again. And I'm just going to keep my finger on the shift key. And you can see I'm moving in to the shadows of our succulent or behind our secular, I should say. And it looks like I pretty much have everything of the background selected. But before I do anything, OK, there's one they'll die there. That little guy there. Before I do anything else, I'm going to zoom in. So I'm gonna do that by hitting command plus. Alright, now, holding down the space bar, you can see here I can move around a little bit. I'm going to move around my space. I'm gonna do Command Plus again to zoom in. And what I'm going to do is choose my Marquee Tool, my rectangular murky. I'm going to hold down the Shift key because I want to select all these little guys. So you can see my arrow has a meaning, it's adding it to the selection. So I'm just going to go over anything that is not selected. And if I want to move keeping my selection selected, I'm going to hold the spacebar. And with my hand I'm going to move up, shift, select and go all the way around your succulent shift. And then I moving the spacebar shift select. I'm going to get all these little dots. This is great practice. If you are doing this entire process with a mouse, suggest getting acclimated to the movement of the mouse and how precise you can get with the mouse. I worked for years and years. Doing illustration more for myself than anything else. Well, I was working on an animated TV series and on my spare time I would create illustrations and I didn't have a Wacom tablet at the time. So I would use my mouse and actually got quite good at it pretty quickly. So it can be done. And I want you to feel like you have to go out and get a welcome. If you do have a webcam, that is fantastic because it makes it much easier. Alright, so now that I have all the extra selected, what I'm gonna do is zoom in again and you can see there are areas that need to be cleaned up. So to do that, I'm just gonna take my Lasso Tool. And that's the third tool in your toolbox. And the same way I did before using your plus in your minus, my Pincus selected. So I'm gonna hold down the Shift key to add. And I'm just going to use my lasso tool to draw any areas that need to be added. Now, I could've done this from the very beginning and drawn around the entire succulent. But I wanted to show you the different methods that you can use to select something. And this last of tool allows you to get pretty close to what you need to select and see so that you can get, oh, look, see I did the opposite of money issues. So I'm gonna hit option to pull up the minus and subtract that, that gap. And you can see this little day to minus subtract that from the selection. And then I'm just gonna go around and drag. And I mean, they're going to add to the selection or subtract from the selection. And this is going to help me as smooth out these edges. Oops, I did the opposite of what I wanted to do. There. There we go. You just wanna make sure you do not forget to hold down the Shift key because then you're going to have to select this all over again, which we do not want to do. Spacebar and little hand move. You see I'm an a minus or subtract this from my selection. Wrong. Making a selected not my circulant. Had. I'm using an antique tablet right now, so sometimes I can't see what tool is selected because my hand is actually in the way as I draw on the screen. So I have to pay extra attention to what I'm doing. Alright, so I just make my way around my succulent like so I'm going to subtract. There we go to make this nice and smooth. And I wanna be really careful because I don't know what color background I'm going to use on my. Repeat pattern as of yet, I want to make sure that I do not take anything with me on these edges that is either too dark or too light unless it's a highlighted edge. Right? So like this here, this dark. I don't want because the, oops, I did it again. Because the edge of our succulent peddle should be on the lighter side. We are almost all the way around. I also want to make sure that when I come to little areas like this, that I want my line or my lasso tool to go right into where these two pedals neat. So for instance, so if I were to drag into this pedal to soften the edge and end up here. Then you see that this edge is going to run into this line. Oops, I move back and it's not going to have a seamless look to it. Okay, so I just want to make sure that I grab very neatly so that I'm making nice smooth shapes. Alright, I think we've got all the way around. Just get rid of a little bit of this dark here. And I'm going to zoom out and take a look at my secular. Okay, that looks great. Now, the thing that's selected right now is my background. So if I copy this to take it into the other file, I'm taking my background instead of my succulent. So what I wanna do is I want to come up to select and I may choose inverse. So select inverse. And do you see how the dancing ants are now gone from the outside? Let's get rid of that. Ok, and now they are just around my succulent. So now's my opportunity to get rid of anything else around my secular where I see dancing is because we do not want to take any of this background at all. Okay, so now that my secular is nicely selected, I want to copy and paste it into a new file. But before I do that, I want to go to Select. And I went to modify. So I'm going to contract this selection by one pixel. So what that means is my selection is going to come in to the succulent one pixel around the entire perimeter. So I hit OK on that. And you barely notice any change. But what that does is ensure that I'm not taking any of these dark background shadows with me. Okay? And I'm gonna do one more step. I'm going to say Select Modify Feather. So what that's going to do as I select one pixel to feather, is it's just going to soften that edge when I copy and paste. So it doesn't look like I've cut it out. And hit command c for copy. Or you can come up to here and say edit copy. So you can see here on the right they have their little hotkeys listed so that you can memorize them. Okay, so Command C copy. And I'm going to take that into a new document. So I'm gonna see you in the next video when we start in our new file. 4. Cleaning up your Motifs: Okay, we did our command c for copy. Now what I'm gonna do is I'm going to open a new file. So I'm gonna say file new, or you can do command M. And I have my options open. Now for my new file, I'm gonna keep it on pixels. And what I'm gonna do is 3 thousand pixels by 3 thousand pixels. And my resolution is going to be 300 pixels per inch and leave everything else the same. I'm going to leave RGB. The reason we're doing 3 thousand by 3 thousand is you're going to have a ten by ten inch square. And for a pattern design that is a little bit on the larger sites, so we are good to go 300 dpi, ten by ten. This is going to be the perfect size for what I want to create. Some hit create. Here is my new file. Now I have my secular in my clipboard because I hit command c on my mini blue succulent. So I'm going to pop back over to my new file. And I'm gonna hit Command V, V as in Victor. And there's my succulent. Now you can also do edit, paste. Ok. So let's zoom in and look at our little mini blue and see how she sits on the white. Now the white is a good test because I'm gonna be able to see if any edges or too dark or too light if they disappear. Okay, and this is pretty clean. I'm not going to mess with it too much, but I will clean it up just slightly to show you how to do that if you need to. Alright, now, if we zoom in, what you'll notice is these edges are feathered, so it's soft. It's not here. Let me do an example here. It's not a harsh cut-out like that. Command Z that, alright, so this will end up looking a lot better, especially if it's up against a stark background like this or another motif that we've brought in. So what I'm gonna do is I'm gonna take my eraser tool. I'm going to raise up the size just a little and make sure I'm want to soft, round brush and nominal zoom in. And I can very lightly. Actually, I'm gonna make my rush a little bit smaller. Oops. I can very lightly go around the edge and get rid of any areas that look a little too dark. I don't wanna make anything transparent along the edge because I like to layer my patterns in Photoshop. So I'm going to use. Some pattern underneath my succulents, as well as creating a pattern with the succulents themselves. So here I go. I'm just cleaning this up very lightly. And I could have spent more time in the mini blue file cleaning this up and cleaning up that selection before I brought it in. But it's really good to know how to do this on the fly as needed. And I do this a lot and it's actually really relaxing to kinda go around these shapes and clean them up. There we go. We've gone all the way around our secular. And I really like how that looks. So what I'm gonna do is I'm gonna scale this down just a little bit. When you scale, sorry, let me show you how I did that. I'm going to say edit, transform, scale, or I can just do Command T for transform. Okay, so Command T is my go-to tool. I use it all the time. And what it allows you to do is to scale your item in any way you'd like. Now, we're on the standard scale right now. I'm not holding down any keys. And I can scale this. And it's going to stay in its perfect proportion. Now, if I decide that I do not want it to stay in its perfect proportions, I'm just gonna hold down the Shift key. And you can see, I can distort that. Has I scale it. Okay? So now that it is here, I can either start creating my pattern or I can add more motifs to this file. So I'm going to actually create a pattern with just this little guy here to do a simplistic version first. And we're going to do that in the next video. So I'll see you there. 5. Creating a Straight Repeat: Alright, now we're gonna start our repeat pattern tile. Okay, so I have my mini blue in here. What I want to do is create the tile bounding box. So this is kind of like the art board in Illustrator. What it's going to do is this is going to contain my rekey eat tile. Okay. Everything within the shape that I make is going to be what I repeat. So I'm gonna hold down the Shift key. I have my marquee tool selected holding down the Shift key to make a perfect square. Okay, now, if I let go of the shift key while I have the marquee tool, then what's going to happen is I can make any proportion of rectangle, okay? Which is fine if you want to make our rectangular tile, but I am going with shift for this first demo. Okay, 0 shipped in to let go. And leaving that selected, I'm going to click on my background layer. I'm gonna click new layer from the hamburger menu here. Hit OK. And I have a new layer on top of my background layer underneath my circulant. Okay, the element of U is say, edit, phil, and hit OK. Making sure that says foreground color. And what that did was it filled my marquee with this color in the square here. So any, whichever squares on top is the foreground color. So it shows a screen because it is in the foreground of my color swatches. So I don't particularly want my pattern to have the screen behind it. So what I'm gonna do is I'm going to go up to image. I'm gonna adjust hue saturation. And then I'm going to drag through my hue and choose the color that I like. And I think I wanna go with kind of a salmon color to pull out some of the color in these petals here. Alright, I like that. I'm gonna hit OK. So you can see on my background layer by tile layer, I'm gonna name it tile. And then I have my original succulent. Okay, I'm going to hit command D, and that's gonna de-select mine little tile. Alright, Now for the fun part, I have my original succulent here, but what I wanna do is I'm gonna duplicate that. So I'm gonna go to my hamburger menu and a bit duplicate. And then I'm going to hit enter. And I have a second. But what I'm gonna do is take this one labeled original. I'm going to drag it down underneath my tile. I'm going to turn it off and I'm going to lock it. So if I turn the eyeball off here, it's invisible. Okay. So there's my original, it's invisible and it's behind my towel. And then I'm going to lock it. So now I will accidentally deleted, I won't accidentally change it or do anything to it that I don't want to do. Ok, that's my original. So if anything happens to this file here or to this layer here, I can always refer back to the original. So now what I wanna do is I want to cut out anything extending beyond my salmon box and move it to the opposite side. Okay. So let me show you what I mean by that. I'm going to select my succulent copy. And I'm going to zoom in a bit. And I'm going to take my Marquee Tool. And this time I'm not going to use shift because I'm gonna do a nice large rectangle. Okay? I just wanna make sure that I have the entire top of the succulent selected right above the salmon box. So I'm going to zoom in. And I'm zooming in close enough so that I can see pixel to pixel. So you can see that each of these squares is an individual pixel making up the entire image. So I want my Marquee to be right on the edge of that salmon box. Okay. And it is if it was not, if for instance, it was there, all I'd have to do is go to my arrow keys on my keyboard and click once with the down arrow, and it would end up exactly where I need it to be. So same thing. I can click down once. I can click up. And you can also go left and right, ok. So I know it's exactly on the right pixel. I'm going to zoom out. And now what I wanna do is I want to take everything in that murky and I want to move it down to the bot, the bottom of the Sandbox. So I'm gonna hold the command key. And you can see that a little pair of scissors comes up. That's perfect. That's exactly what I want because I'm cutting this off of the secular. So cutting the top half off, I'm so sorry. So I'm gonna hold down my command key and leaving it held down. And I'm clicking and dragging down. Now, what I want you to notice is this could end up anywhere, right? I have no control over it going left to right. So It's not gonna stay perfectly aligned with this if I don't have better control over it. So what I need to do is hold down the Shift key and you can see that snapped it exactly where it needed to be. Okay, so I'm gonna start again. Command Z. Here's my McKee and holdout command. So my sutures come up. I'm gonna hold down the Shift key and I'm going to drag it down. Okay? Now I want this exactly on the edge, just like the top where we cut it off of the Sandbox. I wanted exactly on the edge of the bottom of the sandbox. Someone to let go of that moved when I unclick. So I'm going to zoom in. It's still selected, which is perfect. So now all I have to do is use my arrows. Zoom in until I see my pixels. And I'm gonna click down with my arrows until it is exactly on the edge. And there we go. So let's zoom out again. Perfect. I'm going to unclick. And now we are basically halfway done with this tile. All right, let's go to the next video and we will finish it. 6. Creating a Straight Repeat: Part 2: We're gonna do the same thing that we did with the top of our succulent and taking it down at the bottom. But now we're going to do it to the left side of the succulents. So we're going to take both of these halves or quarters, I should say ever gonna move them to the right side? Now, if you look over here at our original copy, it has both halves of our succulent on one layer and that's perfect. That's exactly what we want. Okay, so what I'm gonna do is I'm going to come over to my Marquee Tool which is already selected. I'm going to click and I'm gonna drag, and I'm gonna eyeball it where I think it should end on the edge of the salmon box. Alright, now notice I have all of the edges of the secular it selected. I'm going to zoom in, tell I can see the pixels there they are. Now with my arrows, I'm gonna go to the right just once. Alright, min, zoom in a little closer just to make sure that you can see that I am exactly on that edge, right? Zooming out. And same as performing a hold down the command key which brings up the scissors. You can see that you only see the scissors. Okay, I'm holding down the command key now, but you don't see the scissors. I have to be in them are key for you to see them. Some holding down the command tool or the command button. And then I'm holding down Shift and I'm going to drag to the right there, Mulago. And I'm going to zoom in now. I know because I was holding the shift key that my top and bottom are going to be perfectly aligned, but my left rights are not. So you can see I'm two pixels off. I'm just going to click the right arrow twice. And now I'm exactly where I need to be. I'm zooming or I'm scrolling up, holding down my spacebar. And I have the little hand tool so that I can see a lot of pixels. There we go. Okay, there's my Sandbox. So we can see that my secular is exactly in the right spot. Some zoom out. And I'm going to hit command D for de-select. And now we have our repeat tile. So what I'm gonna do is you can see my four quarters of my secondary or on one layer and my bounding box is on another. I'm going to take secular and my bounding box, and I'm going to group them. So I just hit command G. So I'm gonna take my succulent layer and my bounding box layer. And I'm going to group them so I'm just gonna hit, I have both of them selected. I'm going to hit command G for group k. You can also come up here to the hamburger and say new group, ok. So now that they're grouped together, what I'm gonna do is I'm going to move it to the corner. And I'm going to hit command J. J isn't Jack and duplicated my group. Okay, you can do the same if it's just a layer. I'm going to move this to the right and line it up. When you see that pink line, it means it's right where it needs to be. I'm going to zoom in to double-check. I always like to double check a little bit of a control freak. Okay. It looks like it's exact, but I'm gonna use my arrows. I'm going to click once to the right. Okay? So you can see there's a perfect blank pixels in between, which means that I wasn't exactly the right spot. And that pink line that showed up was perfect. So I'm going to do one arrow to the left. And there I'm in the right spot again. Okay. Zooming out. Now, I don't want you to get worried about this white line that you see right here. Photoshop likes to show you where your layers are meeting. So I don't want you to worry that your your pattern isn't working correctly or you're going to have this white line that's going to print, it will not print like that. Okay, so if you're sending it off to spoon flour or anywhere else, it's not going to put it like that. It is just photoshops way of telling you, hey, this is where they're meeting, okay, so if we zoom in, you can see that everything is perfectly aligned. There is nothing amiss. There's not a pixel missing, nothing like that. So we can use our right arrow. Now. There's an actual line, okay? But if we zoom back in, we're going to click the left arrow and put that back in place. Exactly touching. Okay, I'm going to zoom out. And we are going to take Group one and Group one copy. I'm gonna hold shift to clip both of them together. And I'm going to hit command J again, JS and Jack. And that duplicated both. I'm going to hold down the Shift key and I'm going to drag them down. Just like that now. It doesn't show me the pink line, but that's okay. Because I'm going to zoom in on my own. I'm going to use my Down arrow. Because right here I can see that it's not quite lining up so many use Me Down Arrow once, twice. We try it one more time. Okay. Perfect. So those are meeting up. Perfect. So if I go up one more, okay? Down, okay? So really these up and down arrows, left, right arrows are going to show you exactly where things need to meet. Okay? You just need to be exactly on that right pixel. Alright. Now I'm gonna take all of these and what I'm gonna do is I'm going to duplicate this first block or this first tile. Duplicate it. And I'm going to call it original tile. Okay? And I'm going to hide that. And I'm gonna lock it. And I'm going to take the rest of these four. And I'm going to scale them so that they fit on my page. And all I'm doing right now is testing my pattern. So I'm going to hit enter. I'm a come over here to my hamburger menu and I'm going to merge layers. So when I say merge layers, it's only going to merge the layers that are selected. So it's not going to take my layers that are locked. It's not going to take layers that are invisible or layers that are not selected. So it's only going to take the ones that I have in gray here because I selected them. So I click the first one, I hold down the Shift key and I click the top, and that selects all of them in between hamburger menu merge layers. Now watch what's going to happen with those lines that you see. You see how they disappeared. Because Layer Doesn't have to show us that there is a separation anymore. Okay? Now what I can do is infinitely, oops, infinitely repeat this. So I scaled it down so that we can repeat and see how it looks, how many hit j. Then hold down the Shift key. I'm going to slide it over toys you that. I'm going to zoom in and check it. There we go. Okay, I'm gonna select both of those and I'm going to hit command J again. And I'm going to slide it down. 7. Saving your pattern for POD sites.: So now what I wanna do is I want to merge these four layers to create one large repeating image. And you can do this infinitely, right? So if for instance I wanted to put this on a shower curtain, right, upload it to a print on demand site like Society six or art of where. And you wanted to create a shower curtain, you probably need more more patterns. So maybe instead of a ten by ten inch file, you do a 30 by 30 inch and you can repeat this as many times as you need to within that 30 by 30 inch. Ok, but right now we're going to save this file because let's say we wanted to do a phone cover or an iPad cover. So what I'm gonna do because I have white around the edges here and I don't want that. I have my pattern layer selected and I'm going to hit command a. And what that's gonna do is it's going to select all on this layer. So command a to select all command C to copy command n for a new file. And the new file, I'm not gonna mess with anything here. I'm gonna leave it exactly as it is because what this 28052807 represent is the exact size of your pattern layer. So I'm gonna hit create, and I'm going to hit Command V. V isn't victor. Ok. So now you can see there's no white on the edges. It is fitting this shape exactly. So that's exactly what we want for uploading to a print on demand site. Okay, so now I would just hit Save, save as a JPEG or a PNG. Whatever's going to work best for what you're using before, right? So we are going to now take this to the next level. We're gonna do a more intricate pattern with more layering, and we will do that in the next video. See you there. 8. Using the Path Tool: Alright, now that we've created a straight repeat, we went to create a half Job. And this one is going to be a little more complicated because I want to create some layers in our pattern. So the first thing I'm gonna do is take this image here of a succulent that I've painted. And I want to cut it out now because this background, even though it's pretty solid, it does have the drawing going on in it with different values, which will make it very hard to use the magic wand tool. So instead of doing that, we're going to create a path. So what I wanna do is come over here to my Layers panel. And you'll see I have layers, channels, paths. Pass is the one I want. If you can not see it come up here to window paths, and that should pop up on the right. Okay, so the first thing I want to do is go to my hamburger menu and say new path. I can name it if I want. Succulent. And there it is right there now that is ready for me to use. So I'm gonna come over here to my succulent and I'm going to grab my pen tool right here. And I want to start in a corner. And I'm going to click. And then my second node is going to be a click and drag. This is gonna create the curve around my succulent petals. Now if you're familiar with the pen tool in Illustrator it, this is pretty much exactly the same. So very carefully, I'm going to click, drag a little barbell and then move on to the next area. I know when I do that around the entirety of the succulent group. Okay. I've done this little edge a few times. I'm going to walk you through it. I'm gonna do a small barbell here. Small one here, and then one at the top. To get this really nice curve is having trouble with it to begin with because I was making my barbells a little too long. And when you do that, it just gives you too much Line to work with. We don't need that much for this little guy here. Alright? And it continue going around. The more detail I haven't a succulent, the smaller my bar bells should be. So I'm gonna finish this up to here we are at a corner of our two pedals. And you'll see I have a small barbell here at the end. But what I wanna do is I want to hold down the option key. And it's gonna have a little arrow there. And what that means is it's going to split this so that this barbell still stays and controls this curve. But this one is going to create a corner so that I don't have a loop created at the end of my path. Okay, it'll just see how that second barbell disappeared. It's just going to keep things a little neater as I go around each petal. All right. Well, I think it put it on there. Here we are at the end. And I'm just going to click that first node that I created. And that's going to close the path. So I'm gonna zoom out. And you can see that there are little blue nodes around the entirety of my succulent grouping. So now if I look over here, you can see that exact outline represented here in this little thumbnail. So I can un-click. Let's go to my move tool. I can unclick that, right and the blue line disappears, but I can click it at anytime and have it show up. Let's see, zoom in because you probably can't see it. Okay? So now what I want to do, or what you can do is the beauty of the path is I have the option to hit perfect. So being that this path is saved, I can always come back, select the path, and hit the Marquee Tool. So even if I lost the selection accidentally, I would always have this as my backup. Ok. And if I decided that I wanted to change the path for any reason. So I wanted to zoom in. And let's say that I thought this edge here wasn't quite where it needed to be. I can zoom in, grab my selection tool, and I can click a particular note and move it around. I can play with the barbells and just anything that needs adjusting. Okay. There we go. Now everything looks good. I'm going to zoom out. And that's how you make a path. So what I'm gonna do now is select the sky again. I'm going to copy them and I'm going to put them into a new file. And I'll meet you there in the next video. 9. Creating a Half Drop Pattern: I've opened a new file, ten by ten inches, or 3 thousand by 3 thousand. And I've pasted in my grouping of succulents. But what I wanna do is I also want to bring in my little menu, please succulents, so I still have are selected from our last pattern. Men hit Command seen copy her, go over to my new document and hit paste. So she's going to end up in front. I went to move her in my Layers panel over here to the right and move her under my other succulents. Now she is huge, so I'm going to scalar down quite a bit. Because this secular here is actually a little bit on the larger side, so i want her smaller like that. And what I'm gonna do is start to create a little bit of a composition with my succulents here. So I'm gonna create my bounding box. And what I want you to know is this is not set in stone. So if you make it a square, but you end up wanting it a rectangle, that's totally fine because we are doing it on its own separate layers. So I'm gonna hit New Layer. And I'm going to say fill, Edit, Fill k. So because this is selected, it's going to drop that color right in there. And that's okay. I might keep it. I make change if they're not sure yet. But I'm gonna hit de-select, So Command D. Now that's in the background. Now what I wanna do is build my succulents or the composition of my succulents. Basically using this as a backdrop. So I can overlap. That's totally fine. I'm not worried about that, but I do want something down here, so I think I'm gonna duplicate my little blue succulent here, Command J and bring her down. Hit Transform, and rotate her up. And I'm gonna scale her a bit so she's not exactly the same size as the one above. Enter. And I'm trying to create a nice angle to this grouping. And I think what I wanna do is grab this Rosetta and duplicate it. So to do that, I'm going to grab my lasso tool. And because this Rosetta is basically hanging below here and there's no background. Oh, I have do is cut around the stem. Then I can create a big loop around the Rosetta itself and hit Command C, Command V. So Command V is the paste. I'm gonna move this up to the top. And I'm going to rotate it just like that. So now it's kinda poking out from behind. And I can figure out how I want this position. So I have that sort of nice sweeping angle. Alright, I liked that, but I think, I think I want to add one more element, which would be this guy here. So I'm gonna go to that layer, make sure they're on that layer. And now might be a good time now that I have my layers built up to name them. So I'm going to name this layer. All I do is double-click. And I'm gonna say family because there are a lot of them. And I'm gonna say lower, left, top, right, green, and blue, top right. Okay, so now I'm gonna go to family. And with my lasso tool, I can go around and select my secular. I'm going to hit Copy Paste. And I'm gonna hit Transform. Took her in here behind my blue and green secular. So let's see like that. But I feel like this is a little too big still, so I'm going to put a duplicates so that I still have a larger one if I want it for later and the post that. And I'm going to scale her down. Thank you. Couldn't move her up a little. I think I'm gonna move this up, this one up here. And then I'll move this one right about there. Ok, so I have a little bit of a gap here, but I'm not so worried about that right now. Alright, but now I like the angle that I've created with these. If I wanted, I could add a little bit more. I might end up doing. But for now, I'm gonna name this one. Will color orange top. Just like that. Okay, so now that I have this grouping of succulents and unhappy with how it looks. I think what I wanna do is group them together. So I'm going to grab the bottom layer, so not the background, I'm leaving that where it is. So the bottom layer and the top layer, and I'm going to say command G to group them together. So now I can move this entire group anyplace I'd like. So now if, if this is grouped together, I am going to rotate it just a bit right about there. What I need to do is make sure that this element here is not going to fall directly above this one. Because if you remember back to our first repeat pattern, are little blue secular, anything that went above this pink box we had to duplicate to the bottom. So we don't want it to land right on top of this other part of our succulent family. So I'm going to rotate it just a bit. So that now it's going to land over here. Now, even though we are not outside the bounding box up here, I want to keep that in mind. So I'm gonna set that about here. You can see I've moved it down. Okay, and I'm gonna zoom out a little. And I'm going to duplicate this command J. I'm going to move it down. I'm going to turn it off and I'm going to lock it so that if I mess things up, I still have the original there. Okay, so I'm gonna come back to this guy and I'm gonna make another copy. And now I'm going to move him holding the shift key directly to the right. Now, this layout is not going to work for me one, because I don't want these two big elements to be side-by-side, side-by-side, side-by-side in a pattern. I want them to have a better flow. So I'm gonna move this one up. It's very things, so that's about halfway and I can decide what I want overlapping. So do I want this orange succulent on top of the blue? Or do I want the blue on top of the orange? And I think I want the orange on top of the blue, so I'm gonna move that up right there. Now. Now you can see that if I duplicate this top half and put it down here, it's not going to block this little guy here. I said duplicate. What I mean is ket, sorry, if I cut this top half off and move it down to the bottom, it's not going to block this little guy here. And that's what we want. We want to be able to see our succulents, but have them look as if they are just blooming like crazy, tucked in tight to one another in a rock garden. So the first thing I'm gonna do is I'm going to merge each of these groups. So I have my original down here at the bottom. Okay, so if I do something and I don't like how it turns out I still have my original I can go back to. So I'm going to take the first group here, which is the lower left, and I'm going to merge. So now it's just an image. I'm gonna do the same thing with this one, merge group. And now that is just an image. Now I can go through the process of cutting my succulents. So I'm going to start with this one here. I'm gonna zoom in my selection tool of Ines, who I sit right about there and you can see there's a pink line right at the top. And I'm an eco. Now. When I let go, the cursor is very important because even though that can climb shows up, if my hand moves even the slightest, it's not going to end up where it needs to be. Now it did here, so I was lucky, but I like to double check just in case because you don't wanna have to redo all your steps. Okay. So that is selected. I made sure to go all the way down to the bottom of the succulent grouping. I'm gonna hold down my command to bring up my scissors and my shift. And I'm gonna drag it all the way to the right. There's my pink line. I'm going to zoom in while it's still selected. And that looks pretty good. Perfect. So I will click de-select that and I'm gonna do the same thing with the bottom. So let's start on the left side here. Make a bigger box than is needed. And then I'm just going to use the down arrow. Last night were examined. Use the down arrow to get to the bottom of the pink box. There we go. Perfect. So now I'm gonna do the same thing, but to hold down my command key, bring up the scissors, pull down the Shift key, and then drag this up to the top right there. Again, I'm going to zoom in just to double-check. And that looks great. Okay, now you can see what happened here. Are little dangling Rosetta is slightly overlapping. Our large orange you're sanding secular. That's great. I don't mind that at all. Actually really like that because it creates a little more depth within our pattern. So we're going to leave that just like that. Now, if we look over here to the right, what we see is the bottom left of this succulent grouping, okay, and you can see it's down here overlapping the bottom space. So what I should do is grab this and I need to take it to the top. But this succulents and my way. So I'm going to turn that one off so that I can complete this slice. Okay, so I'm going to command with my scissors shift, drag it up to the top. Now the likelihood is, you will not see this at all. And that's fine. But we wanna make sure it's there anyway because we want this portion of our pattern to be absolutely correct just in case we decide to move things around. 10. Adding elements to your pattern: Alright, I'm gonna turn this layer off. I'm going to work on my second layer here, and I'm going to come in, I'm going to do the same process. Selecting double-check. Perfect. Command for the scissors. Downright, pink line. Perfect double-check anyway, just to be sure. Yes. Okay. Wonderful. Now, going to take this whole left side or sorry, this whole right side to the left. And I'm gonna zoom in again. Make sure you grab all of it. Perfect. Holding their Command Shift and all the way over to the left of the pink line. So that should be good. Yep. Looks like. Ok. So now we have our second layer of succulents. So this is basically what both of them together look like now of my bounding box here and a different layer. And we have all this sort of mob, pink running through in the background. And I think what I wanna do is add a new layer. And I think I want to draw in some texture. Now, you can do this several ways. You can bring in other elements that are maybe more muted and subtle. I'm actually just going to draw them in because I think I want to give the illusion of river rock. So I'm gonna come up here to my color squat swatches. I actually chose a color, but I'm not happy with that. So I'm gonna come down and make it more gray. The value similar. And I'm gonna choose my paintbrush. And I have my paint brush up here. If you go to the top, paper selected, if you go to the top, you have this bar here with you can change the size of your brush. Think I'm gonna leave it here at about 25 and you can change the hardness. So the hardness will determine whether you have a soft edge or hard edge. I went to a hard edge for this. Okay, so I'm going to zoom in. And you can see I've already made a dot here because a little bit of a feathered edge, but that's okay. And then just randomly, I'm gonna go around and fill in the blank areas. And I do want some to fall off of the edges. If we do not have any that fall off the edges, it's going to basically show where our gutter is of our patterns. So we don't want to do that. We want to make sure that we have some overlap. I've overlapped on the top. I'm not going to overlap on the bottom. Just to make it easier. And now this is only one color. I'm gonna do three colors. Usually river rock has a lot of variety in it. So I'm doing variety in size and in color. To pick overlap on this side? Yes. Sediment. It went a little bit lower. Okay. Just like that now, let's see if you want, you can do a new layer, which I prefer because then I can change the colors of each individual layer. So by decides the one that I already have hears maybe to gray. Or if it's too dark or if it's just the wrong value. I can adjust that. And see I'm just kinda moving around and starting to fill in any blank spaces. And I think that this color I'm using is not the color that I want. So I'm probably going to end up changing it. So I'll be glad that I have this on a different layer so that I can change it independently of my other layers, right? Pay more. So while this color was very cool, I'm now going to do a new layer with a warmer color. Let's test that a little bit later. Okay. So now I'm gonna do a few rocks that are slightly larger to break up the monotony. Still little. So these can be varied in size, of course. Some much larger, some a little smaller. And I like it because it also allows me to fill in these areas behind the secular that are not quite filled in and do an OK. Also make sure if you're doing ovals, you're changing the direction. Unless you want them all in the same direction, that's okay to just want to make sure that an adding enough variety so that nothing kind of catches your eye and keeps it there. We wonder I to flow around the pattern nicely. Okay, let's zoom out and see if we like that. Do I think I'm gonna come back to this gray layer and add a few more rocks to get that color back. All I'm gonna do is hold down the option key and your eye dropper will come up. So I'm gonna click right in there. Make sure I'm on the same layer. And then I can come back in and add a few more rocks. Okay, I think that's gonna do it. I'm going to turn off my secular layers. And I am going to grab my rocks and I'm going to merge them together. Now, this is provided that you didn't wanna change any colors. Okay, and let's just for fun, try that. I'm going to take this dark. And I'm going to go to image, adjust hue saturation. And I'm going to use my slider and run it along the color bar here and see if there's something that I like better than that warm Moffitt I chose. That's actually kind of nice. It's more of a neutral. But the top, I don't think I want the blue. So let's see. I think I like somewhere between this top and the Mavs, so we're gonna go with that and hit OK. And now I'm going to merge ME three pebble layers into emerge layers. I'm going to turn off my succulents. And the same thing. I'm going to slice the top off. Right there. I'm gonna zoom in. Now, if you have a large file, I'm gonna make a zooming in a little easier. You can grab the zoom tool and just click and drag. So you can drag up and down just like that. I, I'm just so used to the pluses and minuses that I don't even think about the Zoom tool, but it is an easy tool to use. So enter a command, hold Shift, dried down. Perfect. Check that. That looks good. I'm going to click that. I'm gonna go to the left side on the P line. Zoom in again. Perfect. And command, drag it over to the right. And I don't mind if these rocks overlap a little girls. That's what they would do in nature anyway, right? This guy, he's our last one. Command. And drag him over to the left. Okay. One more time. There we go. Alright, now I'm going to turn on everything. And let's zoom in. And what I'm gonna do really quickly is checked my edges to make sure they look nice and crisp. Nothing's hanging off the edge. Nothing is just inside the edge. Everything is exactly on that last pixel. Ok, I'm gonna grab my background, my rocks, and my two secondment layers, and I'm going to hit command G for group a group. You can also go up here and group. Okay? Now, I'm going to duplicate this before I do anything else. And I'm gonna move it down to the bottom. I'm going to lock it and I'm going to turn it off. Now we have our final pattern tile. This is what we would send to spoon flower for instance, right? Because you send the actual tile and then they create the repeat. But we wanna make sure that it's perfect and it is here. So in the next video, we're going to test it out. 11. Testing your Pattern: See if our tile works. So I'm gonna grab group one. Remember that? I duplicated that already, so I have a saved version down here. I'm going to move it up to, actually I'm gonna move it over to the left all the way. I'm going to hit command J to duplicate, and I'm going to drag it down holding the shift key and zoom in. It's always nice to zoom and especially when you're at this stage because photoshop can trick you into thinking that it's not lining up, but it actually is. So that looks good. I'm going to grab my original Gan and do another duplicate and drag it down holding the Shift key and zoom in right there. Perfect. So you might see how you can see that line still, so it's a little disconcerting, but I don't want you to worry too much. Alright, I'm gonna grab all three. And yet command J, hold the Shift key and drag them all to the right. We have seen in double-check network one pixel off due to pixels off. Okay, there we act. Now. I'm really happy with this because it has a really nice flow to it. It's layered. Now, another step we could have done was to go in here to these rocks and actually given them texture or given the pink layer texture. So you can do that with texture brushes with any number of things. And because of the angle of this pattern, because, you know, these succulents are kind of flowing up from bottom-left to top-right. You don't have to worry so much about how a texture in the background would meet the edges, right? Because these edges are almost covered up on the opposite side by our succulents. So I'm going to grab all of these. I'm going to group them together. And then I'm going to merge them all. Rich group. And you can see all those photoshop tricky lines disappeared. I'm going to hit Command T. And I'm going to transform this just so that you can see it all in one space. Let's zoom in and take a look. And there is our VP8 layered, succulent pattern. 12. Final Thoughts and Project: Thanks so much for joining me and creating a repeat pattern from your hand painted motifs in Photoshop. If you're a painter like me, I think you'll find that it's really beautiful way to retain all the incredible textures and gradations that make your painting style unique to you. For the class project, I'd love for each of you to create your own repeat pattern in Photoshop. This can be a straight hat shop or toss pattern. And if you're really ambitious, I'd love to see you create all three and post them in the projects section of this class so that I can see and comment on them. I'd also love for you to share them on Instagram and tag mean Melanie SPL so that I can share and comment there. In addition, as always, if you enjoyed this class, please follow me on skill share and on Instagram to receive updates on new classes and projects. Thanks again, and I can't wait to see what you create. 13. Bonus: A bonus today, and it is just a simple tossed pattern. But what I wanted to show you is another way to grab your motifs off a file or a painted page for instance. So what I have here is what I call a play page. This is a large piece of pastel paper. And you can see I've created like a k, a two lump-sum lips that I used for a pattern. And then I was just kinda messing around with the pastel. And this was the result. But I, I like these delicate Fern shapes because the succulents are so heavy in texture and color and density that I really wanted to create. A test pattern was something a little more delicate. Add it in there. So what I'm going to do is you can see these are already selected. I'm going to de-select, okay, I'm gonna grab my magic wand and I want to make sure that contiguous is not checkmarked. Okay, there's no checkmark there. So we wanna make sure that it is blank. And I'm going to click on the green of this for now. What this is doing is it is selecting everything in the file that is that green color. So if I had selected pink here, it would select everything that is that exact pink hay. But I really want these ferns and there are three of them on this page. Someone who zoom into this and not worry about anything else that's being selected at the moment. But what I'm gonna do is I'm going to hold down the Shift key and I'm going to click, you can see the little plus sign comes up. I'm going to click on another green within my firm. So you can see even more has been selected. So that's pretty good. Most of it is there. And I just want to clean it up a tad. I want it to stay very organic and loose, but I'm just going to grab my last of tool, hold down the Shift key so that I get the plus there and then kind of finish out any of these branches that maybe look too thin or have too much texture because of what's selected and what is not. Just going to run through them really quick. I'm not even making sure that they meet each leaf. That is not important to me. I just kinda want to clean it up a little bit and I can do the same thing with the minus holding down the option key. So the option key says delete from selection. Shift key says at selection, okay, just like that, I'm going to zoom out and I'm gonna very carefully with my spacebar, walk over to feasible guys. And you can see it's the same thing. I'm losing my branches because I wasn't pressing as heavily with the pesto to get those in K. So I'm just gonna give it a little branch in the middle. Just like that. And you just want to make sure that you don't de-select as you go. So I'm really just using. The Shift key or the Option key and the space bar to move around. And this is my last one holding the shift key, guiding a branch. And there we are. Okay, so now I'm gonna zoom out. And I grabbed my last tool again. And I'm going to hold the option key to de-select everything else on this selection. So I went everything de-selected except for my ferns. So I'm just drawing a large loops around the things that I do not want to zoom out. And I'm gonna see if I see any dancing ALT or a do. Sorry, keeps sliding my arm on the desk. One more. Okay, I'm going to hit Copy command C. And I'm gonna come into this new file here that I have. It's ten by ten. We're gonna hit paste. And for some reason I only have two firms. So first I'm gonna do is get rid of this extra, extra color that came over from the file. And so what happened is if I hit Command T for transform, my other furnace over here, I can see that, right? Because that's where the bounding box of my Transform Tool wet. So what I'm gonna do is we're gonna hit enter. I want these separate anyway, so I'm gonna grab this one. I'm going to say copy, delete, paste. So now it is on its own layer. That's perfect. Okay, now down here, I'm going to do the same thing. I'm going to say. Copy to beat, paste. Oops, not B, paste v. Alright, and then my last one, I'm gonna pull my phone over and that is on its own layer already because I deleted everything else and I'm gonna delete this guy here. Alright, so now I can go through and just arrange my, oh, you can see there are more pixels selected. So going to arrange these so that there, you think I am hanging over the site and I do not want them in the same direction. So i want them very random. Ok, so I'm gonna move this pick what over just a little bit. And now I'm going to arrange my succulents. So I'm going to grab this 1 first and then move down the layers line. Okay, I'm gonna grab all of my succulents and I'm going to move them above my fern. There we go. Okay, now what I think I wanna do is make my bounding box smaller. Put on the shift key. If you want to make it rectangular. And do not hold down the Shift key if you want to keep it a square. I think I'm gonna make it rectangular because I kinda like this configuration here. So I'm gonna zoom into that. And what I wanna do now is I want to come up to my largest firm which is here. And I'm gonna do those same steps, can get rid of all these extra pixels. Same steps that we've done with all of the other patterns. I'm going to grab this right side. Make sure I'm right on that pixel. Yep. Command brings out the scissors shift and tried that over the line. Double-check I Nair. And Diane. Perfect. Okay. So now I can see well, that's coming pretty close to this one, so I can make a decision as to whether I want to keep this one here or not. So I think I'm going to move it into those a little bit like that better. Alright, so same thing. I went to grab the end of this. I'm going to zoom in and zoom out. And I'm gonna do my command shift and take it down to the bottom right there. Perfect. Hey, I'm gonna go to my little Fern. Now, if I am going to hold down the Shift key and I'm gonna drag it straight up. So this one is going to overlap right there, which is fine, but I think I'm going to move it over here so that it overlaps in this vicinity. And let's see. And I move it over. I hold the Shift key, then I can see exactly where it's going to fall. And I continue to hold it when I bring it back down. Yeah, let's do that. And zoom in. See where this is on a different layer. I'll get rid of that later. All right. I've got this pink line told me it was in exactly the right spot. But a whole Command Shift and drag it up to the top right. You can see I moved right when I hit the right, the pink line. Okay. There we go. Perfect. So now all my ferns duplicated in there correct spots. But you know what? I want another one here in the middle. So because I did not save an original, i'm gonna come back to my file, which is here. And I'm going to de-select everything except for the little piece of her. And I really like this one. So I'm gonna say Copy Paste. And I'm going to pull that over here. I'm not sure it's a little tricky with all the green. Ok, I'm going to put that one right there. Alright. Now I want to do the same thing with ME succulents. And I really think I want to move this one up here. Okay? So first thing I'm gonna do is I'm gonna duplicate my green. If it in-place. Command shift, drag it over. That one can stay there. And I'm gonna do my, okay, now this one, you can see it's gonna duplicate up here as well as over here. Do I want that? Not sure. I almost think I would rather duplicate it. On this side. Yeah. Okay. So here's what we're gonna do. I'm gonna grab that right there, shift and take it over. I see the pink. And now you can see there is more secular on the left side than on the right side, which will help balance out that large green secular at the top. And go down one level down commune shift. Scroll right in place. Right. Now. Last thing I'm gonna do is move this little guy. I think I'm gonna flip him at it. Transform. Just like that. Alright. I like that. Okay, let's see how it looks altogether. I'm going to take all these. I'm going to group them. I'm going to duplicate them and I'm going to drag it to the right. I'm going to grab them both Again. I'm going to move them to the left so they're on the page. Okay, j. And there is our tossed pattern. Now, the one thing I noticed is epic did not grab this little guy and duplicated up at the top. So that's something you definitely want to check before you start to duplicated anything. But the nice thing about the way we're doing it here is that you have this tile here that you are going to duplicate and lock. So you always save your original width, all the pieces separate, right, so before you merge anything, but if we zoom out, actually really like this as a test pattern, Alright, so I hope you enjoyed this.