Creating And Applying Textures: Design A Pennant | Jon Brommet | Skillshare

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Creating And Applying Textures: Design A Pennant

teacher avatar Jon Brommet, Crusoe Design Co.

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

18 Lessons (1h 23m)
    • 1. Introduction

    • 2. Project Overview

    • 3. Photographing Textures

    • 4. Photo Examples & Small Settings Change

    • 5. Setting Up Your Photos & The Threshold Method

    • 6. The Levels & Bitmap Method

    • 7. The Image Trace Method

    • 8. Creating Textures From Scratch - Add Noise

    • 9. Creating Textures From Scratch - Mezzotint

    • 10. Distressed Halftone Method

    • 11. Salt & Pepper Method

    • 12. Setting Up Your Pennant File

    • 13. Masking With Transparency (AI)

    • 14. Using Bitmap Textures (AI & PS)

    • 15. Permanently Apply Textures (AI)

    • 16. Textures With Transparency Effects (AI & PS)

    • 17. Applying Texture Masks (PS)

    • 18. Thank You!

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About This Class


If you are a designer or an illustrator, you have likely already stumbled upon this great way to enhance your work. Textures take a flat piece of artwork, and add a rustic and handmade feel, that can really improve your overall design.

Whether you have dabbled in textures, or you are just discovering them now, this class will show you a variety of ways to photograph, and digitally create your own custom textures from scratch.

It doesn’t matter if your style is precise vector shapes, or hand drawn and imperfect, textures will give life to your artwork far beyond anything you could expect.

This class will use both Photoshop & Illustrator to show you a variety of my favorite ways to create textures. Of course, textures can be made in an unlimited variety of ways, but this class will give you a jumping board to inspire your own creativity in creating custom textures.

Once I have shown you my methods for creating textures, you will then hand letter, illustrate, or design your own custom pennant, and apply one (or more) of the methods taught for creating and applying your own custom texture.

Did I mention there is an amazing prize? Well, if you think it would be cool to get your own design on a pennant AND a 1 year Skillshare Premium membership for free read the “Oxford X Brommet Pennant Contest” under the “Discussion” section. 

What, you’ve never made your own textures using salt before? Well, this class is for you!

Also, check out my other 2 Skillshare classes on Designing With Halftones and Block Printing.

Meet Your Teacher

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Jon Brommet

Crusoe Design Co.

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1. Introduction: Hi. I'm Jon Brommet, and welcome to Creating the Design Textures: Design your own Pennant. In this class, I'm going to be showing you how to photograph your own unique textures, create textures digitally from scratch, and how to apply those textures to your artwork. Don't worry, you don't need any fancy camera equipment. Just a standard smartphone will take good enough photos to use in your artwork. In fact, if you want to, you can do this whole class right now without even leaving your computer. In this class, we're going to be using both Photoshop and Illustrator. See if you don't have them, just go to Adobe's website and download their trial versions. Don't worry if you're not an intermediate or expert at these programs. I've done my best to make them available for all skill levels. The project assignment is to design a pennant based on your town, city, or country. You'll then use one or more of these texture message that I showed you in class to add a rustic and handmade field to your design. So I haven't gotten to the best part yet. If you're watching this class soon after it was release, and you take part in an amazing contests. In fact, I'm pretty sure it's the biggest contests in Skillshare history. I've teamed up with the amazing people at Oxford Pennant to bring the top project of our choosing your life. We'll be providing the winning artists with five top quality made in the USA, Oxford Pennants with their design on it. Also, the project with the most likes to win a free one-year Skillshare premium membership. So invite your friends and family to the class just to boost your likes if you want to. I'm not judging. So get to work. It's possible that you can claim both prizes for your design. For the contest details and deadlines, check out the projects assignment for more info, Also, be sure to check out at, even if you're watching this class after the contest is over, they seriously make the best pennants you can find. Lastly, after showing you the process of creating my pennant, Oxford will be producing my design as well. As soon as I receive them, I'll post an update video and discussion showing you my finished pennant and letting you know where you can purchase one if you'd like to. Do I mentioned how excited I am? I can't wait to see what you all design. Now click enroll. You won't regret it. 2. Project Overview: Welcome. This is Creating and Applying Textures: Design a Pennant. I'm your host. I'm your teacher. You can call me a professor if you want to, because this is a post-secondary education. Whatever, my name is Jon Brommet. This class is also brought to you by my friends at Oxford Pennant. You can check them out at Make sure you follow them on Instagram too, because they post some really cool pennants basically every day. That's @oxfordpennant. If you want to follow me, I'm @JonBrommet. J-O-N, no H, because my actual name is Jonathan, but let's keep that a secret. Jon Brommet, like I said, on social media, I'm basically on everything. If you're watching this in the future, that new cool thing with the people that they're communicating on, I'm there. We're going to talk about the assignment. You don't have to be a designer, an illustrator or whatever, but if you are, let's talk about textures. We are going to learn how to make some really cool textures from scratch so that you can be unique and different than everybody else, and you're not just using that thing you found on the Internet to look cool. To start with, I made this really good outline. It's really good anyway, 17 pages long. It took me hours and hours, and hours and hours. It goes over everything I'm going to show you in this class. Basically, it's a walk-through, a step-by-step, in case you didn't follow onto the videos or you want some little extra stuff. Or maybe later on you're working on a design, you don't have time to go on the Internet and get in trouble by your boss, so you just pull out this little PDF or may put it on your iPad or something. Check it out, remind yourself how to do a little thing that you forgot with that stuff. The first thing we're going to start with in this little part of the video is Project Deliverables. It is crazy easy. The first thing I'm going to do is choose a city or a country. If you're in a really cool city, boom, do that. If you're in a little town or a rinky dinky thing, that's cool. You can do that too or you can pick a city that you love going to, maybe the closest city, one your grandma likes, maybe a country you're living in, maybe a country you wish you lived in. I don't care, just pick something that's going to inspire you to make a really cool pennant. After that, you're going to go with reference photos to get your creative juices flowing, and then you're going to show me your favorite Oxford Pennant. That's not just because they're sponsoring a really cool contest, that's because they actually literally make the coolest pennants. You're probably going to find some really good reference photos there too to get you inspired. After that, you're going to show me your created texture(s) that's if you've created more than one texture. Then you're going to show your design without a texture, you're going to show your design with the texture and your final pennant. Okay, so it's that simple. First thing we're going to do is we're going to go over to and go to the class. This isn't live right now of course, because we are in the past recording this video, but this is a pretty good idea of what it's going to look like. At the bottom here you're going to see the template that you can download so that you can make your pennant with that. You're going to also see this Textures Outlines. Make sure you download that first. That's this really cool PDF that I'm showing you. Again, it goes over everything. It took me hours and hours. I honestly, promise you it's pretty worth it. If you do not have Photoshop, or you do not have Illustrator or you have one or the other, just download the trials, they're for 30 days so you can easily follow along to class. You don't even have to leave your computer right now. The first thing I want you to do before anything else is go over to the Class Project over here, because I've edit my project because I started it. But if not, to start your project, click that. We're going to bring you over to your Project. Then the first thing I want you to write is simply My City, colon, and write your city. If you hear the motorcycle outside, what can you do? Motorcycles are cool. Click where your "City". You might think that's boring, you might think that's not worth posting. But really what I'm trying to do is I'm trying to build a community. I'm trying to get you started. Get that project up there to break the ice. Because really when you're taking these Skillshare classes, it's easy just to watch the videos, and then sail on and go on to the next thing, get distracted by the world and forget to actually finish the class. But if you actually start posting, you start looking for references and before you know it, you've completed a class, you've learned way more because you're actually trying it out. That's all I want you to do. Just start with your city. That's the first thing. As soon as this video's done, just go do it, not the class. But when this video is done, go there, click "Start", My City, boom. Once you've done that, then you can get two references. These are mine here. Again, if I'm talking a little bit fast, I'm probably going to slow it down but re-watch the video if you forget things or whatever. These are the ones that I like the best. I just put a couple of them here so you can do the same as that. Trying just a good way to organize everything. Another thing I've been trying to do lately is use Pinterest. I don't use it a ton because it's geared towards women, I find, maybe, I'm not following enough people or whatever. But I don't really use it for finding inspiration, but it is really great. I'm starting to realize for compiling cool stuff I find all over the Internet and a nice little organized board. It's easy to refer to later and it's cool that way. But if you're not using Pinterest, it doesn't matter. Just post a couple of the pictures that you like, even one or two, it doesn't matter. After that, the next thing I want you to do is to find your favorite Oxford Pennant. That's not just because they're sponsoring the coolest contest ever, that's because they make the coolest pennants. We're going to go over to their website here, Well, my favorite one is right there in that first slider. They do custom pennants. They do all that stuff, and if you're watching this in the first little while, you can go ahead and potentially win one as a prize. If not, you can always order one from them anyway, because they make really cool stuff. Just go over to the Pennant Catalog. They've got a lot of really cool stuff. They actually don't always design their stuff. They get all awesome artists from around the world as far as I understand. You can see they do a lot of really cool things, some cool hand lettering, everything they do looks unique and rustic, and it's got a good feel to it. That's why we've teamed up with them. That's why I'd love to see what you think is the coolest one. Like I said mine is that, "Kill The Closest Snake", as you can see is pretty inexpensive. We'll go over there. In case you're wondering the, "Kill The Closest Snake", refers to if you have too many things to do and you can't keep them straight, the best thing to do is to deal with one thing at a time, doing with the most urgent matter first or maybe that most dangerous snake that's going to kill you. If you have a ton of work on your plate and you don't even know what to do first, maybe you're just going to want to try and pick that one thing that you might feel is the most important, and just at least pick one thing anyway if you can't decide and just do it. Deal with it, get it over with. It's a really cool expression. It also helps I've never heard of before, it's not lost on me. It's unique and I love Scott's little illustration of the snake and stuff. It's classic, simple, looks cool. After we do that, we're going to post your custom texture. This one's a little halftone texture I made, which I'll show you how to do soon. Sometimes the texture is not going to look all that cool just on its own, it's going to look plain and weird. But that's okay. What happens is just try it out, see what it looks on your design. Certain textures are going to fit certain designs better, and you never know it might actually turn into something pretty cool. Then the first thing you're going to do is you're going to post your first pennant. Again, you can download this template here, in the Class Project here, and at the bottom you'll see it. You just download that putting your little illustration or a hand lettering. It doesn't have to be hand lettering if you just use type, whatever you want to do. Just post it. We're going to put it without the textures so people can see the difference. Post it again with the textures. If you want to add a little background and dress it up, that's fine. Then I put in a zoomed in version just because the detail there is really small and I want to be able to see that I did this hand stippling thing, and you've got different textures. You've got the blue through the white and you've got the white over here, and things like that. That's it. For project's probably pretty easy, and the cool thing about it too, is that because it's a lot of hand lettering, there's a million hand lettering classes. Actually, there might be a million in one. Just go, if you want to take two classes at the same time, that's cool. Maybe you'll do some hand lettering and combine in projects. That's actually what I did. That's the basic thing, that's the overview. Again, download the PDF, it's going to be really helpful. After that, we're going go to here page 2. As you can see in the next thing is Photographing Your Own Textures. We're going to go to live on location except for the not live part. I'm going to show you what to do next. We'll see you in a second. 3. Photographing Textures: Before we go outside to shoot this one, I'm just going to let you know that I'm going to spare you the terrible voice overs and I'm just going to play the raw audio which is a bit low-quality. You'll hear some pops and the wind. I apologize for that upfront and here we go. Okay. This time we're going to show you how to take a video. I'm actually using my fiance's phone because she's recording on mine. That shows you kind of video and pictures the iPhone actually takes. Anyway, so all I look for when I'm trying to take textures is, I usually want them to be flat on because if they're on a funny angle, most of my artwork is flat. So if you want to try and design something that's going to be three-dimensional, try to take the picture on the angle of what your artwork is going to be. For example, I've looked at something like this. It's all crumbled and it gives that good distorted texture look. I take a picture of this right here to maybe use it later, and then after that we're going to go on. We're going to try and take a few more pictures. You just want to have a good eye for small but subtle usually. You don't want to go too overboard, like you can take a picture of the gravel here. Again, you just want to look at the rough textures. Maybe you want a wood texture, so you would zoom in right here and get the cool wood grain with the paint chipping off, or maybe even want a concrete picture, so you can zoom in real tight to get that concrete texture or you could zoom out so you can show the individual bricks. Really, it's just about having a rough eye for it and kind of knowing what you're after. The easiest thing is, nowadays, your phone is going to hold a lot of photos, so just take a ton of pictures. If you think maybe you'll use it, just take it,. Again, you can always delete them later on, or you might use it for a project after this one. So just try and look around and keep it simple. I'm going to show you a bunch of pictures that I've taken recently, and I'm going to show you how I edit them and apply them in my artworks. So thanks. I'll show you right now. 4. Photo Examples & Small Settings Change: Here are some of those textures I was talking about. Again, I try and take these pictures in my day-to-day routine, you need to go out and try and take pictures. But sometimes if you've taken a bus you might see something, if you get in your car you might see something, you might see something at work or at home. Again, just keep your eyes open because there's probably lots of really cool textures around you that you've never even noticed because you haven't been looking for them. Here are some of the ones that I've taken. This is actually from an old sign board that had tape on it, it's got dust on it, it's got all these things and it made it really cool texture. Again, I just take the picture straight on because usually that's the most versatile, so most of mine are like that. Then this is actually the one I'm going to use moving forward to show you guys all the different steps, so you can see how each different method interacts with the same texture, so you can get a good idea of how that works. But again you can just try and look at anything, this is a floor where the carpet had been pulled up, it's got an interesting texture there. You can even see sometimes they're a little bit blurry or whatever, but once you get that into Photoshop you can sharpen that up, no problem. That's the same thing, you've got concrete there, a little bit of paint that's more concrete that had some old stains on it. That's plywood with a stamp on it, that's interesting, that one's a little less useful in certain scenarios though because it actually has words on it. But again just try and think outside the box and use something different, I think that one's actually the corrugated plastic again, which is a sign board. Just tiles that are spilled on, a lot of spills and dirty and grammy gross stuff that you normally want to avoid. You've got that steel thing, this is actually an old saw. Of course a tire that might be useful. Wood is definitely always a cool one, different wood grains. Again, some of these photos like this one, it's actually really bland, the photo is not taken well, it doesn't have that good tones in it and stuff. But that's okay because we're going to bring it into Photoshop and you're going to do some pretty good magic at that, you don't have to worry too much about being a pro photographer or making anything too cool. Again, some bricks and most of the time you don't want sloppy stuff like this tractor whether it's resting and stuff like that. Some more wood, rocks, whatever, so again crumbling down buildings. But another thing that you can think about, sometimes it's actually using textures that apply to the work you're making. If you're doing something that you want to grungy and maybe you want that city look, you can use some of the textures that you took in the city. But if you're doing something with nature and trees and you've got that thing working, then maybe you're going to want to try and use some wood. In this case, we've got some old pine leafs that have fallen, some bark, that stuff, so just try and think about that as an idea anyway. But these are a lot of different photos that I've taken recently. But again just take as many as you can because some of them aren't always going to work out and then you can pretty quickly get a folder with hundreds of these different images, and the neat thing is all the different methods give you a lot of different options per photo. Before you know it, you'll have unlimited textures and you won't need to download anyone else's crummy ones or pay for them, you'll just make your own that will be crazy and unique. We're going to go over to the handy PDF, and the next thing we're going to do, I'm going to show you real quick in this video. Before we get anything started, we're going to want to make a quick change in Photoshop, so we're going to go over here to Photoshop, you're going to click that and go to Preferences. I already have it on, but normally there's not a check mark there if you've freshly installed the program. What you're going to want to do, this is only for newer versions of Photoshop, I think from CS6 and backwards they didn't do this. But let's just click "OK" and I'm going to show you real fast by opening a document, I'll show how to do this stuff later. But if we go to Filter, you'll see there's actually not that many options here, the menu is a little less daunting and small. We're going to go back down to plug-ins, we're going to hit "Check", click "OK" and you can see a bunch of new ones come up like artistic and stuff. We're not going to use them right now but they're going to be a little bit more useful when you make your textures later on, so it's just good to have that turned on right now. Let me go over here and you can look at Page 2 so that you're following along with us, the next thing we're going to do is show you how to setup those photos that I just showed you. A couple of quick things, just general two steps and three if you want to, of how to setup each photo before moving forward with the methods, that way we're not redundant in showing you the same thing over and over and over. Anyway, I hope you like that and from now on we're basically going to stick to the screencast, and I'll show you the next video about setting up your photos in just a second. Thank you. 5. Setting Up Your Photos & The Threshold Method: So now that I've shown you how to photograph your own texture, and I showed you a little earlier how to make this quick little Photoshop preference change, we're going to start getting into making your own textures. The first thing we're going to do is set up a photo. The thing we want to do is we're going to find our photograph, of which mine is in My Textures, and I'm going to use this one to start. Again, what you can do is if you've got that overview downloaded, what you can maybe do is print it out, it's easy to go over at the same time as I talked about this. But I'm going to show you how to do basically the same things. The easiest thing to do is to do this first little quick three steps or at least the two steps, with all of your textures. Basically, they're always going to want to be black and white. Every once in a while you're not going to want that, you're going to want some color. But I'm just going to show you quickly how to set it up and a few little things to do. Photoshop has this weird thing that they've been doing. I don't know, ever since I can remember anyway, where when you open an image, it immediately just has this little lopsided. So that means that it kind of limits the amount of changes you can make to the file. There's a few ways that we can do this. The easiest thing to do is got to click either option on the Mac or alt on a PC. So hold that down and then double-click the Layer, as you can see they turn it to Layer 0 and now it is unlocked, you can tell because there's no lock over here. Just going backwards just to show you some other ways. The other thing that you can do is you can go command J or control J on a PC, and that basically just duplicates a layer. I have a new layer that is the exact same, but unlocked. You can go back again or what you can do is you can simply double-click on the layer and then click "OK" and that will unlock it as well. So that's the first step. It's kind of the easiest, but it's good to know. The next thing we're going to do is go up to the Image bar, we're going to go down to Adjustments, and we're going to go down to Desaturate. You can also see that's a command shift. You can get the quickies beside it. It's going to depend on whether you're Mac or PC. We're going to click Desaturate and you'll see that that's going to turn the whole thing in a grayscale. That's just going to be black and white colors. Most files are going to come in at RGB, for images anyways. A good thing to do is to change that over to grayscale. It's just going to be more useful, it's the same. If you had a bunch of layers and things that's going to ruin them and compress it all. But that's okay, so we'll just click "Discard." So that's the main two steps that you want to do just to start everything moving forward and all the videos, that way I'm not repetitive and showing the same thing over and over. Another great thing you can do is every once in a while this actually one doesn't have it too much. But maybe you've got a little light source like this, but it's too strong. When you actually go into the later steps, what's going to happen is you only add textures and only a couple spots in the photo and not other spots because there's light sources. The easiest thing to do is we're going to go over to spoon graphics here. This length is a bit long. I actually did link it in the PDF. But another thing you can do is just go to and just search "Better textures". This will show you when you have a light source over here, how to flatten and equalize it. I'm not going to go over all the steps, but they show you real quick. Kind of what you get is this before and after we've got the light source and the after actually makes it all look really equal the hallway. It also talk quickly about lens distortion and how it has a fish-eye effect versus finding it. That's not as necessary, but it's useful to know anyways both steps. Let's move on here. Again, I like to refer back to the outline myself. It's just easier to keep track of what we're doing. I think it's going to be really useful for you guys. Let's move on here. We're going to start with the threshold method. This is definitely one of the easiest methods. It's basically only two steps. You can almost call it one step. What we're going to do is we're going to go over Image. We're going to go to Adjustments, and then we're going to go down to threshold. It's right here. We click that. As you can see, we're basically already add a texture. This is going to show you kind of the darkest points. If you grab this little slider and you drag it up or down, you're going to find different effects. A lot of the times when you are doing a design, you don't want the texture to take too much away from what you've created. you're going to want a really settle texture. You could start anything from here where you've got just these little dots. You can get into something like that, that has some bigger areas and tickers. But a lot of the time, you're not going to want these really overboard ones, unless you're doing the reverse and it's only in a cutout in the light spots. Pick what you think is going to look the coolest. If you're concerned about having a black on white, but this isn't looking cool, what you can actually do is pick where you think it looks good. Let's say, I clicked there. Now you can go to Image, Adjustments, Invert. Now you've kind of got that black being the main color and the white there. That's it. That's the whole threshold method. It could not be easier. So now we're going to go ahead and we're going to move on to the levels of bitmap method. See you in a second. 6. The Levels & Bitmap Method: What I'm showing you now is the levels and bitmap method. The main difference between this one and the one we just did is that you're going to get a little more control over the tones, you're going to have some more medium grays, and you just have a little more control overall. That's what's good about the levels versus the threshold. But again, the threshold is so fast, so easy in a step, you're set and good to go. What I'm going to do is I'm going to show this, and we're going to go back here and basically, you can go to edit and undo or step backwards. I'm just going to hold the keyboard shortcuts for that, and we're just going to go back to our texture again, and I'm going to show you the difference. Basically, if you go to image, adjustment, levels, you've got some sliders here. If you drag this one in, you're going to notice everything gets darker. If you drag this one in, everything gets lighter, and this controls your medium tones if you want them darker or lighter. Basically, just play around with these sliders until you get a really cool look. There's a different way to use these and you can use these eyedropper tools to correct it, but we're not looking to correct it necessarily. We're looking to just make it interesting. Again, I like it subtle and a little washed out. I don't want the texture to take over the design. Let's say I'm happy here. You can see there's a pretty big difference in this and the threshold. You've got a lot of these medium grays and a lot of different stuff happening as far as the overall look. If we zoom way, way in, of course, these are all made up of pixels, so you can see there's some light grays and they get darker to medium grays, and then there's a straight white. That's all well and good. There's nothing wrong with that. You can just save that and go from there. But sometimes you're going to want a bitmap, and the cool thing about a bitmap is later on you can apply it as a texture and you can change the color of it really easily. Now we're going to show to make a bitmap, what we're going to do is we go to image, we go to mode, I'm going to select Bitmap. Sometimes the bitmap will actually be grayed out, like if you're in CMYK mode or if you're in RGB. If that's the case, no big deal. I'll just go to grayscale first as an extra step, and then go to bitmap. Once we select it, it says flatten layers. What that means is if we have multiple layers here, in our layers panel they're all going to get combined into one layer, so you're going to lose some of your artwork. Feel free to save this as a Photoshop file if you have multiple layers, and you want to be able to go back and edit them. But in this case I don't care, so we'll just click "OK". The next thing is the bitmap. You've got the input which is 72 pixels per inch, which means PPI or DPI when printed. Basically, the rule of them is you want to at least match the input, or you can go a little bit higher sometimes for this kind of thing. Three hundred DPI is a really good quality print basically, but it also depends on the size of your image. I'm just going to cancel here and go to image size, and as you can see, the image is actually huge. It's only 72, but we can change that to 300. Again, it's just a good habit just because that's good for print. It shrinks the width of it, but it more or less does the same thing. Now we're going to go back to the bitmap, flatten layers. Then, we're going to click. You can see the input has changed to 300, so we're going to leave the output at 300. There's some different methods, but I'm just going to show you the halftone screen, so you click "OK". All these settings right now are good, you can change them if you want. If you want to learn more about halftones, I actually did an entire class on them just before this one, which you can find in my Skillshare profile. Don't mind the little shameless plug. We'll click "OK", and you can see there are changes. Sometimes, depending on the screen too you'll see the change more than others, and depending on the mediums, but you can see actually there it looks the same. The biggest difference is you've actually just got blacks and whites now. That's what allows you to change the color really easily because later on, when you go to change the color, all the blacks will become something and the white will just be clear or transparent, so to show your artwork through there. That's pretty simple. The easiest thing to do is just go to File, Save As, and save it as a TIF. Let's call this one, because that's what it was, and bitmap, you can save that. Here, I would have leave the image compression generally at none. If you have a transparent background, so there is no white, you can click that. You can leave that to interleaved. Your byte order will change depending on if you're on PC or Mac. But again, all these settings are pretty general and pretty good. We click "OK", and there you go, that's a bitmap method. I'll show you how to edit that and change the color of it a little later on another one. But we're going to go over to the handy PDF just to keep things interesting. As you can see I showed every step along the way. Just try and make it easy. I'm trying to remind you to post your reference photos, pick your favorite Oxford Pennant. Just to remind you to go ahead and do that stuff, do not wait till the last minute or forget to do it altogether. It helps the class a lot if you do stuff like that. These are all the different steps of saving and saving and so on. Here we are, the next method is going to be image trace. I'm going to head over to that. We'll put that in a separate video, it make things nice and tidy and easy. You're going to need Illustrator for the next part, so fire it up and we'll see you in a second. 7. The Image Trace Method: We're going to move over to illustrate, and I'm going to show you how to do the image trace method. It's another pretty easy one. It's not a lot of steps involved, but you just don't have quite as much control as you would use using the levels or something like that in Photoshop. But the beautiful thing about it is that it's fully vector. If you are no a designer you are not familiar with what a vector is, I've opened this little illustration I did of a fox. I'm just going to duplicate it just to show you the method. It's not too important if you're not following along with this, you're not sure what I'm doing. I'm just going to show you the difference right here. The fox on the left is what's called a raster image, whereas the fox on the right is a vector image. The biggest difference is if I zoom in, you will start to see all these little pixelated bits. That's the problem with raster. The other thing is if we go into wireframes so we can go to Outline like that, you'll see it's really just a box. It doesn't see any information. The problem is if I were to draw that in Photoshop or something and then I want to use it on a billboard at three inches at say, 300 dpi, that is how I blow it up to eight feet. Suddenly then we have a problem. It's going to be really pixelated and look really crummy. Whereas the vector version of it, which is over here in outline mode you're going to see it keeps all the information, all the little lines. No matter how big we make it, it still looks perfect and pristine. That's the biggest difference between vector and raster. That's why making a vector textures can actually really useful as far as keeping the quality good and changing the colors. Now I'll just show you that in two seconds. All I'm going to do is I'm going to close this and then I'll save it. I'm just going to put these really quickly into a video or a folder called textures, which of course is going to give me trouble. I'll just change that to textures. I always try and keep everything as organized as I can. I'm going to grab all these files. Then in here it's going to add them to my little Skill Share folder there. Let's get into this image trace method. The first thing I'm going to do is, I'm going to go to that little Textures folder. I'm going to grab that same texture just so I can show you guys the difference with each method. I'll drag it in there like I showed you before, you actually go to File Open and all that stuff. If I end up skipping over anything at any point in any of these videos, feel free to post it on the discussion or contact me on Twitter or email me at Say, "Hey, why did you miss this? Why did you skip this you jerk," and I'll explain it to you. So I'm just going to the Artboard tool and I'm going to make the Artboard the same size of the image. We do that by double-clicking on the image. I'm going to hit Escape, and there we go. What we do is we select the image and because it's raster where we're automatically going to have is this little image trace menu pop-up here. You could just click Image trace, but it will try and naturally sometimes use color. We'll click the arrow right beside it. We'll start with black and white logo. It's just warning you that the image is pretty large. So it's asking you if you want to continue and all that stuff might take a bit of time. We go ahead and click Okay. That's not a problem. It's going to do its magic here and we'll see what happens. Okay, there it is. Not perfect to say the least, but it's a start. If we want to make some changes over beside trace and results, you see this little icon, it's the image trace panel. We're going to go ahead and click that. Sometimes this advanced may not be on. So just click the little arrow beside it and then you can make some changes. Now we're just going to toggle the threshold up and down. It's going to take a second in-between each especially if you're using an older computer and if you don't have a ton of RAM and stuff like that. Just keep moving it up little bits at a time until you start to see what you want. At some point there's going to like jumping, you get some big stuff. An important thing to do, especially when you're making settled textures, is reduce the noise. Noise means that the smaller pixels, in this case that are under 25 pixels, it's just going to ignore and it's not even going to make. If we drag that all the way down to one, that means any little bit that's at least one pixel large is going to be included. We drag that down and now we're going to get some more details. I'm going to go back just a tiny bit because I don't know if I want all those little dark parts. Something in the middle. Maybe something like that. Once you're happy with it, you can close that little panel and you can go over to Expand. Now the beauty is you've got perfect vector artwork. If we're going to zoom in, that's clicking over here or just Z on your keyboard. You can zoom in and we'll go to wireframe or outline which is Command Y or Control Y on a PC. You see all of these little bits. You can see that it's perfect vector. Now the other thing you can do, I'm just going to go back, is we'll open that panel again. A neat little feature that they've introduced in the newer versions is Ignore White. What we had is black with a white background. If you just go ahead and we click Ignore White, it's just going to re-figure it out again. It doesn't look different right now because the background is white. There are borders inside, but it'll look pretty different in seconds. So we'll go ahead and will click Expand, close that down. Now you can see that my foreground color is just black. That's because there is no background. So if I drag it off the art board, you can now see there is no white. The great thing about that is that now we have a simple little texture that we can go ahead and we can put on top of our artwork. If we want to, we can change the color to whatever we want. Again, it's fully vector. So that's an awesome advantage. The only really con for having a vector artwork is that sometimes you're not going to get all those little details and those little medium tones that you can get in Photoshop. Again, if I'm going too fast and you not following along all that well, just go to the outline and you'll be able to figure out what maybe I was doing that you couldn't see before, and that one is Page 7. So like I said, it's pretty organized and it's broken down into steps nicely for you. So in the next video we're going to go to creating textures from scratch. Because sometimes you're not going to have those photos, or maybe you don't have a photo that works right now, or you're doing the class right now, you don't want to leave your computers. That's no problem. So I'm going to show you some ways to create textures from scratch digitally so you don't even have to leave your computer, leave the comfort of your couch or wherever you are, in a second. 8. Creating Textures From Scratch - Add Noise: We're going to hop back over to Photoshop. Basically, there's going to be times that you don't have a backlog of those photos. Especially now if you're just starting the class and textures are new to you, and maybe you need a quick and dirty texture and you don't want to leave your computer. We're going to make one digitally, from scratch, without any photography or anything needed. There's kind of ways to do it. Actually, there's probably a lot of ways to do it, but I'm going to show you a couple of them, and they definitely are easy to work with. It's neat, and again, you have a lot of options. You can do the same steps over and over and get different results if you want to. We're just going to go over to Photoshop. We're going to go to File, New. That's Command N or Control N on a PC. You can change your size to whatever you want, but in this case, I just want a square because I can always duplicate it along the pennant. The pennant is big, so I'm just going to make this big. We're going to go 15 by 15. Resolution, as I explained earlier, you don't want to get those pixels when you've blown it up or when you're printing it. I'll just go with 300, that's probably the easiest thing to do. The color mode, we're going to leave as RGB because sometimes you want to change that to CMYK if you're doing it for printing. But in this case, it's going to be grayscale later, anyway, so it doesn't matter. You can give your file a name, but I'm too lazy for that, so we're just going to click "Okay". I explained earlier how to unlock your background, so we're going to do that. But if you forgot or whatever, it's Option or Alt and double-click on the layer. Now we're going to go over to Filter, head down to noise, and just click the first one, which is "Add Noise". I forgot a step. How dare I? Over here on your foreground, you should have black; and on your background, you should have white. If you do not have that, just simply click the letter D on your keyboard and it'll go back to that. There's a couple of keys you can use, the paint bucket and drop it in there and stuff by using here. But a quick key for that is to hold Option or Alt on a PC and click "Delete", and that will fill your entire background with the foreground color, which in this case is black. Now, we're going to go to Filter and head over to Noise and Add Noise. You can see here that it's given it already a pretty cool effect. You can adjust this roughly to your liking. Basically, it's already set to where I want it to be. Whatever, it doesn't have to be 51.8552 or something. You can use Uniform, Gaussian, Monochromatic. All that's stuff is pretty good. I'm going to leave it like that, and then we're going to add a couple more steps. We go over to Filter and then Blur. Let me zoom in before I do that. You can see a little, weird texture appearing. We head over to Filter, Blur. Then there's a few different ways to do this, but we go to Gaussian, Blur. Just mess with these settings until you see what you like in here. But just experiment and you'll get a good idea of it. I was happy with those settings. Now, I'm going to go to Image, Adjustment, Levels. In the Levels here, you can see we've all the colors. We're just going to drag it up and make it strong like that, and we're going to bring this in. We're just going to play around, and we want to lose some of the detail that you can see. We want to get into just little bits like this because that makes a cooler texture. Of course, it's all personal preference, but that's basically what I like. We're going to go ahead and click "Okay." We're pretty much done. We've got the texture that we want. Sometimes you're going to want it to be the reverse though, which is no big deal. All you have to do is head over to Image and then we're going to go to Adjustments and then Invert. That's also Command or Control I. That's pretty easy to do and that's it. That's the entire step for this one. As you can see, it's actually pretty easy to make some textures on your own. Again, just playing with those sliders, you can do this same step over 20 times and you're going to get different texture results each time. You can play with the different types of dots and stuff like that. It should be pretty easy to do. In the next one, I'm going to show you another one that can be done in both Photoshop and Illustrator. But I'm going to show you that in Illustrator just so we're jumping back and forth, and maybe you'll get more comfortable with a program that you're not comfortable with at this point. Yeah, we'll just head over there right now and I'll see you in another second. 9. Creating Textures From Scratch - Mezzotint: Okay, much like the last filter that we showed you, this is going to be creating a texture completely digitally from scratch. This is called the Mezzotint Filter. I put the icons also beside the title so you can get an idea of which program you can do it in and if you can do it in both, I've put both icons. This is definitely one that you can do in both Photoshop and Illustrator. I'm just going to show you it in Illustrator because we showed the last one in Photoshop. It's a little easier just to hop back and forth and maybe you'll get more comfortable with the program you're not comfortable with. We're going to go to File, New. You can also go Command N or Control N. The size doesn't matter too much because that can always be changed in Illustrator, unlike Photoshop. I mean, you can change the size in Photoshop, but you're going to get some problems whereas Illustrator is all vector. We go, Okay. Now, I just want to make sure that our foreground is black and that our stroke is set to none. We're just going to swap those to black is now on the foreground, we're going to grab that stroke, we're going to hit "None", and then we're going to go there. We head over to the rectangle tool and we're just going to click. You can also click and drag, but we'll make it 14 by 14, that's perfect. I'm just going to leave a little border so you can see. If you head back to Align to Artboard, you can select Horizontal Align and Vertical Align. You're getting there. Now we're just going to go over to Filter or Effects, and we're going to go down to the filter now. As you can see, this shows Photoshop effects and that means exactly what you think it means. It means that the effects being used right here are from Photoshop. That does mean that they're raster, although later on, you can use the live trace or image trace method to change that. But the beauty of that is if you're already working in Illustrator, it saves you opening up Photoshop and going back and forth. Or if you're already working in Photoshop, you can do the exact same steps in Photoshop without any compromise. We're going to go down here and we're going to hit "Mezzotint". Let's wait a second for that to open up. You can experiment from this one, but I'm going to choose Course Dots. They're the biggest and it has the most lights and darks, and it's a little easier to convert afterward, for me anyway. After we do that, we'll click "Okay". It may take a second and then we're going to go Object, Expand Appearance. If we just go back real quickly, that's Commands Z or Control Z, you'll see that right now this is a live effect. So if I wanted to, I could double-click on it and I can make some changes. That's useful for that, but in this case, we're going to need to expand the appearance first. So we want to actually live trace this just so that we can weed out a whole bunch of the details and just get the parts that we want. Again, we're going to use the standard black and white logo. Tracing is going to be slow, basically dependent on your computer because it's a big file, and it's 300 DPI and all that kind of stuff. We're going to click "Okay". This may take a minute depending on the speed of your computer. So if you're happy with that, that's fine, you can just click "Expand". If not, we're going to head over to the image trace panel. You've seen this stuff before and we're going to bring it back and forth and see what we think looks best. If you want to go into Advanced and bring the noise down so we can get those little tiny dots, that's fine. We can ignore white so that it's just a nice black texture when it's all done. I'm going to bring it back down just a little bit more to bring in a few more details, and that looks pretty good to me. So I'm going to click "Expand" after it takes a second to render this. So we'll click "Expand" here, and that's it. Pretty straightforward. As you can see, you now have all the vector dots. At this point, we can go ahead and just close that image trace panel. We can click away from the texture just so you can see the whole thing right now, it has every little bit and piece selected. It's going to be a bit slow because there's so many little tiny points that it's hard for your computer to keep up with this especially turning on if it's old or not, but we'll zoom in a little area so you can see everything. Yeah, that's it. That's a pretty easy method again. Playing with those small little sliders and things like that, you can get a lot of different effects. But that's the Mezzotint effect. Right now we're going to head over to the distressed halftone method. I'm going to show you really quickly how to make a halftone and also how to distress it, which is what I did with my patterns. As always, we'll see you in a second. 10. Distressed Halftone Method: Now I'm going to show you the Distressed Halftone method. This is actually the method I used to work on my pennant. Again, you can experiment with some different options. You don't have to use the same as mine. But I thought it was a little bit unique. It's not something I see as much, so I thought it would be kind of fun to do something different. As always, it's here on the PDF. I actually have mine open just to show you real quickly. If we go in and zoom in over here, I actually did a hand stippling effect as well. Well, it's not much of an effect because I actually hand-stippled it and scanned it in. I did that with a lot of it. I'm actually skipping over, in this class, the behind-the-scenes of me making my pennant, just because most of you are going to be designers and illustrators and you've seen that in so many other Skillshare classes. But I actually did do a Skillshare class to get this done. If you want to go ahead and head over to my portfolio on Skillshare, you'll be able to see the class project that I did, and you'll see the behind-the-scenes. Also, at certain points in this video, I think in the intro and stuff, I'll show some quick video clips of all of my hundreds of sheets of paper of me redrawing this and drawing it over again. Anyway, you can actually see there's very slight Halftone textures. Some of them are messed up and cut out and stuff, but I thought that looked neat. I didn't want it to be too over-the-top. I wanted it to be fairly subtle, especially when you look at it as a whole, it's very subtle. That's the key I find with textures, is to not go too crazy. But it is personal preference, of course. If you're wondering too, just a quick tip, as to why as I hover over stuff, it's turning these colors, it's just because I have Smart Guides on. You can go to View and check that off, if you don't like that. But it's really useful for getting Illustrator to sort of snap to certain things. I'll explain that a little further. Also, when we're done making all of the different textures, which we almost are, and before we get into how to apply those textures to your art work, I'm going to show you how to set up this template for use. We'll go ahead and we'll close that. Again, we're just going to go back to our textures, the same texture I've been using all along, just to show you. The only thing about it right now is it's actually really big. We're going to want to shrink that down. As you can see, it's 45 inches by 34. Let's shrink that down to, say, 15 inches. The PPI is only 218. That should be too good or not too bad. Especially if your computer's a bit slow, this can get a bit tough on it when we go into making the Halftone in a second. If we select our Artboard there and we double-click on the image, it'll snap to that size, which is nice. I'm going to drag that out of the way because we don't need it for the moment. I'm going to head over to the Rectangle tool. We'll just select that. I'm going to grab from corner to corner to draw it. Again, when the Smart Guide's on, it actually snaps perfectly to that shape. We're going to go ahead and we're going to make sure that we have our gradient window open. You can go to Window, Gradient to make sure it's there. We're just going to click anywhere in this gradient slider and that's going to apply it for us. For this one, I actually want it to be radial and I'm going to change this black by clicking on it to 50 percent so it's more subtle. Once we have that down, we're just going to go over to this guy here. We want to image trace it just like I've shown you many times in the past. I'm not going to go over exactly how to do that in all the little steps, but you can see quickly what I do. As usual, I like to have the noise down and I can ignore the white. This may not be exactly how I built mine the first time because I didn't record myself doing it, but it's basically the exact same, so it will be really close. Since we have that, we're just going to expand that. The one thing we need to do is Illustrator sees this as all little bits and pieces, as you can see. I'm going to select that texture: Object, Compound Path. That'll be more important later, but now, it's going to see it all as one big texture. We're going to head back over to this gradient. We're going to go to Effect, Pixelate, and Color Halftone. If you want to learn more about Color Halftones, I actually have a whole class dedicated to different ways to making Halftones, so you can check that out on my Skillshare portfolio. You can experiment with the different radiuses. The reason why I have all of these channels, yours probably aren't going to naturally look like that, but they're sort of different numbers. But for now, we want to make sure that it's just black and white. Make sure that all four of these numbers are the same. They don't have to be 45 degrees but make sure they're all the same. Max Radius of 10 should work okay. Now you can see, actually, that that's pretty big. What I want to do is I'm going to go over here to my Appearance Panel. I'm going to double-click on it, and I'm going to make that a lot more detailed by going the other way of what I just did. Instead, I actually want it to be four, let's say. That's pretty subtle. Maybe we'll go something a bit in-between. Again, if your Appearance Panel's on, you can just go to Window, click "Appearance". We're double-clicking that. We're going to go to maybe a six. That should be okay for what we're doing. What we've got to do is go to Expand Appearance. You guys will not believe this, but we're going to image-trace something. I definitely need to dial that in a little bit, pick up some more of those dots. The reason for adding the gradient first is the dots are actually going to start smaller and they're going to make the way larger. It's not necessary but it's a nice, little effect. It's something that's cool about Halftones. You can use them as just the same shape and color the whole time. There's also a pretty cool plug-in, if you want, that will actually perfectly circular, but in this case, I want them to be a bit rough. We're going to do the same thing, where we go to Compound Path and we're going to make that a compound path as well. That might take a second. Some of this stuff is tough on your RAM, so it might be using a bit. Now we're going to select this, our original texture. We're going to Object, Arrange, and bring that to the front. Then, making sure that's selected to Artboard, we're going to center that over top of our other texture. We're going to grab both by just dragging and selecting over top of both. Again, some of this stuff might slow down your computer. If you do not have the Pathfinder window open as always, go to Window and go down to Pathfinder, and you're going to look for this guy over here. Again, my computer's slowing down a bit but we're going to go to Crop. What it's going to do is the texture in front is actually going to crop all the texture in the back to fill just where the original one was. Now you can see that we've cropped out all the background bits. The only thing with this, is you're going to get some invisible shapes. The easiest thing to do is select it and we're going to ungroup it. You go to Object and then Ungroup. I actually already quickly did it, just by habit with the keyboard, but you can just do it there. Do that a couple of times. I'm clicking Command zero or Control zero just so it could zoom out so it fits my screen. The easiest thing to do is we're going to click Y on our keyboard, of course, select the black dots. I'm going to go to Edit, Cut, and now we're going to go Control or Command A; that's going to select all this other stuff which you can see, doesn't have a fill or a stroke. Click "Delete". We're going to go back to Edit, Paste. We can group that by clicking Command G or Control G on a PC. There you go, we have a finished texture. Mine was a little bit more dialed in so I had less of the Halftones actually showing, but that definitely gives you an idea of what to do. The other great thing about this is just to get you thinking about combining one effect with another effect, just to get you thinking outside the box because you can make a lot of really cool textures by doing that. The last texture method I'm going to show you is a really neat one because it's just trying to show you how easy it is to actually make a texture just using everyday stuff that's in your house. I'm going to show you the Salt and Pepper method. It's pretty simple. Most people are going to have that in their house. Of course, you can do it with lint. You can do it with basically anything you see around your house, but the Salt and Pepper method is pretty fun. Like I said, I just want to get you guys thinking outside the box. That's going to be the last step for creating your textures and then we're going to get into setting up the template and then applying textures. That part of the class is going to go a little faster because you guys are experts already. See you in the next one, as always. 11. Salt & Pepper Method: Once again, this method is really easy. It's probably one of the easier methods in there aside from maybe threshold like I showed you at the very beginning of the class. But the beautiful thing about this, as I mentioned already, is that it's probably just something you have in your house. This one is simply salt on construction paper. If you have black construction paper or dark colored construction paper. Just throw it out on a table, throw some salts on it randomly straight out of the shaker, if you want, use your hands, and you're going to get a different texture effect. Again, the really cool thing about this is you can do it over and over and over and over and you're going to get so many different results that you can utilize it. If you don't have black construction paper, then that's no problem. You're probably going to have white printer paper. You're just going to put pepper on it. I have the big one that crunches it down so you can see the big chunks as well. You could just try and image trace this or do something right over top of it. But the easiest thing to do probably would be to go to Image, Adjustments, Levels. Actually, we're going to go ahead and unlock our background layer just for a habit. You don't actually always need to, but it's easier to do. Once we do that, we're going to just play around with these sliders to get something cool looking. I really want to really get rid of the white background. We could do something like that. Now we understand we can [inaudible] Mode to Grayscale, so it discard the color. Then we can always use our erase tool, which is this E on your keyboard, and then erase those spots or you can do a few commands set. We can use our brush tool right here and make sure white is selected. I'm going to go with a non-feathered brush which is here. We got a little bit big one, so we're just going to use our brackets and we can just wash that out. There you go. I mean, that's pretty much that simple. Now you can save that and you use that, you can always demonstrate that if you want it to be a vector. It's the exact same concept over here with this one. I'm going to go to Levels. You can also use the threshold method here too. Again, just play with the sliders if you go the other way. You can bring in those little details or not. To do the desaturate, I've shown you that before, which I'm blind. There we go. Pretty simple. If you can think of a simpler method than that for creating one actually uniquely from scratch outside the computer, I'd be surprised. But again, this is just trying to get you guys thinking outside the box, and maybe you go out and combine this with a different method, and another method, and a filter, and you might come up with some pretty cool stuff that no one else has ever seen. Now we're going to get into the next step of this class. You've learned lots of different ways to create textures. Hopefully, you're experimenting with them and trying them on your own. Now we're going to go into downloading that template, setting that for print, and then we're going to show you how to actually apply these textures to your artwork. I really hope you guys enjoying the class so far. If you are, please review it. Really make sure you post your projects, both of those things are tremendously helpful when it comes to getting this class trending, which means more people will see it. It'll be more successful, I'll be happier, and maybe I'll have a smile when I walk around. I'm just kidding. I'm happy anyways. See you in a second. 12. Setting Up Your Pennant File: The next thing I want to get to and what I would call phase 2, which is a real quick phase, is setting up your template. It's pretty easy to use. I've tried to make it straightforward. What you want to do is go to the Class Project, and you are going to scroll down, and you're going to download this Oxford_9x27_Template. Of course that's the actual size of the pennant. I've already got it on my computer. I'm just going to go ahead and I'm going to open this in Illustrator. You can use it in Photoshop too. But basically I just wanted to show you, I actually did in Illustrator and sometimes it's a little easier to edit in Illustrator in this case. Maybe even if you did your artwork in Photoshop hopefully you are comfortable enough to bring it in Illustrator. Maybe you're going to image trace it or something like that to make it vector. But I'll leave that up to you. First things first, you have a safe area. What you need to do is keep your artwork half an inch away from the edge of the pennant. That's because when they silkscreen your pennant, if you were to win the contest of course, which hopefully you do, then they need to have that safe margin because they don't have what's called bleed in this printing process. You're ink cannot go off the edge of the pennant. You're just going to stay in that safe area. Now if you don't want to see the guides, you can always hide them there in here. You got to Guides, Hide Guides. But I've also left that right now as a safe area as its own layer, which is locked. You can always hide that too if you don't want to see any of that stuff. When you get into choosing your color, you can choose any color you want. But for the sake of the contest, if you're doing this while the contest is still running, you're going to probably want to use the actual Pantone colors that Oxford is using. We're going to go ahead and we're going to show that layer. We're going to uncheck these locks so they're not locked. You're going to go down here, you're going to pick your color. Now probably many of you aren't going to have a Pantone book to actually look at. There's a little bit of word of caution here. Basically I'm not going to get in all the reasons about your computer screen being RGB and all these things. But just because you see a certain color on your screen does not mean that that's what the actual color will print as. That's why people use Pantones. The easiest thing to do is to go to your local print shop and see if you can look at their Pantone book, find these color codes and you'll be able to see essentially pretty close to what the color will actually look like. I actually changed my mind most way through the process too. In my class projects the whole way through I was actually using the color Colombia. I did end up putting a texture on top of it which made the blue look a little darker. But I was using this Columbia color. While talking to the guys at Oxford, because they're actually going to be printing mine, which I will let you guys know when it's for sale, hint. When I actually did theirs I wanted to go with essentially what's closest to either a blue Toronto Blue Jays blue or a Toronto Maple Leafs blue, that solid medium blue. It turned out that Royal was actually a closer option. Because even this Columbia looks like a nice medium blue, they ended up sending me a picture which is from their Instagram, which I'll go over here. You can see that it's actually quite light. It's a little bit too light for what I wanted to do. Again, technically this may not actually be the right color either like our Pantone book, but it gives you an idea that this color is actually pretty bright. I went ahead and went with Royal instead. But nonetheless these are going to be pretty good close. What you can do is we'll zoom out here using our direct selection tool, which is A on your keyboard. I'm just going to select the middle part. We're going to say, maybe I want to use, I don't know what color you guys are going to go with. Let's just go with black. Then for fun let's make this orange. Then you can decide whether you wanted to make the ties orange or maybe you wanted to make them black, and so on and so forth. Just change it, do whatever you want, and then once you're done with that Pantone chart you can lock it and hide it, so it's out of your way. If you're using text, we're just going to go ahead and we're just going to type my name as an example. For the sake of the conscious, we want you to just stick with one color, it just reduces some of the costs in printing. That color doesn't matter as long as it sticks with some of those Pantone colors again. But in this case let's just show you with oranges. Just to avoid problems, this isn't the same with when you send anything to print. If the people don't actually have the font you have, it can cause problems, it can be converted to a different font, and you don't want to have that problem. The easiest thing to do is when you're done save your PDF or your AI file, or whatever it is, Photoshop file, for your own use, and then save another one. Go to File, Save As, save a second one. You can call it _PR for print ready or something. Then what we're going to do is we're going to click Command or Control A on the PC, and we're going to select everything. We're going to create outlines. Now what that is is actually an outline, it's not a font and won't get converted and nothing unexpected will happen. The only other thing we want to do is if we have little textures and bits and things, we're going to use the merge tool to make everything nice and clean for Oxford. Again you want to prep this like you're going to win. Have a winner's attitude when you're going into this. We're just going to head over to my pennant. I haven't even updated this in this file. I probably should. Let's go ahead. Using the Y on the keyboard and select all that blue. You know what? I was behind on mine, I didn't actually have this nice handy color chart yet. I'll build that for you guys. Well I use part of theirs. I'll go Y and we're going to select all of that, and then using the eye dropper tool, click there. Now we've got that darker blue. Anyways, if we zoom in on here, an easy thing to do is you can have, I'm going to turn off my smart guides, which is Command U or Control U. I've got all these little things. Now these could be blue on top of my white layer, and I could have white on top of that. Basically I have a ton of different layers of color. But just for ease and to make sure that no mistakes happen, what you should try and do is select everything in the end, and make sure that your entire artwork is all just one color, so it's all just white. You can see I don't have any blues. It's all cut out. If I bring this over here, you can see it looks like gray because it's actually cut out of the white. That's just a good thing to keep your artwork nice and clean. Again save that separately as your print ready file because you want to keep your version editable so you can go back and make changes. That's it for setting up your template, it's pretty easy and straightforward. I'm going to show you a little bit of it more going forward as far as actually applying the textures we learned in phase 1. Let's go on to I guess what I'd call phase 3. All right guys, I hope you enjoy this. I'll see you in a second. 13. Masking With Transparency (AI): Well, now that you guys are all experts on creating your own textures, we're going to show you how to apply those to your artwork. As always, generally with these programs, there's a ton of different ways to do things. But, one of the methods you're going to want to use a lot is masking. There's a few different ways to do this. I actually didn't even learn this method in particular until a couple of years ago. I just didn't know it existed and it's pretty useful, so we're going to get into this one first, which is masking with transparency. I actually skipped the other version of masking that I used to use mostly in Photoshop or Illustrator. Maybe I'll just really quickly show you how to do that. But we're going to go back to Illustrator. I've actually brought in my original trial design without this stippling added or without the half-tones and things on top. For those of you that actually are familiar with building these things and having a nice, smooth points and stuff, you're going to wonder why this looks like such a mess with a billion points on it. The reason why is because when I was all done doing this, I actually like it to have a bit of a hand-drawn, roughed up look. You can see how these little bits wiggle in and out. I ended up doing this, I went over to distort. I added a roughened filter. I did all this stuff and then when I was done, I went to expand appearance. What happens is you get a trillion points. That's just for the print ready version. But, so that's why I did that, so don't judge me. We're going to go on and we're going to show you masking and transparency. What I want to do is I'm going to head over to my textures. I mean, sort of two files here, but we'll go over. Let's use this pepper one. We've got this here. We're going to go ahead. It doesn't need to be so big. Let's try and get it to be around the size of our artwork, which is roughly 15 inches. We're going to make that lets go 16, so it's a little bit bigger. I'm going to hit command or control X, which is also basically just cut. We enclose this, we don't need it anymore, and I'm going to paste it here just so you can see. So right now it's just over top of the artwork. So generally, if I wanted to use what was a compound path, which is what I used to use. Let's grab this toronto texture, I'm going to put it on top. Again, I'm just hitting some quick keys but we can arrange, bring to front. I'm going to go Command C and I'm going to go Command F, which again Control F, which basically means I'm going to paste a copy of this layer exactly on top of it. I'm going to change this color because it can get a bit confusing and I also make sure that it's a compound path. What I would do is, I would select this and the layer behind it and I would click Command or Control 7. Let's you know it's complex and basically, there you go. I have it all masked out. Now, if my toronto layer underneath was a different color, and let's make it that orange. You can see that it's not showing it because it's white, so I'd have to select this. I have to go multiply and now we've got black. Now, it's not actually cutting the design out. It's simply putting a texture on top. So it's a lot of steps. It's not the most versatile, and I use that for years. Let's go ahead and delete that, and I'm going to show you guys the other method. So let's go ahead and make this white again. Instead, we're going to click this. We're going to go over to our transparency panel, which again, you can go down a window transparency to make sure it's showing. With your artwork selector, we're going to go make mask. We're going to double-click in this little area here, which is the mask area. We're going to click Command V or Control V. I didn't have the right layer, so I'm going to go back a little bit. I'm messed up. Basically, I want to use this texture. So again, I'm going to go Command X, and I'm going to leave that. Now, I'm going to make a mask, I'm going to double-click on that mask and now Command or Control V. Now as you can see, my texture is on top of my artwork. Now, there's a lot of reasons why this is awesome. For one, it's a little bit easier to move your texture around, make sure that you like where it is. Let's just say I like this. To get out of it, we're going to double-click on the left side, which brings us back to our artwork. Now, as you can see, instead of it being black on top, it's actually gray. The reason why it's gray is because this is actually cutting out the background or cutting out the designs so we can see the background. To show you an example, I'll just make a blue background. I'll put it behind the layer, and now you can see that the texture is blue. So it just shows you that it's actually cutting out of the artwork. As you can see, there's a lot of reasons why that's really useful. I'm going to show you another reason why it's very useful right now. Let's just make a really quick shape. Again, I'm not going to explain a lot about what I'm doing. I'm just going to make a really fast design. There we go. Don't ask me what I am making. I do not know the answer. But this is another huge benefit to using the transparency over top of the compound path method. You see that the compound path method, in order to do that, you couldn't apply it to strokes, you couldn't apply it to bits and pieces, so what you'd have to do is you have to copy this, paste it on front like I showed you, expand the appearance, click Okay, maybe change the color, go out of compound path and make it that. Now you can put the artwork on top and so on, so forth. But again, the beauty of this transparency method and let me just make sure that I have that texture selected. I want to make sure I have that copied so I'm clicking Control or Command C, and out of there. So now with this, I can actually just select these, I'm going to group them by hitting Command or Control G, and then I'm going to do the same thing or I make a layer, paste it and there you go. So to actually apply to artwork with strokes, it'll apply to basically anything. So you can actually see that is showing on the strokes. It doesn't have to be expanded appearance, so I can head back to here and I can go into this group and I can move things around really easily. That is why this is the easiest and best method for masking with transparency. Definitely, if you used to use the compound path method like I did for years, this is 100 times the better way to do it. The other way by the way, when I was hitting Command or Control 7, I think it's in here. It's been a while since I've actually looked for it. Clipping Mask, Make, that's what it used to be. So that's what you can release it the same way. There you go. Just so you know both methods but definitely use the transparency method, is 100 times better. I can't even think of a reason why you'd want to use the compound path method or the clipping masking, I should be calling it. I don't know why you want to use the clipping mask over transparency mask. But, if you think of a reason? Just tweet me. 14. Using Bitmap Textures (AI & PS): Now I'm going to show you guys how to apply your texts using the bitmap method. If you hear any purring in the background, during these lows, that is my cat. It is hard sometimes to get her to leave me the hell alone for more than a couple of hours at a time. What can you do? So she's sitting in a box on my desk if you hear some rumbling. But anyways, we're going to get into this texture thing. It's pretty easy. So first thing I'm going to do is I'm going to go over to my bitmap texture that I made a little bit earlier here, you can see under my texture, and open that up in Illustrator just to show it to you. So pretty straight forward. If you have it selected, it should say bitmap over here and that's how you know you've got a proper bitmap. So we're just going to go ahead and copy that, which is command C or Control C, and paste it on top. As you can see, the background is already transparent, which is good. So what we're going to do is I'm going to actually shrink this down. The good thing about this, the transparency method that I showed you guys before is probably just one of the easier things to do. So it's not really necessary to do this, but sometimes if you have really complicated artwork and some bunch of colors and things like that, maybe what you're going to want to do is just put a texture over it, get a rough idea. But that way, you can continue editing and so on, and so forth. So what we're going to do is we're going to go over here and we're going to select. So I've got this as my background, the Pantone color. So I'm going to go ahead and we're going to select that same Pantone color. So this has not taken away from the white texture. It's simply just on it from the white artwork. It's simply just on top as you can see. But because the color matches, you can not tell, you can always duplicate that and bring that over so that you make sure you get the whole thing or just stretch it. But that's pretty much that. The other thing that you can do, which is sometimes handy, is you could either put that on another layer and lock that layer, or if you just make sure that it is arranged, bring it to the front so it's the topmost thing. Then you can go Command 2, which lets see what command. We're at Command 2. I don't even remember. Right there, lock selection and it's automatically just locked. If you want to edit it later though, you're going to need to remember to go to object unlock, otherwise you'll forget how to get to your texture, especially if you're new to it. But basically that's the system right there. So it's pretty easy and pretty straightforward. You can change the color. So lets undo that so that I can show you real quickly. You can change the color to anything you want. Once in a while, there's a couple of errors that you might make that make it hard to do it with CMYK and then you have to use pantone. But if you do it the right way, you should be fine with using either or. The system works very similar in Photoshop, so I'm not going to bother showing it to you there. But yeah, again, that's than another quick method. So the next thing I wanted to show you is permanently applying textures. So the important thing when we get into that is destructive versus non-destructive artwork. So I'll explain that and we'll head over there. Yeah. So we'll see in just a second. 15. Permanently Apply Textures (AI): Now we are at permanently applying textures. I'm not going to show you this in Photoshop. There's not a whole lot of point in applying the texture permanent in Photoshop, you may as well keep your artwork non-destructive and stay with the layers, even if that's okay for screen printing, because as long as you keep it black and white, they can easily print it out. But I am going to show you how to do it in a Illustrator. Again, it's more of a safety net just to make sure when you're sending something to a printer, it's going to print exactly how you wanted it. In case they need to open the file and make manipulations or changes to set it up properly, you don't want them accidentally moving your artwork or changing it in ways you don't want. I've still got the same file open from the last little video. What we're going to do is we're going to grab this bitmap texture. I'm just going to change it, actually it doesn't really matter. I'm just going to go up here and we're going to go to live trace. Image Trace. They changed the name of Image Trace, so you might catch me quite a bit calling it live trace. That's just the old name for it. I'll go there. We're going to put on the Ignore White as always, expand. The biggest difference, and you can see down here that my artwork is destructive. I showed you guys earlier that these are actually cut out of the shapes. It's the same concept I'm going to show you right here. The main thing is that you want to make sure that you save this file and then save as another file with a different name so you don't get confused. I use the PR method to show me that my file is print ready. Then that way you can still go back and edit it if you need to. I'm just going to put this on top. The color really doesn't matter. If anything, you can choose a pretty crazy color just to make it really easy to see. But once you have it where you want to, what we're going to do is we're going to select both the texture and the object. There's a few different ways that you can do this. There's merge, there's a few different concepts, but it just depends on what you're most comfortable with, then you can do divide. What I'm going to do is I'm going to use merge. I'll just go a head and click this. Basically, it's merging the two together. But what it's going to do is anything that's orange, it's going to cut it out off the white. Then we are going to double-click on this to go into that layer. I'm just zooming out here. The easiest way to do this is the problem is with merge, is you're going to have not only these orange bits and these white bits, but somewhere along in here you're going to find, maybe not easy to see now, but you're going to find transparent parts. Usually they get stuck in these loop spots. But anyways, you want to get rid of all that and just have your white. The easiest thing to do, there's two ways to do this. You can select the white and then go to Select, Same, Fill Color. Or if you click "Y" on your keyboard and hit the magic wand, which is over here, and you can just click on the white. It'll automatically select all of the white. I think there is a setting you have to have on to tell it to continuous pick all the colors, but I can't remember. Maybe it's automatic. Once you have that, we're just gong to go "Command-X" or "Control-X", which basically is just going to edit cut, and now we're going to go Command all, "Control-A" to select everything. There's one of them, the transparent ones you can see. If I actually select that, it has no fill or stroke. I'm not going to get into why it does that. But anyways, those are the things that'll mess up our work for people that are new to this. We select everything, delete it, and now we're going to go Command or "Control-F", which means paste in place. You can see now that our finished artwork is there, and the texture is permanently applied to it. Here's a pretty easy way to see that it looks like the texture's blue here, but once it gets to the gray background, it's gray. That proves that it is permanently cut out of the white. There you go. That is permanently applying textures. Like I said, that's just easiest when you're sending things away or you're trying to keep your artwork nice and clean in the end. That's that. Now we're going to go into textures with transparency effects. 16. Textures With Transparency Effects (AI & PS): Basically what we're going to do is instead of actually converting these into the typical black and white textures, we're going to leave the photo more or less as is. I am going to leave it as is, but you can always bring it into Photoshop and play with the levels, and stuff first just to make the photo actually is nice, and clean as you want. I'm going to go over to my finder here. I got a lot of different photographs that I showed you guys earlier. I was thinking about this a little bit and I was actually going to make you guys some ready-made textures. What I decided is I'm actually going to give you some of these photos. That way you guys can make as many textures as you want out of the photos based on what you've learned in the class. So pretty soon you'll see this linked up on the class by the time this is ready. I'll just use this one just because it has the most color out of the other photos that I took. I guess this one has a bit too. All right lets try this one. I'm going to try a little bit of a different one than the one I used in the PDF. We'll just zoom out here and we're just going to grab that, we're going to copy it. This is an artwork piece that I made for block printing. It's just a lumberjack design. Of course, that is for sale on my website. Plug. Just going to make that 11 inches and I'm just going to have to paste it on top. You'll be able to see pretty quickly that as long as you have your transparency open there, that there's a whole bunch of options here. The easiest thing to do is just to start experimenting with them. Now if you'd like what they're doing on one piece of your art work, but not the other piece, that's pretty straightforward, you're just going to have to move it behind the layer. I'm just using quick keys but you can just go bring it backward, or send backward. Maybe I like the effect of that's giving the background. Now I mentioned before the idea of using natural textures on top of artwork that it works for us, so let's go ahead and use some wood. It makes sense for a lumberjack. We'll get rid of that. I mean, that was wood to but some old stuff. That's my cat meowing. See? I told you she's a rascal. All right, so we'll put that behind. We're going to just put that to multiply. So you see, we're getting actually a pretty cool effect there. That's something unique. So again, if you want a crop that, then crop that out. Let's actually used that original method that I showed you guys. I guess this is the time that where it's easy to do. So we'll just use the clipping mask. We're going to paste that almost to the back and bring it up just a little bit more. Then we're going to go back and we're going to take this other piece. Let's put that on top. We'll just keep playing. So we are going to see what it looks coolest as far as on the white layer now. If at any point you are like, wow, I like how that looks, that's cool, just stick with what you want. So I'm going through each one just to see the differences, and what happens. If you can figure out a way to use difference or exclusion, I will be amazed by the way. Those two, I have never once looked at them, then I'm like, wow, those really improved what I'm doing. So let's get back to one of the earlier ones. So maybe one of the easiest things to do is to use one of these. We're just going to crank down the opacity quite a bit. So you could do something like that so that you have that light texture in there, or we can just delete that and try and go with something different. You don't want something worn out looking like that one. Again, just trying to get to the size you're actually working with, and by dragging it straight in like I did, it's placed, which means it's linked. Explained that a little bit earlier, but we'll just embed that now. See, that's cool. Those work well right on top of each other. Let's just lighten that out. Yeah, I would pretty much color today at that. Now we can mask this too, but it doesn't even matter because if we go save for web here, if you're going to put this on the website, or something, you can see, you're pretty much solid right there. Actually save for web is a hidden level gem. You guys may not know about it, that's really good for uploading your projects. If you go save for web and you make the height or whatever, the maximum, if it's vertical, make it the height, if it's horizontal, make it the width, you can max out like 800. Then when you save this, this file is going to be way smaller, you can see it's only a 172 kilobytes. It's just quicker to load on the Internet. That's transparency effects, so you can see it's cool. You can definitely do this with black and white too, but messing around with them usually, with that color, it adds some nice highs and lows to your artwork. So now we're going to go on to the very last part of this class. We've actually almost made it. This is applying texture masks that I'm going to go into, using Photoshop. I hope you guys really enjoyed the class, it's been a bit of a long ride getting through this one, it's a longer class, but hopefully you learned lots of stuff. So as always, we will see you in a second and I have to figure out anything I say at the end of videos. Okay, bye. 17. Applying Texture Masks (PS): Wow, we did it. This is the last part of the class. We're going to get into applying texture mask in Photoshop. So let's do it. We go over to Photoshop here. I already have my artwork in here, which is just from the title screen of the class. I also got my texture on a second layer. Of course, I'm skipping some steps, but if you guys have questions on how to do those things, pretty simple, so I'll tell you. We're just going to hide that layer and we've got the texture layer. Now the problem with the texture layer, if I go ahead and I'm going to unlock that background, I'm going to fill it with black. You can see that the texture layer is actually white and black. First thing we want to do is we're going to want to convert that, so that is just black. I'm going to go ahead, just to give you guys the idea, and I'm going to add a color overlay and I'm going to pick a crazy color. That's a bright color so you guys can really easily see when I make the change. So with my texture selected, we're going to go to "Select", "Color Range". I'm going to select on one of the dark black spots. It's easier to pick this spot. It's like, I got the most black and so you know you're hitting the right thing. Then you're just going to go ahead and click "OK". Actually what I'll do is I'll go back real quick just to show you that the less you have you can see it's going to select the darkest blacks and not select the light small spots. The more you have this cranked up, it's going to select everything. I have it cranked all the way. We can actually hide that layer now. We're going to make a new layer. We're going to go ahead and make it on top of my vector artwork as well. Because we know from earlier, we're going to hit D just to make sure that that's a black and a white. Then we're going to hit Alt or Option on a Mac and then hit Delete, and that will fill it. So that layer is now filled with that texture. We can go ahead and go to "Edit", deselect here somewhere. I've got all these keys. Where is it? No, "Select", "Deselect". There it is. It was just Command D. I've just got them all memorized. So now the easiest thing to do is if you can see here, it's just got that selected actually from that layer below, I should have hidden that, that was my mistake. So let's go back a second here. I'm just going to bring this over. Selecting out of my Marquee Tool, deleting it, bring that back over. It was trying to select different multiple layers. So that's okay. Now what I'm going to do is I'm going to go Command T or Control T. I actually hit R by accident. We're going to just drag that out just to make sure it fills the whole thing. Hit Enter. So this layer, you can see now that if it's like this, that means that the background is transparent. You can see the checkered boxes. If you put that on, you can see it on the grain of a highly effect. You can't see it too well on the black, of course. So we go ahead and we turn on our work. There you go. You can now see it on top of the art. My artwork at the moment actually it's just gray, so it doesn't have the white where it should be. So let's just go ahead and we'll change the background color to white. Now you can see that the texture is a bit of a mess, it's all over the whole thing and you're counting, you figure it out. So what we want to do is on top of our vector artwork, let's go in again, we're just going to, on top of the icon to the left of it, we're going to Command or Control click on it. What that do is that's going to select every spot where there's artwork on that layer. So you can see that little margin ends does that. So what that means is now if I click a different layer, which is my texture layer that I just made, and I go down here to where it says, you'll see it if I highlight over, Add Layer Mask, what it's going to do is it's going to make a mask right where those spots are. So there you go. That is how you make a layer mask in Photoshop. So pretty simple, pretty straightforward, and the class is done and over. I can't wait to see what you guys come up with. I'm going to make a quick little outro video. Just giving my thank you's and reminding you about the contest. But other than that, we will see you in a second. I promise that is the last time you going to have to hear me say that. I know, you're welcome. See you in a sec. 18. Thank You!: Thank you so much for taking the class. Let me know what you guys think. Please review it. I definitely can't wait to see your projects. Hopefully, the idea of doing a pennant based on your city is something that you find really exciting and interesting. I'm just showing you a little behind the scenes here of me messing around in SketchBook Pro trying to draw some different concept ideas. I didn't show you guys a whole lot of behind the scenes of making my illustration. So if you just head over to my Skillshare profile though, I did do a class which showed how I hand lettered and stuff like that. So it's got a lot of behind the scenes for you to check out. So I'm going to leave you with another little clip of me outside, and I'm not going to do the voice over. So enjoy it, will talk to you later.Bye-bye. All right. Thank you so much for taking the class. I hope you guys enjoyed it and learned lots of new tips and tricks for making textures. As I said, soon I'll be uploading my video with my finished pennant. I'm really excited for you guys to see that. So the same old last stuff, just follow me on social media at John Brahmin. I'm also active on Instagram, and make sure to also follow Oxford Pennant at OxfordPennant on Instagram as well. You can also check out their website Thanks so much guys. Let me know how you like it. Please review the class. I look forward to seeing your projects. Bye.