Design a Square Silk Scarf Using Reflection and Transformation | Delores Naskrent | Skillshare

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Design a Square Silk Scarf Using Reflection and Transformation

teacher avatar Delores Naskrent, Creative Explorer

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

11 Lessons (1h 14m)
    • 1. Introduction for Designing a Square Silk Scarf Class

      2:00
    • 2. Introduction, Inspiration and Overview

      7:16
    • 3. Setting Up the Transformation

      7:50
    • 4. Brushwork and Expanded Strokes Adjustments

      8:22
    • 5. Adding Dimension - 2 Techniques

      9:55
    • 6. Embellishing and Transforming for Complete Square

      6:22
    • 7. Four Corners Transformation

      6:50
    • 8. Cropping and Filling out the Design

      13:09
    • 9. Mockups and Finalization

      5:44
    • 10. Lesson 9 Review of 2 Different Transformations

      4:59
    • 11. Outro

      1:37
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About This Class

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"The first widely recorded instance of a scarf dates back to 350 BC when Egyptian Queen Nefertiti wore a finely woven style with a headdress.  Several decades later in 1837, Queen Victoria ascended to the throne, and it was during her reign that silk scarves became an accessory for the nobility, a symbol of luxury. Most items in fashion today were born from some kind of need:  Leggings were conceived to provide added warmth,  straw hats were woven to block the sun’s rays, and bucket hats were crafted to offer protection from the rain. And while scarves also share a practical purpose (for the most part, as a way to keep your neck warm), those of the silk variety—luxuriously smooth to the touch and light in weight—really serve no other function than to complete an outfit." *

Knowing all this made designing a silk scarf is an exciting prospect for me. I was inspired by the beautiful scarves I looked at by "Hemlock Goods" and on the site "Furious Goose". "All the chicest icons I can think of—Brigitte Bardot, Faye Dunaway, Lauren Bacall, Bianca Jagger, and Jackie Kennedy—turned to silk scarves to infuse their looks with effortless glamour in the '50s and '60s. By the '70s, emboldened by the free-spirit nature of the decade, silk scarves became bolder in their design, with in-your-face patterns and striking colors, which were worn as dramatic head wraps or around the neck to complement flowy looks. Now, in this age, we are seeing scarves again. In 2018, Marc Jacobs topped his models with silky turbans, and finally, to complete her tribute collection to Gianni Versace, Donatella Versace gave scarves the same archival print treatment as she did with the clothing. With maximalism going the way it has, along with fashion's more and more." * 

When you take a closer look at these scarves and reflected patterns, the production of them can seem very intimidating. However, as with most patterns, if you consider all factors such as the repeats and reflections, you’ll determine that it’s not as challenging as you feared, especially if you use the Appearance Panel and pathfinder and transform effects. Creating a re-usable template is the way to go! You could be making scarves by the dozen, once you have your template! In this class, I will impart what I’ve learned about square scarf art making. We will study gorgeous examples of patterns and I will share some of the planning and sketches I have done. Learning to plan and research is an important skill!

Every technique discussed in the class is backed up with examples and explanation. We will build on techniques you have learned in other classes, like the use of the transformation template and pattern tool in Illustrator.  My hope is that after seeing all the examples and explanation, you can better grasp how to create these patterns on your own.

Are you prepared to plan and produce Damask patterns? That’s completely do-able once you’ve learned a few of these simple techniques.

The key concepts I will include:

  • Creating motifs using the Shape Builder, Art Brushes and Pathfinder
  • Many other considerations to do with designing reflected repeats efficiently
  • Approaches you can take in your creative work moving forward
  • Working with the re-colour tool

This is a relevant course for you to take no matter what the end purpose for the reflected artwork you create. If you would like to learn how to make a template to use in repeated scarf design making, this class is for you!

Excerpt from *ANDREA CHENG - AUG 2, 2018

Intro:

This short intro will give you an overview of the class and explain the processes we will go through in the following lessons.

Lesson 1: Overview, Inspiration

In this lesson, I will show you how I was inspired to create the transformation template for use in creating square silk scarves.

Lesson 2: Explaining the Template

This lesson will focus on the first transformation which will be a reflection from side-to-side on the initial quadrant. I will also review simple brushes and explain a few more things about adjusting the strokes.

Lesson 3: Brushwork and Expanded Strokes Adjustments

In this lesson, we will talk a little more about brush strokes and I will also explain my process for design. We will take a minute to look at expanding brush strokes and the adjustments of the resulting shapes.

Lesson 4: Adding Dimension - 2 Different Methods

We will go through the process of dividing some of the shapes using Pathfinder. This will help us to add dimension. I will also show you an alternate technique.

Lesson 5: Embellishments and Prepping for Final Setup

In this lesson, I will show you the adding of simple embellishments which I will show you how to make. We are readying for the production of the 4 corner transformation.

Lesson 6: Four Corners Transformation

Here's the lesson where I make a critical error, and now you can learn how I rectify the problem!

Lesson 7: Cropping and Filling Out the Design

There are a number of other considerations we will work our way through in this lesson. I will explain how to have asymmetrical elements as part of your design. I make a critical error, and now you can learn how I rectify the cropping problem!

Lesson 8: Finalization and Mockups

I absolutely finalize the artwork and show you how to expand appearance. We will expand appearance and copy the whole thing. Then we will paste it into the mockups.

Lesson 9: Retrospective Review of Techniques

In this lesson, I will show you another method to create your main scarf template that does not involve reflecting the diagonal half of the design.

Outro and Conclusion                                                    

We will conclude everything in this lesson with a chat about next steps.

You will get the bonus of…

  • over 1 hour of direction from an instructor who has been in the graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge

Meet Your Teacher

Teacher Profile Image

Delores Naskrent

Creative Explorer

Teacher


Hello, I'm Delores.  I'm excited to be here, teaching what I love! I was an art educator for 30 years, teaching graphic design, fine art, and theatrical design and video production. My education took place at college and university, in Manitoba, Canada, and has been honed through decades of graphic design experience and my work as a professional artist, which I have done for over 40 years (eeek!). In the last 15 years I have been involved in art licensing with contracts from Russ, Artwall, Studio El, Trends, Metaverse and more.

My work ranges through acrylic paint, ink, marker, collage, pastels, pencil crayon, watercolour, and digital illustration and provides many ready paths of self-expression. Once complete, I use this art for pattern design, greet... See full profile

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Transcripts

1. Introduction for Designing a Square Silk Scarf Class: Hi guys and welcome. My name is dollar now screens. I'm coming to you from sunny, Manitoba, Canada. So this class I'm bringing you today was the result of some inspiration that I got a couple of weeks ago. I was looking at one of my favorite blogs and I came across a beautiful scarf. This was a large square scarf. And the first thing that came to mind was as would be a perfect project for a transformation template. I know, I know you're probably getting sick of transformations, but this one is going to be really cool. We're gonna be creating a transformation template that's gonna do the four corners of our scarf. Not only that, each of the quadrants we're gonna be doing a reflection. So that's going to be really the beauty of doing the project in this way is that we can see anything that we do in a live way. For example, if you're drawing something in the one quadrant, it's going to show up on all four. So that's really helpful. I really find for my design process that it works really, really well. Otherwise, it's really hard to judge how little triangle is going to look. Once it's repeated all the way around, you're going to see what I mean when we get into it. So we're going to be doing some really neat things. We're gonna be using the appearance panel. We're going to be using Pathfinder. We're gonna be using all kinds of brushes. And I'm going to teach you all kinds of techniques to help you get through a project like this really quickly. The really neat thing about it though, is in the end, you're going to have this template that you can use over and over again. Now, I can't say it wasn't challenging. I had a few problems as I was working my way through. And I'm going to show you how to troubleshoot some of these problems. Usually something really simple is the cause. I don't know about you, but I'm really excited about this. You ready to get started? All right. Let's get into it. 2. Introduction, Inspiration and Overview: Hi guys. Welcome to lesson one. So in less than one here, I'm going to show you exactly where I got that inspiration is one of my favorite resources. I can't wait to share it with you. I'm also going to show you how we're going to really work with that template. So I'll give you an idea of what the rest of the course will be like. Let's get started. I want to talk a little bit about inspiration and what gave me the idea for this particular class. So I don't know about you, but I've grown up on looking through magazines for inspiration in the seventies, believe it or not. No, that's a little while ago. I was a high school student and in our classroom, we always had the Communication Arts Magazine through the years that I was in school there. And then later on as a professional artist, I bought many a copy of this magazine and I've got so many of them still a probably have 50 or 60 of them that I still flip through. In fact, most of them have tons of sticky notes referencing spots that I was drawing inspiration from for a project that I might have been working on at any particular time. But lately, I've fallen in love with uppercase magazine. What I love about this one is that it really caters to surface pattern design. I've seen everything from quilting to collage, fiber arts of all kinds, tons and tons of surface pattern design. And I guess because my interests has kind of turned that way towards surface pattern design, I have become really enamored with his magazine. This is actually the latest issue that I've just received. And it's a lovely magazine to look through. The pages are nice and thick, the texture is beautiful, the colors are incredible, and the content is just fabulous. It's produced in Canada here in Calgary. I'm always anticipating the next edition coming out. I get a lot of communication from the editor from this company. This is Janine. She is the publisher of the magazine and my hat goes off to her because I don't know how she manages to pull this off. And she also is a surface pattern designers. So I would strongly suggest that you check out this wonderful magazine. It ships worldwide. Once you subscribe to the magazine, you'll be part of the uppercase circle. And recently, I was really struck by this particular call that went out. She's looking for content for a future magazine that she's going to do, which will be published in 2021. And when I looked at these examples here, I thought immediately of the projects that I've been doing lately using the transformation templates that I have produced. You may have been in some of my other classes. I've done a class on designing scallops. I've done one on designing or anti-patterns. I've also done one on quatro foils and quite a few more that actually use the transformation templates to help design the artwork that I happen to be working on at that time. I've been really exploring this whole idea of the transformation templates. And I thought this would be an absolutely perfect project to feature. So I sat down and did a bunch of sketches. I've scan them in, actually photograph them to bring them into Photoshop to do a little bit of clean-up work on them. They're really quite rough. And I'm gonna be showing you in class these two. I've actually developed completely. So I'm going to be walking you through a bunch of the exercises that will help you to produce this. And then I'm going to be showing you the finished products that I designed, explaining in detail how I've gone through and use the transformation template to make my job easier. So that's what we're gonna do in the next few lessons. I'm going to show you all kinds of different tricks to working in this way. And in the end you'll have a beautiful scarf to sign that you can upload to a POD site or just simply have printed for yourself. So I hope you'll stick with me and go through all these steps. Once you get into it, you'll be surprised at actually how easily you can work in this way and see your work materialize right in front of your eyes with a transformation templates. The beauty of working with the transformation template. You can see here that these are all just brush strokes. So I've got a selection of brushes that I've imported to use for this project. And as I brush into this one corner. So if I was to move anything here, you'll see that as I make the changes, it's reflected and it really helps me to visualize my final pattern is just so much better than just working with the one corner. It's very confusing to just be working with one corner and trying to visualize your entire square scar. So I've got a reflection that I've done here. I'm going to be showing you this template. So there's a separate template that I use for creating the reflection within the square. So this corner has its own reflection from side-to-side. But then once this is placed into this particular template, you can make your changes and view what you're doing immediately on the screen. So this is one of those things that as a designer, now that I've learned how to do this and have been practicing using it a lot. I have been using these templates over and over again. So I create the initial complaint that I save it as an illustrator template. Here you can save as template. Once I've got the template, then from that moment on, anytime I want to use a template, I go to my templates folder here. And if you've been in my other classes with masks or the Mandela or the half drop repeat transformation. Then you'll see that when you open up a template, it opens up a blank untitled document. And within that document, you can now make whatever changes you want and it's reflected in whatever repeat we set up to make a long story short, I'm gonna be showing you how to create the template. And then from that template, we're going to be creating the gorgeous reflection and repeat patterns that form that full square scarf. I'll be creating a whole bunch of different variations so that you can really see the value of them and work along with me to create your own. Alright, so I'll meet you in the next lesson where we're going to start with the initial setup of one of the templates. This is the one I think we're gonna be working on. So I will see you in the next lesson where we're going to take a look at that. 3. Setting Up the Transformation: Hi guys, welcome to lesson two. So we're going to get first look at how that transformation is going to work for us. We're going to do the initial quadrant. So we're gonna do a reflection of one side to the other. And then we're going to just start working on some of that brushwork. Let's get started. I wanted to start this lesson just showing you the basic brushes that I am using for this kind of work. I have created these brushes. They're very simple shapes. A covered this in a lot of other courses, but it basically boils down to creating an ellipse, filling it with black, taking the stroke off, and then using the convert anchor point tool, I access that by doing command C, but you can actually grab it up here as well. This is the one that you would select and that creates the basic shape or a lot of these brushes. Drag it into the brushes, Pallet. Art brush. Okay, I usually set the set tenths so that I've got the flexibility of changing the color later. You can experiment with different ways of controlling the brush. Since I've got that one at a bigger size, I'm gonna make this one smaller. And then I've got a second version of a here. So this would be the one versus another version of it, third version of it, you could actually affect the one brush by just changing your stroke width here. Sometimes it's just faster to have them available at different sizes. I'll get rid of those. And you can see that'll files on these other brushes are basically variations of those. So that would have been an adjusted ellipse shape. As well as these, you can just see that they're just made a little bit differently just to get a different final effect and not to spend too much time on brushes per se because I've got so many other courses that cover this. I'll make some brushes available to you so that you can start with a simple SAT. But once you have them, then basically you choose the brush that you'd like and just start drawing with it. It takes a bit of time to get used to the brushes and the different things that they can do and what each of the different profiles does. So it takes a bit of practice and I would just suggests that you take some time to just do some fun exercises to experiment with what each of the different brushes will do for you. So once you've got the brushstroke drawing, you can still affect the thickness of the stroke here in the patrol bar. And then just, you know, go through and fill out your shape. One or that one can do this one once you've drawn the path itself, what I often do is simplify. My shortcut is Command period. The last points you have there the better. So you can go into the simplify panel here. I've accessed it by doing my shortcut for simplify. You could find it up here. You can see my shortcut has been installed here, and you can also click on the ellipsis there, the three dots. And you can make additional adjustments to your line. Okay? I like having as few points as possible so that it's easy for me to make adjustments to the strokes would maybe just two or three handles or anchor points to move around. So just proceed through and put in all of your brush strokes. And what I'm gonna do is suggest to you that you work only on this side. We're going to use a transformation templates to actually flip this. So I just wanted to show you a few lines to just get you started. So now what I want to do before I go any further, because I like looking at my whole square as I'm designing it. I'm going to take this layer. So we're working, this is the way we're working on here. And I want to apply some effects using the appearance panel that will allow us to see this full reflection as we're doing it. So I've opened up my appearance panel here, usually have got it doctorate here. But just to make it easier for you to see, I'm going to pull it out so that we've got it showing as well as the Layers palette. Now I want to also make a new layer. And that layer, I'm going to put the template and then I'm going to pull the artwork layer above it. Having the template in there can sometimes affect your reflection or your transformation. So I'm just going to keep it here and lock, which is going to make things easier for next step here, is to draw a rectangle or a square and would actually draw square. I'm holding down my Option key, or the Option key helps me draw from the center and the shift key I'm holding at the same time ensures that it is a perfect square. Let me just show my art board temporarily so you can see this drawing, this a lot bigger than my art board. So I'm just going to use my rotate key. So are on keyboard, option click, and I can type in my 45 degrees real quick. And I'm gonna use my align tools to just align that to the art board. I'm also going to make sure that it has no stroke. So you can do it in the swatches or you can do it in the strokes panel. And now I'm ready to do my transformation. So I'm going to hide my art board again and I'm going to target my layer so I can't just highlight it as it is here. Now, you can see here that the layer itself is not showing up here in the appearance panel. So if I hit this little circle, targets it, and then you can see that it shows up in the appearance panel. And now it's really simple. You just go to your distorting Transform effects and go to transform. And here you're going to reflect x and you're going to make sure that it is one copy. You can tell it's reflecting properly when you see it here and just click OK. And now whatever I do on this side will be reflected on this side. So that's going to work just dandy. Now the only thing I can see is going to be a problem is right here. If I happened to go beyond the edges and it's impossible to be perfectly lined up every time. So what I also need here is a clipping mask. I'm just going to drag this one to the bottom actually. And then I will just drag this my command and option. And that's going to make a pupa here. This rectangle, ICANN Actually let me close this appearance panel and I'll drag it back over here with this rectangle. I'm going to just use my minus 6y with my pen tool. So minus on your keyboard, that makes it a perfectly aligned triangle. And as long as I highlight the layer here, I can go to make clipping mask. And now you can see that my edges are neat and tidy. So then usually what I do is lock both of those. So now I can go through and my brushes panel open and just proceed with the drawing. I can make any sort of adjustments. So again, I would hit my simplify, bring it down to as few points as possible so I can make my adjustments. And you can see that whatever's happening on the left here is being perfectly reflected on the right. If I need to add a little bit more, flung him on my brush stroke or on my brush tool, so be on the keyboard. But once I've got the whole line selected, I can just sittin you with a drawing and it will lengthen the line. What I needed to be. Lungs have got the whole line selected. So v on your keyboard will give you your main selection tool. So that allows you to select the whole path. And up here, you can make your adjustments to the stroke thickness or you can always go to your strokes palate as well over here, if you want to keep that open when you're making your adjustments, that's another option. So I'm going to do some of this work off camera and I'm gonna come back to you with a more finished file. And I'll talk to you a little bit more about how I accomplish the things that I did, and we'll do that in the next lesson. So I'll see you there. 4. Brushwork and Expanded Strokes Adjustments: Hi guys, welcome to lesson three. We're gonna talk more about the brushwork here. And I'm gonna give you some advice about design. Let's get started. Before we get into the lesson here, I just want to run this little time-lapse that idea, finishing off the side of the tile. So my little quick time-lapse there showed you as I further developed, yes. There comes a point where I would probably hide the template and start working without it in the background. At this point, I think I've used it for anything or most of what I really need and it's obscuring what I need to do here. So I'm going to just highlight it now and just start working with this basic overall design that I have. I realize I haven't really talked too much about the real design work that goes behind something like this. I did that sketch to get me started and I've had some practice and some time doing this. So I have a good idea in my head as to what I want to do. You may need to do a lot of that kind of development before you really get to the point where you've confidently produced the design that you think you can use. But I suggest that you really just go through one time here with me and do it pretty much exactly like what I have shown you here. And then you can start experimenting with the actual design, the actual final look that you want. Now, it's fun for me to do this and I used my template that I used for the other example. So I use that same template to produce this. And you can see how different just in the way I used my brushes, the line thicknesses and so on. You can see that you can really vary your final look a lot just based on the way you adjust your brushes. I added a few little extra dots and things here and there. And yet it has turned out so different than this one. And I am going to use this one to show you some of the other things that I do now to get it to the next level where I would start working with other things like color and pattern to really Philadelphia. Working with brushes. You don't have necessarily all the control that you want. You can see here that there's not a smooth curve happening here. There's a couple of little things that need to be adjusted to really perfect my pattern. So sometimes at this point I would duplicate this layers so I can highlight it here and then just go to duplicate layer and I believe the original one as yes, so this will still have the brush stroke so I can go in and adjust. And that's really one of the things that you can do to produce multiple similar patterns is to keep those brush strokes that you can go in and adjust later. So I'm going to use this layer here. So I want to expand these brushstrokes only. So I have gone through and Selected them and holding down the Shift key as I go through and target these layers. So if you target the top one and then hold the Shift key and click at the bottom of the list, you will select them all. And what I wanna do is just temporarily pull those out of the layer. I'm going to move them onto this layer temporarily. So I'm also going to highlight them all top to bottom, drag them into this layer and you can see them all here. One of you to do is select all. I don't want to select this one that all. I'm gonna lock it actually. So I'm going to select, and you can see it's just this layer that I'm selected on hadn't been Expand Appearance. No, my usual steps are to simplify. So man period shortcut. And you can see I've gone from 827 points to 96 points, which is awesome, and hit OK there. And then I'm gonna go to my Pathfinder palette and unite them. So now I've got a nice simplified shape. I'm going to drag that back into this layer. I'm gonna unlock it and then I'm going to drag this whole group back into here. So you can see that reflection works just fine. I'm going to make some adjustments here. Actually what we'll do is just pull that clipping mask back up here and just move it a little bit at a time until we get it to the right spot. Now few are trying to use your arrow keys and the increments aren't quite right for you. This is just way too slow for me. M-bit hit Command K. I'm going to change this to 01 instead of 001. And then you can see that as I use my arrow key did hops a little bit further and trying to decide where to line it up exactly. So I'm thinking I will do it so that this little area disappears. So the cool thing about this now is that I can make changes in exactly the same way as I did before. Whatever I do on this side will be reflected on this side. So let's say for instance here, I want to fix this up. You can see the problem I'm having. I want to have a smooth curve here. I could use the widget to smooth out that line, or I could eliminate a couple of the points. And I think that's what I'm gonna do. I'm gonna eliminate this one. So minus on my keyboard gives me the subtractive point, and that will give me just less points to have to deal with. Now here at this point, I want to make it into a smooth point. And I think this one's probably the same thing. So I've made those both into smooth points. And actually I think I can eliminate this one as well. And that makes a lot easier for me to adjust and make that into a beautiful curve. So then I spent a little bit of time here going through and doing things like that. And that's also showing as a corner point, I'd rather have that smooth, so I'll go in there and make some adjustments. No, there's some junk happening here, just probably the some kind of weird overlap that I had. So I got rid of that. Sometimes it's good to, at this point switch into Outline mode. So command y to just take a look and see if there's anything weird happening like here. I'm gonna take that point out and I'm quite sure what happened there, but that's all fixed. Now, take a look around, see too much happening, that's a problem. And I can make adjustments here to make this work better than I can use my arrow keys to move things around. And I'm quite sure what to do here. I think what I'll do is I will eliminate this side, so I'm going to use my last few tools. So q, let's meet, select a number of points. My shortcut for remove anchor points is command comma, and then I'm gonna make these into corner points. So shift C gives me my cupboard anchor point Tool. And I'm just going to use that handle to straighten out that here. I'm gonna do the same things. Hold Command Earth shift c, and then I can adjust that leafy shape. And so obviously both of these are not aligned to the center of my rectangle. But I think I can use my aligned to art board here about the both selected. Make sure that I've got aligned to art board and then I can hit this aligned to center. So that did a great job of that. Happy with that. And I think I can do the same thing up here is just get rid of this extra points here. Maybe I'll just use my minus cube is time to show you an alternate. So minus, minus. Now this AD1 shifts to see, to make it into a corner point a on my keyboard for my Pen tool. And select that one of those points. And we'll do the aligned to art board again. And that aligns it perfectly so I could go through and make the adjustments. And it's just so beautiful to work with this reflection because I can see exactly what's happening and I'm keeping both sides of them perfectly symmetrical. So I'm going to do a bit of work off camera, and I'm going to come back and show you a couple of ways that we can embellish this design now and start adding some interests. So I will see you in the next lesson. 5. Adding Dimension - 2 Techniques: Hi guys, welcome to lesson four. And less than four here is going to be all about adding some dimension. I'm gonna be showing you at least two methods. Let's get started. So I've gone through and done most of the corrections that I was wanting to do. Let me just do this one here. I've made sure that there aren't any more of those corner points or unsmooth curves. This is probably a good time to pause and talk about inspiration and the actual design. Now what would be really fun would be for me to take the time and actually colorize this just by hand. Go back to the drawing board, so to speak, hack into my sketchbooks and just cover this up and just decide on maybe some options for it. Today though, what I'm gonna do is just draw on the inspiration of that head scarf that we saw in the earlier post by Janine in uppercase. And what I'm gonna do is just grab a screenshot. So Command Shift four on my Mac, I'm going to select that area. It comes up here in the corner, just going to temporarily open that up in Preview. Select all and copy. It'll go back into Illustrator here. I'm going to go onto this layer that doesn't have a transformation and paste that example. And we're going to just take some ideas from here. As artists, we do draw from the inspiration of other artists. It's just bound to happen. What I'm gonna do here is just draw ideas from this design. I'm definitely not copying by any means. You can see my design is completely different, but I just love some of these things that are happening in this design here. I particularly like how these leaves are split. So the color is on one side. There are brush strokes that are put over top in a different color. And even some of these little leaves here you can see just some detail has been put in, in an alternate color. Also, the background is filled with a lot of little textural flowers. I think they really add to the overall design. And of course there's the border. Right now I'm going to focus on the sheets that I have. I've kept it pretty simple just so that we can do some of the experimental work. And I'm going to show you just some ideas that I have and how I would go about doing that. So I'm gonna go back to that layer. So this is the layer where I've got all my shapes. And I'm going to use the Pathfinder, I think a fair bit in this lesson. So I'm going to show you some things that I would do to divide up some of these shapes or add sections of different colors. So let's just go for it. Somebody, he's my pencil tool, I think right now, so and on your keyboard will give you your pencil tool. And let's just draw kind of through the middle of this one. Now you can see how absolutely horribly Ruff my stroke is. And yet, once it's completely drawn, you can see how smooth it ended up. So that happens because of the controls on the pencil tool itself. So before using it, you can double-click on it and Your fidelity here. So the smoother you said it is, the more it's going to correct your line as you're drawing. So that's what happened there. So you can see my line running through the middle here. I know you can't see it unless I'm in this outline mode. So what I'm gonna do is just select them both here so that line and this shape and go into pathfinder and advanced simply use divide. And what that'll do now is give me this area separate from this other area. So just to make that a little bit easier to see, let's just start working with some color. That what I'll do is I'll go into this Libraries here and just open up some of the colors fat put together that I've been using for basically last few classes and last few projects that I've done. So I created these color themes in one of my other classes. And it definitely is fun to do these from photographs. So definitely check out that other class. Let's just support. Now I can click on these sets and import full sets is go to the ellipsis. Let's try this one. I like this color scheme here, and I can add this to swatches, and maybe this one. And here you see in my swatches, I've got those three sets that I just added. I'm gonna get rid of some of these extra ones that I don't want at the moment. And that leaves us with the sets that I'm wanting to work with. So I'm just going to drag my colors in. They will temporarily just work with this set. Now the cool thing here is that because this is divided, we can start moving around these different parts of the line, okay? So you can see here that I can create this gap which is pretty neat because it kind of mimics what I've got going on in here. Now again, I can select and simplify if I want to simplify this a little bit further, and I'm just gonna go through and increased that gap, working with the different thicknesses, making adjustments as I see fit. An alternate method to adding some detail like this would be to take the brush. I'm just gonna use that simple brush. I've got no fill and the stroke what this light blue. And I can just simply brush additional detail over top of my shapes. Who can't believe I did that first try. So that's kind of a fun way to go and add some of that extra interests. You can break your strokes. You don't have to do one long continuous strokes. So depending on how you want, your different motifs are parts of the motif to look, you can go ahead and add detail in that way. I would also like to divide this up so that I could do that half colored section. So I'm going to grab my pencil tool again and just draw. Let's go into preview mode so that we can see what's happening. So I'm just drawing a couple of quick lines here to use to divide my leaf up. So again, select, go to your Pathfinder, hit Divide. And now you've got these different areas that you can color. And if I want to do just the same color, x on your keyboard will bring that Swatch, feel swatch to the front here. And I can double-click on it and Change my color darker. Yeah, because you go darker here. Maybe lighter here, to give some real dimension to that particular piece, you could do the same thing here. And for the pencil tool, let's divide. It's always kinda easier to see this in preview. Get rid of that extra line. And you can see that I've taken these pencil strokes well beyond the edges, select all of them, and go to pathfinder and divide again. So then I've got the three sections that I can fill and I'm gonna do the same thing, just double-click on it. And I'm gonna do laced with three colors. So I think I'll do that part the latest or later than this part as well. Just be full-on dark of that color. I don't maybe a little bit lighter. Hang on. Now these are fully divided now, so it's a little bit harder to go in and make changes to the shape. So that's something to keep in mind as you're working on this at something like this, I think I would like to have more elongated in the middle here. So that means I have to make some adjustments to hide the white gaps. And then I think I might just move that a little bit. And this is where that transformation really is great to work with because both sides are being filled out as I'm doing this, which really helps me to kind of figure out what I want. So here's another quick way that you can add a little bit of dimension to parts of your large shape. I'm just going to copy that point. So I've only selected that single-point I'm gonna paste in place, which is Command Shift v. And now with my pencil tool, I'm going to just draw the inside curve. Let's go into Outline mode that you can see this a little bit better. So you can see that I've got a double path there because this line appears thicker. And if you can see that on your screen, see how that's thicker. Make sure we've got it selected so you can tell that this is the new one that I paste it over top and N on my keyboard. Now you'll see the little slash. That means I'm connecting to it. Down here. You can see that little circle and that means I've completed the shape. So you can see here right now it's exactly the same color, but we're going to go in and darken that one just a little bit. So that's another way to add a little bit of dimension in some of the areas might be a bit too dark. And so I'm going to continue adding detail here in a time-lapse, Maria. I think I've made a lot of progress here with my colorizing and adding interests with shadows and highlights. So I'm going to take a bit of time off camera just to kinda finish off this section a little bit more and I'll see you in the next lesson and we'll talk about using the other transformation template that will give us the four quadrants all at the same time as we do. Some of those final little bits are age. So I'll see you in the next lesson. 6. Embellishing and Transforming for Complete Square: Hey guys, welcome to lesson five. So in less than five here, we're going to be doing a lot of the embellishing. I'm going to show you some brushes, some custom brushes that you can make. I'm going to talk about the final setup. Let's get started. Okay, so it's time for us to do a little bit of work on embellishing or adding some detail to our artwork. I'm taking a little bit of a lead from this, and I've designed a couple brushes, or I'm going to design a couple brushes here to show you that we could use for filling in some of this stuff. On the first one I did was this little leaf. I used this regular brushless, showed you how to make earlier on and just added a stem made with a rectangle. I rounded the rectangle and I think I'm ready here to make it into a brush. So I've got to expand appearance and then I'm going to use Pathfinder to united into one shape. And I'm going to drag it into the brushes panel here, making art brush, okay, changes to tenths so that I can colorize it. And I've got one little brush there. Now this one here I want to make a little flower with, so I use puckering bloat proto shortcut for that, but you can find it under the effect menu if you'd like. And you can see here in my scatter brushes, I've made one already with really kind of a deep or long pedal. That's when I'll make it a little bit shorter just to have a bit of contrast. And again here I would have to expand appearance. And this one I'm going to drag in and I'm going to put it into the scatter brushes instead of the art brushes. What I like about it is that I can, let me just set this to attempts. I can use it just like a rubber stamp. So I'll show you that when we start using it. And this here, I'm going to also use this as a star when you're drawing the star as you're pulling it. If you keep your mouse button down or your Stylus Press to your tablet, you can increase or reduce the amount of sites. So let's just do a couple of them here. These are going to give us, like some of you went with a little bit less. This is gonna give us quite a similar look to this little petal here. It's really hard to tell, I guess on this screen, but I liked that the petals here had, some of them had a little bit of a dip in the middle of them. So that's what the star is going to do for us. So we're going to still use puckering bloat. So I'm going to use my shortcut. And you can see what's happening here is it's, it's like splitting the tip of the, of the star is making it into a flower. Just the same way as it did with the hexagon, but it does a little bit of a split at the end of the pedal. I discovered this quite by accident. I've used it quite a bit. I find that it gives a really cute little variety to the brushes. So both of these would have to be expanded. So I think I will select them all and reduce them in size, maybe 50%. I use my shortcut for transform each. And then we're also going to drag these into scatter brush. Yes. I'm going to leave these as a fixed size at the moment. So forgot to tinfoil on that one. And I can just get rid of them once I've made them to carry did that one. So now we've got a bunch of cute little brushes here that we can use. So let's just add a little bit of detail. I can get rid of this. Sometimes they keep it actually. But in this case. I'm just gonna get rid of them to clean up my document. So to use the breccia course, he just hit B on your keyboard and then you can draw at will. Now, I have set this so that I content the stroke. Let's have no fill and will tend to do this later color. And all of these controls still work. So if I do smaller thickness of line here, let's go 0.5. I did this one before creating the brush subs can get rid of that one actually is that was a little bit more time and that's what made me think of actually doing it the swayed because I couldn't do it a lot faster. And again, I could use this on a lot of other documents if I have it. So I kind of liked the idea of that. And then of course I Kids stamp with these brushes. So let me just pick another color. And what's go with this one here, again, b, or your brush tool. And now this one I should have made a little bit smaller, so I'll go in and make it a fixed size. And now I've got a nice little flower that I can use really quickly by just damping. So let's try these as well. That one is a little bit big too, so I'm gonna go fixed-size, go smaller. Let's try a couple of these. Now, the only thing that is a problem for me now is knowing where the, really the edge, this is, because I am only working on the one quadrant. So I think this is a great time for us to start working with the four corners. So I think what I'll do, I want to keep this transformation so that the side-to-side thing works. And you just add a couple of Murphy's, the so much fun. So like something like this. I'm not sure if it's going to be a problem because I really don't quite know how it's going to work with them fitting together. I'm going to have it so that this is the edge that would fit with the next quadrant and this will end up being in the middle. So let me just reduce this one in size. You notice that if I've only selected 1, i don't get the control box up here. So if you select using your option key or the Command key, the entire line becomes selected. And then you can get that trope control up here. So I'm going to shorten that one and change the color of it. And so I think I need to now start working on that other part that I was talking to you about. So what we'll do is move this way out of the way. And we're going to be using the appearance panel again. And this time we're going to be I think we all do actually, since I've got so much going on in this document, I think I'm going to select all of this and copy it. The good thing about the way I'm doing it by copying is that all of these brushes that are now in this artwork will get copied with it. And in the precious panel of the new document, you will see it. So I'm just gonna make a new ten by ten documents I'm going to paste. And actually I think this is a good time to end this lesson. And we'll do all of that transformation stuff in the next lesson. I'll see you there. 7. Four Corners Transformation: Hi guys, welcome to lesson six. So less than six here we're going to be doing the preparation for the four-quadrant transformation. So you'll see me run until a little bit of trouble here and I will explain exactly what I did to troubleshoot the problem. Okay, so I've pasted it here into the new document and let's just take a look at everything here in the Layers palette. So my transformation didn't come with the cut and paste from the other document. But that's no big deal because we're going to do another one anyways, we might as well just do this one now. And I'm thinking actually maybe I'll take it, see if I can rotate it right now. Option are in 45. Because when I'm thinking Is this way, I've got kind of a different view of it once it is repeated. So instead of it being a diamond, so this part of it coming to the very top of my document, right in the middle here of my document. I can have it so that before squares are indeed in a square. So let's target that layer. So you can see here that bilayer is what's visible here. And that's the one that we're going to do for the reflection first. So we're going to reflect it and turn it 90 degrees. So we've got the both sides of it here. And that's exactly what I want. And I want to make sure that that's one copy, so the original stays there. So now we've got the one corner of our scarf. So now what I wanna do is enclose this whole layer into another transformation. So I'm going to make another layer. I'm going to drag this layer in there. So it becomes a sub layer. So we'll select it all and group it. And with UC aligned and get that lined up perfectly to the art board. Now what I need to do is a clipping mask that will help us with our transformation and our reflection to make sure that nothing repeats accidentally on the sides that we don't want it to. So I'm going to use M on my keyboard. We're going to draw, this should be big enough. A twelv by 12 inch square, I'm going to say okay, lined it up to the art board in the lower right-hand corner. So that's perfectly lined up there. I'm going to temporarily make a new layer and might need, now this will become r clipping mask. But right now if we go to this, It's gonna say release clipping mask because there's a clipping mask in this layer. So I've released that clipping mask. Now I can make a clipping mask here. So that will clip R square on the right and bottom when we need it to reflect. And I'm going to go back and just make sure that this is a clipping mask again. So for some reason a nested layer doesn't quite work. I couldn't leave the actual clipping mask on there while I made the Clippy mounts for this one, but I can go back and make it now. So now they both have the Clippy masks that they need. And I also need to make sure that each of these has cropping, which is something I have forgotten to do in the past. I'm going to make sure that I go in here now and go to pathfinder and crop. And I'm gonna say, okay here at the moment there's nothing that it's cropping, which is why I got that message. And then I'm going to go and do the same thing with this one. So Pathfinder crop. And yes, I do want it to apply the new effect. Now the one critical step that I forgot was when I went to applying my appearance panel effects, the first thing I was supposed to do was to make sure that this rectangle will perfectly crop at the edges. So even though it's a clipping mask, it also has to crop. So here we'll go to the effects instead of going to distort and transform up here, we're gonna go to pathfinder and we're going to hit crop. You see that shows up there perfectly now that I've got the crop here, I'm going to make sure that they are still targeted. And I'm going to add the transforms or what I'm gonna do is select this side of the quadrants and we'll just reflect and make sure we do one, copy it, okay, and do that again and procure, hit that, apply. New effects are going to hit the bottom cater for that quarter inch. And this time we're going to do reflect y and one copy. So that was my initial mistake, was not doing the crop box. So now we can really start working on our decoration. And you can see here that anything we do reflects in all the quadrants perfectly. And if I draw, let's grab a brush and see if that works down here. Yes, no, why is that still nudging and why is that not working? Okay. I see here I've got my clipping mask within an unneeded, above my artwork layer. And you see, as long as I work back in this group here, it's fine. Whatever I draw on this side is reflected, but it is trimmed off the way I need it to be. And let's just make sure that it's working for the triangular clipping mask as well. No, it's not for that one. So I just want you to make sure that you have that clipping mask above your artwork layer and this clipping mask above your corner reflection. And you'll see that then when you draw, let's go right into the layer. You gotta make sure you're in the layer to do the drawing or in the group. You see that it stops right where you need it to there, and right where you need it to there. So whatever we draw along the edges now will work perfectly. Yeah, there we go. And now this is all lined out. You can see that the reflection works here. And obviously whatever I'm drawing down here is repeated up here. So I'll just clean off all of these extra little lines that I drew. So that would be all of these guys. And I'm ready to start with some of my embellishments. So I had gone ahead and done a bunch of extra stuff to this kind of as a practice off camera. And I'm going to show you here some of the things that I added. These are some of the things that I'm going to be showing you. There's some simple ways to produce these kinda declarations here that I've inset over the artwork. I've got these little flowers going on polka dots. I've made a couple of new brushes, so we'll go through all of that. But I think I'll say back to the next lesson, so we'll cut this went off right now. And I am going to go and have myself a cup of coffee, and I'll be back to talk about the finishing on our scarf here. Alright, see you in a bit. 8. Cropping and Filling out the Design: Hi guys, welcome to lesson seven. So unless the 70 here, I'm going to be filling out the rest of the pattern when a show you adding a border. And also we're going to add some elements that are not necessarily symmetrical. And I want to show you how to do that. We're not going to be working in the transformation template for that, or rather we'll be adding a new layer. Let's get started. So before we get started with the embellishments, and I'm gonna do is take a look over here. I've got the sample that I just showed you. So that'll be here for our reference. And then of course we've got the original Hemlock scarf here. So we're working with both of them to get ideas. I have made another brush here, which I did simply by dragging this brush out. Oops, sorry, this one here and extending it to turn off my smart guides right now command you, I believe. Yes. And I eliminated the top leaf and then I just hold the rest of the leaves down and join them. So I think let's see, let's put that right there. Let's make a duplicate actually first. So we're going to just drag the duplicates and move it right out of the way here, I'm gonna use my Lao-Tzu. So q on the keyboard shortcut for remove anchor points and then it can move that rates into position here to join efforts might can just extend the bottom. So I did it somewhat like this. I'm gonna show you something here. When you drag the brush out of the brushes panel, you'll always get this little square in behind. So make sure you get rid of that. Then you can use your Pathfinder tonight. They also simplified it, and then I drag that back to the brushes panel. And from that, I produced this brush very similar to the original, just has a lot more leaves on it. So the other thing I did was to create a border that I'm going to use. And I'll show you how to do that. Normally when I do a pattern brush, I create the corner as well. You see that pattern brushes are divided here into different segments in the brushes panel. And normally you do need to draw a corner point. I don't need to in this case because my clipping masks are going to create a good corner. So I don't really need this at all. What I need here though is to have the ends of it clipped so that they'll line up perfectly. So I'm gonna draw rectangles. And as long as you have those lined up, living, switch to preview mode, you want to line those up to that inside. Maybe a teeny tiny little bit of an overlap there. And then the same thing with this side. You'll see that there's going to be a little, tiny little bit left there, which is fine. I'll just use my sheet builder. Select all of this here. Shift M gets you the shape builder and just hold down your Option key to subtract. And I'm dragging over and you can see those bits are subtracted off and then just take your finger off the Option key and you can use it to join. So this is ready to make into a brush. So we're dragging it in, or we can click on the bottom here and click on pattern brush, ok. Now normally see I would create a corner here, which is why I had that, but I don't need it. So I'm just going to avoid doing that to save a bit of time. Well, add this tents for colorization. Click, okay, so now we've got a couple of different brushes that we can work with. Now you can see here I added a bunch of different pattern brushes and I found those in the brush libraries. I just went to this boarders and I grabbed one from each of these categories. Let's just say grab a dashed one as well. So you can just click on whichever one you would like. Let's grab that one and you don't need to worry about the color because we can adjust that to fit our color scheme. So let's just get rid of all of these brushes up here in lines. And now let's get to work on our embellishments and police a little bit closer just so we can see them as we're working. So let's start by adding dotted line here. So for that it was very simple. I used my pencil tool quickly drew a line. Remember that you can be pretty rough and the line will be smoothed out for you. Listen to preview mode so you can see the line here. Switch back with command y. Let's just apply a lighter color here stroke and will increase the thickness of that line. So how do you create the dots? Good question. Well, what you want to do is hit the dashed line here. We want to have the rounded cap and it looks like my spacing from last time was kept in there. So that was at one for the dash 22, the gap. And then I repeated that to make sure it was a consistent spacing and that works just fine. So I could go ahead and do that in other positions if I would like. I'm actually thinking that I would rather have that a little bit more subtle. So we're going to switch to a slightly darker color. But you can see how easy it would be to go in and add those little dots. Remember to work in this corner. For some reason my reflection isn't working here. I know what's wrong. I am on the yeah, I see it here. It's up in the inspirational here, so I'll just delete those two there. I don't really love that dot anyways, I'm going to switch to something else I think. And I think I'm going to actually do more of this kind of stroke started out with, I am going to go with that and slightly darker color there. Also makes sure that I'm working in the right Layer. And I'm just going to add, even want to go a little bit darker than that. Yeah, I just want to add some subtle highlights here. Someone the wrong side, sometimes hard to remember. You've got to work in this one corner, which is so crazy because it's repeating it everywhere on our design. As we do this, let me hide that appearance panel so we got more room. But you can see that it shows every quadrant, which is super cool. I just love that. So let's maybe do a couple of those little branches in here. So I'm going to grab that second one that I made and see if I have ten, so it's perfect now, I can colorize. It looks like I chose a fairly light color when I was doing my original experimentation. So let's put a couple of those in and how to go, Wait small, maybe this one and this one. You can see how that works. Hearing it clips or crops it like if I can use my shorter when there will make that a bit smaller to the fine line sometimes. So let's go 3-5. No, it's not fun. And I love that. That's really, really cool. And no, let's start adding some of our little flowers. I kinda decided on this second one here, a light to the amount of panels and I liked the little serrated edge there. I'm gonna go with that yellow about two different tones of it now for different reasons, Nicosia can just stamp it and I can meet some of them smaller and some of them bigger. Keep forgetting what side I have to work on. It's almost like a big red outline just to remind me, worked here a love the fact that I'm seeing it throughout the whole scarf as I'm doing this, do smaller one, like doing stuff in threes. I don't know why. That's basically the steps that I went through to add decoration here. I also added some just simple calligraphic lines to draw what are like stems there. I did that in the lighter color, so that would go in behind. So I'm going to just select it and use my backwards or step backwards with my left bracket key. And now let me quickly show you the addition of the border element here. Then I'm going to take some time off camera to do a bunch of the additional embellishments, but we'll do the border first so you can see how I go about doing that. Now of course, we're cropping here where so we know that we can run this simply down the edge and it will be cut off with our cropping. Well, my shift key down to draw the straight line, make sure that I go beyond the edges of my crop though I'm just gonna pull this a little bit higher. And I wanted to show you that you can use the re-color tool here. So select the whole line by Option, clicking on it, hit the recolor tool, go to the Advanced Options and click on your color scheme that you are using so we can actually try it. Either of these, I think they would work. I didn't really end up using the one with the reds in it. So I'm not sure which one I like the best. Probably go to this one and click OK. And see that's now been recolored to work with our design. Now here I want to put a flower in the very center. So you have to think about it in terms of the four corners. So basically it's going to divide whatever brush we use into or if that makes sense. So I'll show you what happens there. So I'm using this brush, but there is a spot where it divides it and you have to kind of experiment. I am not sure which one I like better, so I'm going to try each of them. That one's not bad. That one's kind of neat, and that one kinda forums are really cute hearts. So tough call here. My school a little bit smaller and try to decide. I'm kind of leaning towards this one because it's divided into four and we've got these four sides, but let's try a quick look at these other ones. Yeah, I think the simplicity of this one works for me. I could go a little bit bigger I think, and not let's just give that one a shot. So I think the next thing I want to do here is put that dark background in because I think that's going to help me decide. A couple of other things that I need to decide on here. So what I need is this triangle here to be filled with color. So I can use my clipping mask, the triangular one. So I've got it selected here, I'm going to copy it. Go, I got the whole thing selected. I'm gonna copy it. And then I'm going to paste in place, which is Command Shift and V. So you can see that that has pasted a duplicate. Now it's pasted it on top of everything here. So if I fill it with the black, you can see that that's going to cover everything. That's no problem. We can just pull this all the way down to below all of my brush strokes and motifs. And then I'm just going to pull that edge in within the border of my design. So that's what I want to see you now. I think that this will help me because there's a little bit unsure about these little Ferroni bits. So I think I want to change this in here a little bit. Remember that was that use of divide with the Pathfinder that we did to create this little bit of a gap here. I've got a thought for how I wanted that to look. And I guess it kinda works that way. Sometimes they've kind of changed my mind here on this part. And I want this one to be the same color as this. At the moment, this is actually a brush. And I'm going to use that same brush to brush stroke along here. I think that's the way I want that to look. So when it a little bit darker than that, lighter than the other color I chose. So let's go a little bit intermediate so that I've got just a little bit later stuff going on here. So thing I'm happy with really is the fact that I've got this transformation template that I'm going to be able to save and use over and over again. But I just want to show you that when it comes right down to it, you can still work in separate layers adding to this like for example, those little branches, while it was kinda cool how they reflected there. I think I want them just to be individual. So I'm going to a layer above this whole transformations. If you were in my delicious scallops class, we kind of did the same thing for the central elements. And I'm gonna do some of the brushing of those ferns just completely separate because I think I want it to be just a little bit less symmetrical if that makes sense. After all this work with the symmetry. But I want it to be a little bit more like the hemlock example here where there are some differences from side to side in just a few spots. And that's enough to make it look a little bit more free if patch makes sense, I just don't even know how to describe it really, but it just makes it just look a little bit less symmetrical. So we're working with that template to do all of this repetitive stuff in the background. But we can also separately do some of the other things. I could even get rid of that flower and put the whole flower and if I wanted to, so like I said, I'm gonna be doing a bunch of this work off camera and we'll come back in the next lesson and just review if there's anything really significant that I've done that I want to share with you. 9. Mockups and Finalization: Hey guys, welcome to lesson eight. So kind of finished up my asymmetrical elements. And now I'm ready to do a little bit of finalizing. And then we can take this design and drop it into some mockups. That's the fun part. Let's get started. Now I want to show you some of these kind of dots that I'm doing in the background though there. And they're simply the scatter brushes again are calligraphy brushes. And I'm just stamping using whatever color I would like. And cool thing is, I can enlarge and reduce with my bracket keys for these particular types of brushes. So the brushes that you see up here. So as you can see, I have only got that on that original asymmetrical layer. So I'm going to take all of these, select them all. So I am going to the dot there and selecting from the top to the bottom command G to group. And then that whole group, I'm just going to drag down here and then it'll pop into all four corners. So with that, you can see that we need some slight adjustments here because I had drawn this side as well. So I'm going to see what happens if I put it in this. There we go. So I put it just above the artwork layer there, but it is still within the transformation. So this layer is the one that has the full transformation. And yeah, I think I'm pretty much ready to go here to create a couple of mock-ups. So I've got my mockups open in Photoshop. And for the purposes of creating the mockup, this isn't artwork that I would be uploading to a POD site as of yet. I'm going to just get rid of these examples here. But I want to do is duplicate this because I've got the working file here. Normally I would name this working file or I'll go back and do that. I'm going to Control click on the title of the document here and revealing Finder. That's gonna take me right into the finder to rename it. So I'm going to call this one forging file. I'm saving it. The next time I go to open it, it will have the proper title on it. What I'm going to do right now is save as and this one I'm going to say full scarf expanded. Because what we're gonna do now is completely expand this. So we're going to select all, absolutely, everything is selected here. We're gonna go to object and Expand Appearance, and then back again to object and expand just to be sure that we've got everything now as shapes. So if you take a look at any one of these things here, doing the brushes, they've all been expanded into actual full-on shapes. Ok, so this is what we need to create the mock up with. I'm actually gonna get rid of these brush layers. I'm going to select everything in this asymmetrical layer and make sure just double-check to see that it's expanded and it looks like it's fine. And now we're just going to select all and copy. Now make sure you hit Save. We've got something a little bit extra over here. Let's just get rid of that first and then I'm going to copy again. And then I'm gonna go into my Photoshop document. And this is one of the ones I was playing around with. Then this is the other one. So this was one of my earliest iterations of the design. So what I do here, the mockup, this creates the mockup By the way, I really love it. You can double-click on the Smart Objects. So I'm going to do that. It opens up the associated PSB file. So you'll see up here it says PSB, I'm gonna paste as pixels, and I'm going to enlarge it to fit. Now, there are different parts of the design you'll see. And they can be done differently. You don't have to have the very center of your design. You can move this over to the right or the left, depends what part you want to show on your mockup. Very important at this point that you save. And once it's done saving, it will update. And it's only flip back to the silk scarf. You'll see the artwork is my new artwork there. You can always go back and play with the positioning. So you can go back to your layout. And as it turns out, I've brought another one in here that I like better with a little bit of alpha border. So let's just hit Save on that. Takes a couple seconds because it's updating all of these linked objects as well. And I do like that a lot better with that bit of a border. And I do really like how this particular mock-up has that silky look to it. I don't know how they do it, but another great mockup via creates the. So I thought I'd experiment with this one. And then I also went in and grabbed another one of the mockups in the collection, put the artwork on it and I'll have that to you. I mean, it's just so fun to do this part. Well, let's meet in the next lesson where we can maybe just do a bit of a review. See you there. 10. Lesson 9 Review of 2 Different Transformations: Hi guys, welcome to Lesson nine. So I thought before the class ended, I should show you a quick review of doing the transformation. I want to show you two different methods. So they'll be the one that has the reflection happening within the quadrants. And then there'll be another one that has no reflection in the quadrant, but just the four corners reflected. You'll see what I mean. Let's get started. But I take his last lesson to explain another really quick transformation that you could do with designing a scarf. So I've got my document started here. I've got a ten by ten rectangle or square on a ten by ten art board. I selected that layer and went to create a clipping mouse. So here I'll release it so you can see what I did. This is simply selected, go to the flyout menu, make a clipping mask. And then you can see with this underlying On this rectangle that it is now a clipping mask. So just to help you visualize a little bit better, I'm going to paste in an artwork drag that underneath the clipping mask. This one, instead of having the half of the square reflecting diagonally like we did on the last one. I'm just gonna do a straight square. So I've got the layer selected here. I've made the clipping mask. And the very first thing I'm going to do, since I did it wrong last time, I want to show you the proper way to do this. You go to pathfinder and crop. It doesn't look like anything happened, but you'll see that that's important later on. If we didn't have this. And I had artwork in here, anything that went over the edge like you see here, would actually knock the other squares out of position. So it's really important that we do that step first. And now we'll just quickly do those two transformations. You remember how to do that? Hit Transform here, reflect X or going through reflect from the outside edge I usually through the bottom right-hand corner, we're gonna do one copy and then we're gonna go back. And another transformation here, applying new effect. Definitely want to apply new effect so it doesn't cancel the first one. This one we're gonna do reflecting why. And again, we'll do that bottom right-hand corner and one copy. So this is really the perfect way for me to illustrate how valuable a template like this is what this artwork, I've almost instantly created a scarf. And yes, I know there are going to be adjustments and I'm going to need to fill in some of the space. But that was really super quick. What I would do here is select my group, reduce it down in size and orienting it to this corner here. Then I would go through, of course, and move anything like this. That's kinda weird what it into the center or take it out completely. And that's likely what I would do is I find guides here. I'm going to copy. I'm Option Shift and selecting these items that are overlapping on the edge that don't look too good to me. Oops, I guess I can't do that one. That's a group. Let's just do this, this and this self. But those three selected, I'm gonna cut, I'm going to go into this later though called extras and I'm gonna paste, let me reduce down in size. So you can see that. And now these items are actually free-floating. They're not part of the entire transformation. So I'm going to just close my appearance panel to make this a little bit easier to work with. So these are completely independent. I can use them to fill in some of these spaces. And quite quickly, I could create a really nice layout here. This one is in that layer, so it's not going to show as part of my extras layer. So I'm going to cut it there. Go back to this one piece in place. And you can see what I'm doing here is filling in the whole background. So here, again, I would also add another extra layer and put it down at the bottom. I'd add complete square to create the background. Of course I would not choose that color and probably do something quite dramatic. Resize it to what I need. And you can see here that I could use this as a way to orient that, to make sure it's perfectly the right position. And I could quickly create a scarf. I will probably do a bit of the soft camera and show you a finished scarf at the end. So that was the alternate method or an alternate look that you could have with your transformation. 11. Outro: Please welcome. Wasn't Yeah. Now that was a really long course. And I'm humbled by the fact that you stayed and finish the whole thing. Thanks so much. Without your attendance in my classes, I just wouldn't be as inspired. Seeing the work that my students create is so rewarding and I really appreciate that you take the time to share. If you ever have any questions, make sure you leave it in the discussion section. I love answering the questions and just finding out what kind of stuff people are working on. I've recently started posting resources for artists on my website. So if you haven't minute, visit me there. It's that Shop dot Dolores art dot ca. Make sure you sign up for my mailing lists. That resources section will be an ever-expanding area. I also share our resources on Pinterest. My two sites are Dolores art galleries, Nas grants and teach a Dolores nascar and make sure you check it out. If you're curious about my work, make sure you lock me out. You can find me on Fazul red bubble art of where hearing Canada. And thanks again for hanging out with me and keep on learning. I for now.