Designing a seamless Line Icon Pattern: Bringing those Backgrounds to Life. | Jason Smith | Skillshare

Designing a seamless Line Icon Pattern: Bringing those Backgrounds to Life.

Jason Smith, Create Things, Hunt Gnomes.

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5 Lessons (47m)
    • 1. Introduction

      1:08
    • 2. Sketch Them Out

      1:06
    • 3. Prepare to Digitalize

      8:06
    • 4. Compose Your icons

      11:18
    • 5. Prep, Test, Tweak, Repeat, EXPORT

      25:27

About This Class

In this class you'll learn how to design seamless pattern backgrounds for use on a number of projects, such as: Web/ Mobile, Illustration, Print, Promotional backdrops and more. All within Adobe Illustrator.

We'll cover some basic iconography design, artwork preparation,  and the best practises for saving your background out for it's intended purpose.

I personally enjoy everything made simple, so I have made it my goal to do so with this class! It's the best way to learn something you feel passionate about!

I will also try to make my class as fully comprehensive as possible so anyone can have a go. Beginner to Senior level designers alike! 

*Disclaimer - My computer machine is oldish and can't handle the might of Adobe CC products, so I'll be working in CS6. But this doesn't really hold much relevance as you should be able to complete the class with Adobe Illustrator CS4 or above.*

Music: http://www.bensound.com

Transcripts

1. Introduction: I'm Jason Smith. You are designing in the streets. I'm really passionate about iconography. I felt across creating a seamless background pattern. Using icons is something I could really give back to the design community. There are so many applications for an icon based background Patton such as imprint. You have business cards on other such promotional materials. You have digital where you have backdrops on websites, uh, Bonner's desktop backgrounds. Then then many, many, many more. My close is super easy to learn, Uh, and I hope super fun to do. I have even provided Eichel pack to get started if you're not too comfortable actually creating icons so it doesn't stop anybody from taking part. I say, Why don't give it a shot. If you think you're ready to dive into the world of seamless iconography patterns with me, then let's go on and I'll see you on the other side 2. Sketch Them Out: hello and welcome to the first unit in my seamless line icon patent class. To get things off, we're gonna want to get our sketchbooks out. And it's of course, you draw going onto the computer, then door about that bit. Get your already so your pen and your pencil, you don't necessarily have to use line graph paper. I like to. So that's basically just my process. Choose whatever feels comfortable to you on. Then pick us up the thing some helpful hints down in the description below, just for some ideas just to get you going. As you can see, I love food. Who doesn't referencing utensils in there as well? Some fast foods and healthy food have drawn more than I needed, purely because that gives me more choice than when deciding on which icons I want to focus on. Draw between five and 10 really will only be using about five or six. The dress is completely yours. Make sure that they are line icons have breathing room. We can obviously edit all of that. The next process will commence. Surely so I'll meet you back here 3. Prepare to Digitalize: Hello and welcome to you. Need to in this unit will be creating an onboard creating a grid on our outboard on. And within these great will be creating our icons. So this could basically helps us keep everything in proportion. And then what we're doing is pulling in our image file so we can leave a trace or copy, are icons and then setting upper layers so that we can all work within this one. Our board, given the fall of size down. Okay, so let's begin. We're gonna foil new No, it's cool. This I can't button. I can't call whoever you like. Just make sure you remember and keep it somewhere. Um, that you remember also, maybe you just up. So we're gonna create our icon tire. We're gonna create out icons, uh, 500 by 500. At least that will be the four size off the art board. Um, and I'll explain a little bit later. On what we make it so big. Um, it's just basically so you can see what we're doing. And then when we shrink it down, when it comes to actually creating the toil, we can then make sure everything's nice and crisp, especially when it comes to saving out. I mean, obviously, with the files being factor, we could scale them up and down it because we want. But I like to make mine oversized, just in case I choose to use the icon somewhere so I can save the mouth for later on. So we've got our are bought. Next thing you want to do is make our grid. So we're gonna go through the rectangle tool, which is empty. Sure. Come, Can we gonna want to type out the size? Just click in this corner here and it will draw out from that corner downwards. It's covered in this stroke. No, let's have a color. Doesn't matter what kind of whatsoever. I just really like pink. So I'm gonna go with pink. No, we select our shape, we're gonna go toe object down to path and then split into grid. Now we're gonna want to split this into equal increments on both sides. Here you go with 10 by feel that 10 is a little bit too much. And we're not gonna really I'm personally not gonna be creating icons that aren't that complicated, so I'm gonna go with eight again. Feel free to have a little mess around. See what fits best to you. Um, I think a really suits most icon types, especially at this point where we're creating, uh, simple line icons, at least. So let's hit. Okay. I never noticed that these are actually divided up and no group. So we're gonna want a group that's control or command G tennis into a stroke on if you really want to, you could just use this of your grid. If you're it'd just look this layer called a grid and then set up a new layer. Um, you could stop that way. I personally like the fact that it's embedded almost on the are bored, and you don't get the sort part of showing up when you hover over them. So So what we do next is we go up to a view, and then we go down to guides and I'm going to go to make guides. Obviously, we need to have selected our group before doing any of this. It make right make guides. Sorry. And and then we go. This is now sonnet. Until of course, we unlock it. We could you shortcuts to that? But you can also come up to the same drop down view, Dr Guides. And then you have You could clear them if you want to start again or look, the guides. And then when she clicked that it was a unlock guides. Um, well, you've got the high guides there, Which you could talk a long enough with their the short cut. Okay, we're almost there. Basically, what we want to do next is import our image. So it's gonna file and then place your desktop. I can patent class reference. This is all for me. You don't actually have toe for your things like this. It all completely up to you. So they grabbed our image style, shrink it down some, get everyone to shrink it down. So if we want to make it around this size, and then we can scale it up a little bit. So bulletins like so at this point, if you don't have it in a place that you know, you're going to keep it, um, you know, you're not gonna move it whatsoever during this process. You're okay to just leave it as it is to keep false eyes down, but I would suggest you click in bed regardless, just to make sure itself sticks with you as you travel through. Now, this, uh, this journey, so to speak, and then you'll have no worries about losing the file. Okay, So in a really good place, we can look this layer, we can lay all this weaken, label this sketch, and we can open up a new layer. Um, I like to create my icons on, uh, individual layers, but you can also just create an original layer, create them all on that one layer and then break them up into their individual, um corresponding labeled layers. I do suggest that you create a new original layer purely because once you've designed your late when you designed your icons, you want something to fall back on before we start editing them. So having an original collection off your original tracings or line work really sort of cuts that headache out of having to do everything all over again just because you didn't create a copy. So that's just a tip on a suggestion that I make. But from there, we just want toe select data comes that we're gonna want to make. Um I'm just doing this on the fly, so please spend a little bit more time on the ones that you want to really focus on. I say I'm doing on the fly. Deep down, I really knew which ones I wanted to draw. I wanted to create. So, um, there we go. 12345 Burger, pizza. I slowly ice cream and soda pop. Um, I think that's gonna suit me. Well, maybe no one more time or just in case. Good. Techo. Here we go. So they my icons there was I'm selecting. I've create the lays for the meat. I'm gonna lock those and then concentrate everything on my original layer, trace them all and then break them all off into their own individual layers. But keeping a copy on the original, which we were dangerous lock and turn off. So we can't see that and went at the end of that. We'll also then just turn off the sketch icon of the sketch. Sorry, layer to so from here on out, get all of this taken care off and in the next unit will focus a little bit more on creating the icons themselves. 4. Compose Your icons: Hello and welcome to the next unit. So in this close on this unit Sorry. What we're gonna want to do is prepare icons ready for our tile on. There's a little bit of a process to this, but you will get there. Andi, we will make this as simple and as easy as possible at this point. Say, for example, we've moved on. You've traced out your icons. You're happy with the ones that you wanted to use. But now it's time to sort of try and get them all proportionate to one another so that there are at this off stage. So what we're gonna do is for me, for example, I'm just going to be taking this one icon and showing you what to do with that. And then you can carry that on through the rest of the icons one at a time, making sure their role at the same sort of level. And of course, if you have any problems or queries, then just throw them in the boxes below. Andi, we'll get back to you soon as possible. So for me, anyway, I'm gonna want to copy this. I'm gonna control C. Come on, see new layer. I'm just gonna call this new burger, look my originals and paste it straight down. No good on my our board. And this is what you're probably be wanting. 10. Learn. Better be more since we created the outboard. So I'll just explain this quickly this out of large in here. I'm not going to touch. This is gonna be our margin. I'm gonna working within this six by six grid to just hey, depending on how money. Um, great Rosen columns or points I like to call them. You've actually created. Then that all depends on where you begin your work. But because my are kind of really simple. I've created an eight by a Andi. I'm only going to be using a six by six. So it keeps everything down, keeps everything nice and neat, and it keeps everything from start spilling over to the edges where I might then lose detail as I export my like on. So if I were to come to that point anyway, you want to skill your icon up, making sure again that it's within our margin, I'm gonna want to add a cove to this air bearing that in mind as I do that I fall over into my margin. So I'm resize that again, always keeping it within and always trying to just resend to that So you can come up here to re sent a horizontally and vertically, or you can come up to a line over to a line. When you look widget box here and do the same thing, just this one here and this one handed to center of the tops Strip road. You're gonna go back a couple of steps there because I want to turn our slices more young cheese into a Zachary Woodley wiggly line like lettuce. So I'm gonna go to effect, transform, distort and transform is exact. And I'm gonna just get preview so I can see what's going on Smooth. So I've got nice curves there. Take that down some they go. And then I want to make this an old number that my second see otherwise you'll end up with odd on old. I mean, that's fine. If you like that broken symmetry, that's great. I admire that, actually, but I prefer sometimes to create that perfect symmetry as much as possible and then break it elsewhere. So you click up here into this box, and that will automatically show us what's going on. So, as you see now, our two points or a top rather than one of the top one of the bottom okay, gonna go to object, expand appearance. And now let's turn that into an actual stroke rather than an effect on a stroke. Right now, I can then go back to adding a curve to my hamburger. Take it down again. That's center it. Now I want to at my weight, I'll get my weight. Where wanted. Choose that, choosing us lie in wait now. So then, as I get bigger as I increase the size of my ankle, I can watch how close I get to this line. Because obviously, as I increase the size, the stroke weight will then grow and as it's growing, is coming outwards from my center line there. I've made it bigger without actually adding the stroke, and I'm doing that on purpose. Do you see what I'm talking about? Chosen from a fun way? Hey, stroke. Wait. I apologize off 14 picks owes and eventually example didn't didn't work too well, so you'll see that it fell over the edge here, so I'm gonna need to change the size emphasis lightly. And obviously, that changes the size off our weight. That 2 to 14 changed it. Hey, this is likely a sense of that. That's always gonna change, too. Make it tiny bit bigger. Get very close to this line, but not too close. 14. Again. Check the bottom to make sure that hanging over, center it on. I think that's fine. See, now the next step would be from this point is to outline a stroke, and then we can make sure that it gets pulled up to this line on the line without fear of losing any edges or any curves are having anything cut off. We're gonna make sure the height of every icon is exactly the same. So then there will proportionate to one another. Changing the icon of the icons angle ever so slightly will help you feel this base in some somewhat so you can make sure that they're all sort of taking up the same short space. Um, as a rule, when creating icons, you either stick to the height to make that consistent throughout the icons or you stick to the width. And as we're not really working with any sort off perfectly equal cited, shaped like a circle or a square, I'm just focusing on the height, which is perfectly fine at this point. It's just a case of making sure that angle and that so off space that being occupied is fairly similar. Throughout your icons, there are gonna be spread out. They're not going to be in a row. They're never going to be seen right next to one another like so. But it does keep them nice and proportionately sort of sized next to one another. Maybe no, in real life, because obviously stoned accounts never gonna be bigger than its hecho are so great. Care has never been bigger than your ice cream. If it is well, I'd take you back. Not they can, but the ice cream. So moving on. What we want to do now is creating Thea Outlines were happy with their weight. We're happy with the spacing. What we've got going on here. So we do is we go to object path, create outline, and then that's that. Now we can direct this up to our point and it will snap to the edge of the guide, their lungs. We've got that turned on Go to view. Smart guides, I think is actually I'm sorry. It snapped point just there. You can make sure that's the same talking bottom. And we're gonna do that with every single icon as we move along, adding the detail where it's nice and square and then I think because of the angle to it, make sure the weights we're all the same, making sure it's just within our line here. I didn't know margin outlining them and then making sure that their ALS the same height. So you news. Copy that and paste it throughout on. At this point, I advise that you do it layer to layer. So you work nice sends off quickly that way, but also making sure that they're all nice and consistent. So let me just delete this lady just quickly just to show you before news on. Well, I've done already. You know, Tenney originals off because there just distracting at this point, focusing on our outboard, and you'll notice that if I jumped from layer to layer, but they touch top and bottom off our margin. Onda look nice and off consistent in the fact that they've got a nice bit space in them they consuming occupying a nice bit of space all the way around the line way is the same. Um, the level of detail is the same more or less, and they all look nice and consistent and they all look like they belong to the same set. So that is what you're looking for throughout I wouldn't appoint just quickly is to know worry so much about this number being nice and rounded, you know, like I could run this up to 375 But then it wouldn't sit within a mile of my large it at this point, it really doesn't matter if you're making icons for somebody, and that's actually all you're using this course for is to to sort of learn a few tricks on how to make a Nikon. Then that's great on. If you want to make it the same size, then get to this point and then even now, actually make sure you've locked you constraints and then 375 at that doesn't really add too much high anyway because it's really unnoticeable, But make sure again that they're alive the same height. Your greed is just your great. It's just a template at the end of the day. So if you wanna make sure that one at least one of your height or width is nice and rounded off, then by all means. But, um, for the purposes of this class, that's not necessity. Now we've got all over her icons all jumbled up on there, remembering, of course, that these were outlined and I made originals. So just keep that tick bit as something to solve. Go boy. As you as you work through this process, create your icons that, you see, I've selected. I've selected and designed six worked on the six, I might know, even use the six, but it's giving me choice on in. The next unit will be working on creating the pattern, so I will see you there. Good luck if you have any problems again, feedback worries, concerns, questions just dropped them in the boxes below. Andi, I'll get back to you soon as I can 5. Prep, Test, Tweak, Repeat, EXPORT: Hello on. Welcome to the next unit. This is the one before you run off and celebrate that you just created the best icon Tall Patton ever. So let's, uh let's get coming. You'll notice. I, um I've laid them all out, like so. I just want to show you this before we actually before show you how to lay out like this. This is where we're gonna be aiming this is would be aiming for one point out a few things before we do. First thing I didn't use all my icons. Um, I've laid them on what type of hair? Our board. I created more shapes. These air, currently still strokes by, then outlined those strokes to make sure that we don't lose them in the upcoming process. And you'll see that these are grouped and, well, this one, but they doubled like so, but they're actually sitting in the exact same space on this. Coordinate as to discordant and vice versa. And there's a very clever way of getting those to line up nicely on our art board. Before we do that, we're gonna want to set up an outboard. And previously, with our icons, we re outline them. We want to bring those outlined ones into this. New onboard is a brand new file. I want to go up to file new, and then we wouldn't actually make this 300 free 50. Sorry. By 3 50 And that's because we don't want it to be at biggest revenue for 500 because records will be giant and we're not gonna actually see much off. Um, when they span across, say, for example, background. I'm just making sure that you keep it at this as well. Like a proportionate, uh, square. Whatever choice you make, um, I've already made my layer. So this is just your benefit label it. I've lived with my eye icon, Patton, dash tile and then safe that always save, um, pro tip coming from somebody that has lost plenty from crashes in the past. So we're at this point, Like I said, I've only actually chosen five of my six icons have created some little tiny pieces. They're like, Phyllis is why I like to call them. So I have placed them around the way. What we do to start, just let me clear what I have currently, and then we can build it out together. Um, as we were with this point, I'm working on my original. I'm working on a layer called O. J for original. And I have another layer set up for my final and again this so I can come back and make any changes. I want to, just in case I need toe move anything up or down, because at this point, we don't really know where things are going to sit in relation to one another as the as the tar repeats itself across the screen up and down. So it's always, always, always, always a good idea to keep the original so we can come back, make work a little less harder for ourselves. So I'm going Teoh, remove everything that doubled when you leave these, as they are for now, because I got them in a good place. But by all means juggle them around, move them around, filled the space, occupied that nicely. But my advice would be to start on these outer edges first. Um, let's cut that quickly, just these outrageous first and then fill the middle in because that's a little bit less important than making sure that These are real nice and lined up along our edges. So one thing at a time, what we're gonna do is copy paste each of these on top of themselves. So select each one individually by holding shift control or command. See control or command F to place him in front and always come up to edit and paste in front. Also. Now we've got copies. As you see, what we want to do is remember our tile size, our boards. I Sorry, that's 3 50 by free 50. So we come over to transform, which is, actually, if you don't have it over here, which you probably want, because this is my set up, not yours. Come out the window. Come all the way down to transform just below symbols just above transparency and hit tick . And then that will show up. And you could move it. Where of us suits best to you. You can pull it out here, actually weaken we can use it Just takes time. Just give you Don't lose it. So we're gonna come over here. It's just hi options. So it doesn't confuse you. It'll with God. Guys did it. We're gonna come up here. We're gonna look at this quickly. X is the wish. Why is the height so? Usually they actually correspond with one another. Here. This is the horizontal access. Sorry. And this is the vertical access. So we can actually add and take away from these points by simply typing minus and then the number we want to move. This particular I can see is actually coordinates off. Where exactly these icons are on our outboard USO is you notice a change that is a slightly so what we want to do next is create a copy of this down here that is completely in line with this edge is everything that's hanging over the top here will be hanging over onto our gold at the bottom. Here, we select our soda, we come up and we want to remember that we're actually working with our high at this point because this is our height. As we know, we're gonna come into the why box here and we're going to go plus 3 50 which is gonna type plus a free 50 of the space there we hit enter. And that is gonna copy or no, in fact, copy because we have a copy on top. It's gonna move our icon down into where we've just told it to move. Um, and that's really as simple as it gets this point. Now we're gonna group these or control or command and G make sure that if we move them, that always going to be moving together and they'll always line up. In that case, um, So next we're gonna do a hamburger. We're gonna go across, we're gonna work with the width of our outboard. So gonna come up to here and you notice I put Plus, a plus is moving from top to bottom or left to right. See if I needed to move the opposite direction I needed. I did use a minor. So if I was working on the bottom, I want to go put minus 3 50 then this can hear, would then move up here and advice that I said that hamburger was actually over here. I then want to move it this way. So I want to go backwards. So therefore minus. So I have a copy. We have a copy off our hamburger just here. We're going to come over to our with. We're gonna go space close 3 50 Easy as that I'm gonna control. Come on, g to group them. And then there's like, one more step we want to take, and that's making sure our ice cream is copied with might actually need to do this twice, though, because if you will notice, I just draw a line here. You'll see that it's actually protruding over two edges. It's gonna make sure that we take that into account when creating up icon. Of course, as we have our original layer here, we always come back. If we miss that the first time around. So you want to copy? Just make sure we're gonna go down. So we're going. Plus, on our height. So plus 3 50 Copy that. That's before the group that that's just copy command or control C control F. Okay. Plus 3 50 There we go. And we get American Group all three of these making sure that there are always sitting together. I'm gonna put this back over here now. Okay, now this point, that's safe. We should be saving all the way low, but just a little reminder that the both of us Let's see that. Ok, so now what we want to do is we want to look well. Not look sorry. It's copy this layer. Let's drag everything out. Let's highlight everything, Control. Come on to see. Lock the layer. Now we're gonna go into our final layer. Turn this one off. Don't need that anymore. We're going to control. Come on, F to make sure it lands exactly where we just took it from. And we're going to go up to our rectangle toll remembering the size of our cardboard. 3 53 50 Okay, now you make sure that this is where we want it to be. Obviously, that's a line it vertically, horizontally. Want to turn that stroke off? Well, that feel off, So got nothing. No film, no stroke. And that's sitting on top off our icons. Now, watch carefully now, because this is the process. This is the part that it could go terribly wrong and you can get all confused. So but already or in good has I will make sure it doesn't happen. What we want to do next is highlight everything. They really don't worry about everything being grouped. At this point, we can do that in a second. Everything making sure our shape that's on top, sort of invisible square there. That's on top of our icons. And we want to come over to call Finder. And then we want to go to Crop, which is the third end from the right on our part finder dollar book sale, which it we can find that by going to window and then, uh, Pathfinder, just below Navigator, just above Patton's patent options. So crop on that as basically just chopped off every anything's outside off our shape. Next step is to actually go into our group now, and you'll see that this is actually it's a pretty cool, but the same time we don't need it, so we'll drag that off from an ice open peace. Then I open space will delete that. Now it's not so of interfering at all. But now this actually phantom pieces inside of each of these shapes as it's cut out anything that there's white space. So we want to do. Do you want him? Why, for a magic one tour or just up here just under the selection tool magic wand, and then make sure we click on the color that we've got. You would that we're using for our icons here. So the black witness in this case, we can see that it's using black over here. Otherwise, it would be a question mark. I'm gonna go Commander Control X to cut out V or come up here and select again. And now it's gravel of that junk and just delete it and then command or control f paced in front. Now, at this point, we come out, they're not actually grouped, but we want to group them. So let's command control, G. Then we have it. You have a Nikon toil patent tile even. And that really is where is to it? It's ah really simple, really great fun. There are a couple more things that I'd like to cover just before we move on. We obviously need to test our icon title to make sure it lines up with a couple things. I want to make sure you understand, because they can be a little bit off scary. And you sort of pull your hair a little bit, Um, you to at least if you do it the first time and then you don't know about it. You have to do a little research. But again, that's why I'm here. So I think next we want to do it. Was guys groped? We've got original layer here, remembering that we can always come back and change the placement of anything that we want to making sure that our duplicates are group to. So they will move with with one another across that our port. So I'm gonna say it now. You don't necessarily have to keep you black. You conjugate revocable. Let's make it get. Think again. Let's keep the running theme. Do you? Lovely pink junk food Bria. Okay, so also, what I'm gonna do is draw a gonna put background on this. Otherwise, what happened is you can say that transparent on it will just sit on top of whatever is behind it, obviously, Especially if you're using it. You say that was a J peg I knew. Then use it for your background on the computer, your desktop, or even for web. You can. Then obviously with CS a supply background color and then tile on top of that, that's not necessarily what we want to do here on a couple bases. So I'm going to create this rectangle 300 by 300. Going to send that to the back two object arrange Since the bank, I'm gonna take our toil there and you're gonna come over to the transparency tours, which is again window transparency just below transforms above type I'm gonna get down to You didn't do ever you want here you could test it Screen makes it light Just pretty cool Neo neons up going on there we can hit multiply Makes it darker again It's quite show overlay sharp to weaken waste change the paint that we've got here too So either it doesn't her out bubbly eyes too much It's gonna multiply It looks cool. I can always China's down if I want to. Super duper up could always always, always just make sure make Maiga's white if you really wanted to. But not all multiply. It's going to that one. It's pretty good. I'm gonna go with that. You can mess around with your difference off your levels Here. Did the different percentages in capacity make make it however you want to make it, make it look nice and exactly how you want it. Save again. Now I'm gonna draw out a tile here, just a resemble my desktop background, which is 1920 by 1200. Okay, now, this is now gonna be basically my my test run. So I've got me icon. I'm gonna group that with the background. So it's all one. Before we do anything else, I'm gonna come over here and gonna go the art portal. I am gonna make sure there are no decimal points here. So if it said does my 0.5 enter hobble would move. So sometimes what happens is we get there automatically. So you want to get rid of that decimal point and just take it down to its closest X value, or why value and hit enter to move that. So it's basically flush on our background here. Otherwise, what will happen is it will create a white white line or a transparent line, depending on how you save l around our toil. And then honestly, don't be evident no matter where it goes. And you don't want that. So to avoid that, we just give her that decimal point. Super simple. I do that for everything. Every every on board that I create. I make sure there are no dismal points to sort of, like, narrow down the chances of that white space. And if I do have white space, I know that I've still got a dismal point or the life I've misaligned my artwork to my art board. Okay, so we're gonna center. We're gonna make sure this is accented job. Lee, we're gonna come up to our swatches panel here again. Window switch. It's right there just below spg Interactivity and sorry, but yet about below SDG and then above symbols drug it up and drop in a sea little blue marker. And on the panel and in a green cross on the cursor dropped in there ISS. Now we've selected our display quote unquote. Now we do. You make sure, Romel Phil, rather than our stroke Otherwise it will just occupy the stroke. And we're going to see it. That's happened to me a few times. And then we just get that and there we go. Bam! I competitive pretty sweets, but I say so myself. And I'm actually quite quite happy. I'm very happy with the placement. Everything. Everything looks like it's Oh, God. Nice more or less equal spacing. I mean, it's probably a little bit this this can could morning come up just a tiny bit, too, the to the direction that my mouse is moving to give a bit more room here. But other than that, I think I'm really happy you can tweak yours as much as you possibly need, But you might not be a tweak it at this point, living up and down with your cropped icons is gonna be very difficult, because remembering they're actually now pose set by you cropping them. So you might need to keep going backwards and forwards ever for a little while until you're really happy with what you've got. But believe me, once you get to that point always making sure that you kept your original once you've made your edits and then you've got your final tile or even, like make a few doesn't matter how many ladies you use is making sure you get original to go back to once You're at that point, it is so rewarding. So next I think what I want to just show you quickly is we zoom in, you'll notice in restricted. Does this anti alias ing thing where it can't quite render, uh, tiles as much as it as much as we'd like it to at least. See, See, this black line sometimes shows up is a white line. Um, ignore it because, as you saw from a zoomed out perspective or view, it wasn't. There we come right in. It disappears. You see evidence like that that itself will disappear. Bridges zoom out is gone. Zoom out the mountains. Email. It might turn up again, but it's nothing is nothing to worry about. What you want to do is you see the joint, you know where your tiles do cross over. You just want to zoom in there and make sure that nothing so out of line because that's a possibility. But that phantom line that will not show up on your work. Unless, of course, you've no taking care of the decimal points at this stage. Um, so you bear that in mind that I'm worry no threat that that Okay, that we will bug you if you don't know about it. So thank goodness I'm here to save the day. Okay. So I'm really happy with what I've got here. on. Hopefully, you're a point where you're really happy to. Now we want to say that out. Now, if we're working on something that's print ways and we don't necessarily need to say that we can it's all in illustrators or in a vector based program on we can pull it into saying design as a vector. For what? You want to just see this out as a GPS or as the AI file. But if receiving out for Web all for say, we do want to put it into for print design making sure they set to the right color, the next step would be to either creative options for yourself. So crazy. What board? And I still actually hopefully show you the decimal problem that ago? Yes, it did. Brilliant. I'm just gonna create to increase many as you like. So let me assure you that again we have this I cannot hear marked. Basically, that will copy everything is on our board as we create the new aboard, dragging it down by holding bolt. Um, we can just create a new one and copy and paste it straight to that outboard just by doing so. But I prefer not to do that Just got back. Try to keep everything as it waas So we dragged down there's gonna create one with a slight dip in color. And then what we want to do is make sure I could said before decimal points are gone. So it delete it past the decimal point hit return Come out next is very important. Also making sure that everything here is grouped We want to align it to the outboard again because the elbow moves to the artwork did not So that will also create that fact that line and I might be offended and that will be their next. I'm going to change the color of my of my my my pattern here the tile we're gonna do is come up to the re color artwork I can just up there on what we could do is go to edit from assigned to edit, hit the padlock and now we can actually just change the color and watch it change So home with a purple days that's really nice. You could mess around with this in your own time and that's a completely different world. So we're gonna hit okay, And now we've got two different colors to diversions we can mess around with. Want to do now is say, this out formula set out for Web, which makes it nice and crisp and nice and clean. So we go up to foil safer web. You don't have to. You could just export it as a PNG if you really want to, I'm gonna export it without transparency checked. But as a PNG Dash 24 which is in the best of quality optimized, make sure it's optimized when you say that PG also save, um desktop. I could Patton design. No, I can save you just in this hole here. Total Stashes. It's just call this pattern tile to keep the name convention down safe. Let's do it again with this one. But this one, I'm going to say that was PNG. So cap, too, Uh, export. I've actually said it's your cup for that. But that isn't the case file. Explore P and G use our boards. We're going to really use one outboard, so I'm gonna get a range up number two because that's what that is. We're gonna Goodbye count. Select that. I'm gonna call this are too time to. We've got this old taken care off, export. Now this is fine screen. That went any bigger than that for now. Type optimized. No, we have no text, so we're are optimized. Don't worry about this. It's lying White. Yes, Over transparent. Okay, please. Like a state. Share your stuff. Um, have fun If at this point you haven't begun the process that you really want to have a go, just don't have time. I've included the outlined icon files for you to work with. You just have to set up Patton. Most of the works done, but the pattern portion off it is not. So That's for you to work with. Let me know how you get on. I'm really looking forward to seeing everybody's work. Thank you so much for taking this course. And I will endeavor to get another one put together for you guys.