Easy Patterns in Procreate using Brushes - 20 Brushes Including Instructions to Make and Edit More | Delores Naskrent | Skillshare

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Easy Patterns in Procreate using Brushes - 20 Brushes Including Instructions to Make and Edit More

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

9 Lessons (51m)
    • 1. Intro to Easy Pattern Design Using Brushes

      1:22
    • 2. Overview and Class Objectives

      4:07
    • 3. Brush Loading and Creating Your Own

      8:44
    • 4. Strategies for Planning Your Pattern

      7:57
    • 5. Initial Layout Tips and Tricks 1

      7:53
    • 6. Filling Gaps and Finessing the Design

      5:57
    • 7. Final Pattern Testing and Correcting

      6:50
    • 8. Additional Editing to Finalize

      6:32
    • 9. Conclusion, Mockups and Next Steps

      1:19
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About This Class

Have you had a chance to take my other Procreate classes, including Watercolour Floral Abstracts with Procreate and Simple Brushes in Procreate for Quick Compositions? If you have, you’ve learned plenty about custom Procreate brushes, but I still have more info for you! I have a series of pattern design classes too. This is the first one in the series!

This new class, Easy Patterns in Procreate using Brushes, will show you some of my illustration and pattern design methodology, and ways to use brushes to create a pattern. In the class, I take you from start to finish in creating a full seamless repeat pattern. I have techniques to save the pattern in many iterations. I use this method to be sure the pattern swatch that we’ll be creating is completely editable. One of my goals is to show you how we’ll be able to recolor it once the pattern is complete. But the star of the show is definitely creating and using brushes to create these patterns.

In this class I’ll walk you through:

  • Creating and using Procreate custom brushes (I give you a bunch to play with)
  • my step-by-step repeat method for making seamless patterns in Procreate
  • tips for creating compositions for a really varied and appealing pattern repeat
  • my workflow for use of layers and other great features like snapping
  • adjusting patterns to perfect the flow
  • methods for keeping the swatch fully editable for later adjustments and recoloring 

If you’re a pattern designer with a good basic knowledge of Procreate, you’ll be able to go through all the steps. This class will benefit anyone who wishes to simplify creation of seamless patterns and methods to improve efficiency.

The key concepts I will include:

  • review of my brush making techniques and the production of floral brushes
  • a look at Procreate brushes and their various idiosyncrasies
  • approaches you can take in your creative work

This is a great course for you to take no matter what the purpose for the art you create, whether it be for fabric design for sites like Spoonflower, scrapbooking paper, custom web graphics, or whatever! Take this course even if you have no idea what you will be using your pattern for. I guarantee you will create something really appealing, and it’s so much fun, once you get the hang of it!

Intro to Easy Patterns in Procreate using Brushes

This short intro will give you an overview of the class.

Lesson 1: Discussing the Overview and Objectives

In this lesson, I will show you the objectives for class and explain the merits of the technique I use. I walk you through the beginning of planning.

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Lesson 2: Brush Loading and Creating Your Own

In this lesson, I will break down the complete process of creating your own custom brushes. I show you everything from creating the source file, to importing it into Procreate, and finally, adjusting settings.

Lesson 3: Strategies in Planning Your Pattern

In this lesson, I will explain the settings and sizing of the brushes. I will show you some of the key techniques I use and explain it every step of the way. By the end of the lesson, you will have a lovely layout with plenty of interest, and you will know how to use most of the brushes in the accompanying download.

Lesson 4: lnitial Layout Tips and Tricks

This is the lesson in which I teach you about creating the seamless tile. We are left with an obvious area that needs to be filled. I show you a bunch more adjustments for brushes as we work our way through this lesson.

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Lesson 5: Filling Gaps & Finessing the Design

In this lesson, we start getting to the nitty gritty of the final artwork. You will see me use several different techniques to add interest and detail. I show you the texture brushes I have created, and I explain the settings. Throughout the process you learn much more about brushes.

Lesson 6: Final Pattern Testing and Correcting

At this stage, we start to pull our layout together, and I will correct the small details that make it work. I use a new swirl motif brush that I created. I will give you plenty of ideas for exploration.

Lesson 7: Additional Editing to Finalize

This is the last step, and in this lesson, I will be wrapping up. This will show you just how versatile this technique can be and how valuable experimentation is in your development as a surface pattern designer.

Lesson 8: Conclusion, Mockup and Next Steps

We will conclude everything in this lesson. I show you a couple of quick mockups with the pattern and we end with a chat about next steps.

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Concepts covered:

Concepts covered include but are not limited to Procreate pattern design, Procreate repeat Patterns with brushes, layering, transparency, Procreate brush stamps, Procreate canvas settings, Procreate snapping and guides, Procreate floral brush creation, art licensing, POD ideas, creating original brush stamps in Procreate, the Brush Studio in Procreate, adjusting Procreate brushes, sizing of documents and brushes, using the streamline setting in the brush studio, compositions with brush stamps, adding texture brush stamps, procreate brushes for adding interest, workflow best practices, painting best practice, Procreate composites, techniques with paints and blending, and much more.

You will get the bonus of…

  • 51 minutes of direction from an instructor who has been in graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge
  • an outline with links to further research
  • a list of helpful online sites to further your education into surface pattern design

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. Intro to Easy Pattern Design Using Brushes: Hi guys and welcome. My name is Dillard's master branch and I'm coming to you from sunny, Manitoba, Canada. So today I'm bringing you a pattern design class and procreate. I know there are dozens of classes here that you can take to learn how to make patterns. But I figured out a really easy way to do it using brushes. I've even included as set for you here of 20 brushes. So you can get going literally right away. I'm going to teach you all the ins and outs of pattern repeats in procreate. And I'll show you the whole process from start to finish. I'm going to explain the entire testing process. And I'm going to even include some information on how to alter the colors in your design. This course, I'll be peppered with all kinds of information about pattern design. And of course they're going to learn a lot of tips and tricks about Procreate in general. Now if you haven't done so already, make sure you get that follow button up there. That way you'll get informed about my classes as I produce them, and you'll get any other information I send out. When you're done the class, if you've got a minute, could you please just leave a review and possibly post your patterns? I really love to see my students work. Are you ready to get started? All right, let's get into it. 2. Overview and Class Objectives: Hi guys, welcome to Lesson 1. I'm so glad you click the head into this first lesson. With this lesson, I'm going to give you a basic overview of what we're going to be doing. I'll give you some step-by-step instructions on how to load the brushes into Procreate. In this first lesson, I sorta kinda give you an idea of all the different things we're going to be doing in class. So I've been working a lot with creating new brushes, and I've literally created hundreds. I've got a bunch of new sets that I'm going to be selling. And I've been using them in many different ways just to kind of get the feel for how useful they can be in doing different things. So I've been using them in artwork, just doing artwork for POD or in my case, for art licensing, which of course is generally also sold through POD sites. I've been practicing in many different ways with the brushes that I've created. So if you've been in any of my other classes, you've probably seen a few of these documents already. So my most recent artwork combined the use of watercolor brushes and brushes that I've created. And when I was working on these artworks, so I did two or three sort of related artworks using my stamps. I thought to myself, This would be great for pattern design. So I set about doing some experiments. And as it turns out, it's a fantastic way to do quick and easy pattern design. So these are a bunch of the different ones that I've created, the class that we're going to be doing today, we'll focus on doing a grid repeat, and these are a bunch of the brushes I used for this example. So I've got these sets here. I've got a texture sat, about kind of a general set of watercolor plants, about a bunch of stems. I'm still in the process of creating these. I've done a ton of these line art brushes. So these that you see in the background. And then all of these that I call fillers. So that's where I have these little brushes here that I've used in the background. And then just generally a ton of power and branch leaf kind of brushes, including some that make great accents for the backgrounds and so on. So I created the initial look. It didn't start quite like this. I started with artwork in the middle section. Then I duplicated that, put it into the four corners and drew some fillers in between. So that's where you see the stuff that's going on. And then from that, I created kind of a master swatch that I use to duplicate and tests. And then this was the test of my repeat. So you can see how it all comes together. So the initial sort of centralized area had been kind of this area here. And then I added all of those fillers which ended up being the middle of the swatch. And then that created a really great grids repeat pattern. The cool part about it is I didn't have to, while I was doing the design, come up with all of the motifs because I have these, like I said, in brush format. So it sounds a little bit complicated, but I'm going to break it down for you in such a way that it makes it very easy. We're going to be producing something like this. Which like I said, and started out as this sort of a look and then was repeated in each of the corners to create the full repeat. There's definitely a few tricks that I can teach you and producing something like this. And I'm going to go through each of those steps, everything from creating brushes to the planning of the pattern and the initial layout, then finessing the design and filling in any of the gaps. And then the final pattern tests like what you see here. I'm also going to explain to you how you can go and do some additional edits at the end to add things like color. So let's meet in the first lesson where we will actually create a brush her to just saw that you get the idea of the process. I'll see you there. 3. Brush Loading and Creating Your Own: Guys, welcome to Lesson 2. In Lesson 2 here I want to give you some ideas on how to make adjustments to the practice, to make them truly your own. This will really help to add originality to your pattern design. Let's get started. I've got a bunch of documents that I've specifically created for making the brush stamps. And that's what we're doing is we're creating the brush stamp. And that is always in negative forums. So motifs are drawn in white and they're put over a black background. Now if you feel more comfortable drawing in black on a white background, you can certainly do that and inverted at the end, I just find that it saves me a step to do it this way. So we have got the document set up is I've got the background on. And then I just add a layer when I want to create a new motif. Now to create the motif, you can use any brush or inking pen Is resident here in Procreate, a good category to go into is the inking and a spirit brushes, a pretty decent one. It's a very nice, clean lines. So you can see there, there's no texture or anything. It kinda depends on the look that you're going for. So most of that line art stuff that I did, like the artworks you just looked at. I created actually with one of my own pins. And I call it the lineup cut blunt because I originally developed it for a liner brush set that I was creating. And what I like about it is has a little bit of texture. So I'll show you that. Let's just clear this. And you can see here that it's got kind of boss down to on actually what that looks like is the roller that you would use for lineup block printing. So I wanted that sort of a casual feel to it yet to start super rough, but they are a little bit roughened. And I liked that. It really gives a natural look to the motifs that I'm creating. So let's just create a super-simple stem here. And I'm just going to, now you can see I've got my guides on here. I'm not at the moment using Drawing Assist. That's a completely different thing that I could easily spend a whole class on. I'm just, you'll see here in the layer that I've got Drawing Assist turned off, but I might as well just use these guides. So I'm going to draw just a very simple stem, and I'm just going to add kind of a pod on the top. So this gives me a very useful little motif. And what I'm gonna do now is export it. So go into the share that you find under the wrench here, I'm going to export it as a JPEG. You can also export it as a PNG. I've been using JPEG and it's been working just fine. I'm going to save to my files. It's going to go into my brush, shapes, downs because I've been using this category so much and I'm going to rename it here. And what I've been doing lately is just numbering the artworks that I create and I don't remember what number I left off. Let's try 35 and hit Save. And I guess I was a decent number. Now just to let you know that size of the document I'm using for brushes is 3000 by 3000. Relatively speaking, it's a very large motif. And I do that because I do create lots of really big artworks for art licensing. I had originally been creating them at 600 by 600, and then I did a bunch of 1800 by 1800. And I found that if I want to use them for the larger artworks that I create, the quality just wasn't good enough. So I've been sticking to this 3000 by 3000 and it seems to be working great. So now to actually make the brush, I could have actually done it while I was in that document, but let's just go to an untitled document here. You don't have to do this. Like I said, you could create it right where you are. Let's go to the brushes here. I'm going to go to the stems category that I've created. And that's of course completely up to you. Move to the top. And what I'm gonna do is I'm going to duplicate the brush here that I already have created because I like the settings on it, but you can just hit the Add button and you'll be able to do all of these next steps in exactly the same way. So here, this is the shape. I'm going to go to the sheep category here. I'm going to hit Edit, Import, import a file. This takes me to this folder that you just saw me save into. And you can see why I'm saving them by number because it's just an easy way to keep track. I was naming them, but then I would have to search for the motif in that humungous folder. So it was just easier now to just save it by number and then I am locating them really easily and quickly. So let me show you the other method for bringing in your shape. I'm going to hit Done here and go back to my brushes, are my brush documents. So here I've got the motif and what I can do is add a layer below it and fill it with the black. So we've got the two together. I'm just going to collapse them by pinching them. And then now I'm just going to three finger swipe down, copy. And go into our document here. I'll copy this one again by duplicating it, go into that one, into the shape. I have to hit Edit here because I have to be in this shape editor and where it says import, instead of importing the file like we just did, we could just paste. So basically it gets you to the same and it's up to you which one you think is faster. I personally find that when I'm doing the brushes, I'm always creating a bunch of brushes, so it's easier and faster for me to just save them as JPEGS. So you have either method, if up to you. So here then you have to hit Done and for some reason you have to hit done twice. I don't get that, but now we've got that motif saved here. Now, it really would have been okay for me, made a new brush because I haven't actually changed much. Here. If we go into the stroke, you can see that I've got spacing set really high. If you wanted a repeating motif and you wanted them closer together, this is where you would change it. Don't change, streamline jitter or fall off at this point. You can go into the shape and if you didn't have it actually textured in the first place, you could go to Grain, go to Edit. And here you can go to the source library or you can scan and import a file of your own source library, I feel is very so if you didn't have that texture in the first phase, you could add a texture here. I'm just going to hit Council. And as far as all these other things, I really don't make many changes here. For a stamp brush, the biggest or most important area I find for the stamp brushes here, I've set my brush to be at a maximum size and you're going to see it's really large when I go to stamp it. If you are using smaller documents, you could go to middle, whatever you think works, you have to do 1 first. And after you do that first one, then you usually can decide where you want this to, to live. And then of course, About this brush. In this case, I would rename it. I think 11 is the next one and say Done. I've already inserted my logo here and my name hit Done, your brushes created. And now block here and I'm just going to stamp and why is it so small? Yeah, here is a spot where you can adjust it. And like I said, you can go into here and put this at the maximum size, and then you get a really large version of your motif. And basically that's the process for creating your own brushes. You're going to load up those brushes that I'm giving you, but you're going to maybe want some other filler brushes up your own. So definitely consider doing this. Now if you had to or wanted to load the brushes that I've given you, you would download them and I would suggest you download them right to your iPad. So in my case, I keep it in my iCloud Drive. I've got a folder called Where is it? The Loris art brush sets. So when you receive your brush set, once you've downloaded, would be here wherever you saved it. So I'm saving it to the brush sets. Let's say you would go into the folder and this is the actual brush set. So if you were to highlight it and then hit Open, it's going to import it right into your brushes here. So this is the one that I just loaded. I've already got that, so I'm going to click on it and hit delete. But that's the process for both making stamps and for downloading the set that I've given you. So let's move on into the next lesson where we're going to start doing a little bit of play with the brushes. I'll see you there. 4. Strategies for Planning Your Pattern: Hi guys, welcome to lesson 3. Here we're gonna do our initial layout. So we're going to be producing something really simple like this. And the reason I'm calling it simple is because there's no toss kind of happening in here other than maybe that for anything that's in the background here, most everything is lined up quite linear, linearly and word linearly, as opposed to something like this, which takes a little bit more time to put together. And I would probably recommend that you start with kind of a sketch before you do something with motifs going in all different directions. So just to keep it simple, we're going to do like this. And as I'm using the brushes, I'll be putting them into the set that I'm going to be giving you. So we'll specifically use the brushes that you see me using in this class. So let's go back to the gallery and I'm going to add a new document. I have a preset here for 10 by 10 at 300 PPI. If you don't have that and you wanted to add it, you would hit this little button here. 3000 by 3000 is actually 10 by 10. So if you were putting this measurement in, you could just go to inches instead and hit 10. And here you would have to hit ten as well. And you'll see here as we're creating this, that it tells you the amount of layers that we're going to get out of it. So 70, which seems like a lot, but believe it or not, and we often run out when we're creating this sort of a document, I would hit Create here and then that would come up in my list. Now I'm just going to cancel because I already have it here. So let's just add are open and get a fresh new canvas. So I've got that kinda sitting on the side here so that we can take a look at the brushes. I'm going to work with flower brushes. And there's quite a variety here, though you may see me creating one along the way. I'm not even really sure. So as you can see, it's a super extensive sets. And I'd like to start by putting some kind of a branch or stem in there. So these branches, I actually plan to move into this stems category, but let's just start with one of these actually. So this is the one I did using the other one. So I will add that here sats. And what I do here is keep track of the layers. The first one is already made. So I'm going to actually stop this right in the very middle now, I do that because I don't want Procreate to cut any of it off. If I were to have gone over to the edge like this, then that would be cut off. And that's something we absolutely want to avoid when we're making a pattern. I'm also going to shut the magnetics and snapping off at this point and just kinda roll those back a bit. So we've got our first motif. I'm going to add another layer. And I suggest that you do this at the beginning when you're first starting to use these brushes. And the reason for that is this gives you a lot of freedom for positioning and for enlarging or reducing that on a flower here. Now some of these flowers I have textured and some of them I don't, so I'm going to grab one that is not textured. Let's just pick a color. I think I want to kinda work with this turquoise. So I'm gonna just kinda stamp that in the very middle of the canvas size wise. I mean, we could control the size here and that's easy to do or you can just stamp it. And because it's on its own layer, you can definitely just move it around and make adjustments as you see fit. You can also, of course at this point rotate and that's what I'm gonna do for this one. Now you can see here that my motif is not really opaque. So there's a couple of things we could do here. We can erase away that standby, not sure that this system where I'm going to have this flower lands. So I think what I'm going to do is just duplicate that layer and now you see how opaque it is. And I'm just going to pinch those two together. Oops, not all three, just these two. Sometimes it's hard to get your fingers small enough to do that, but now it's pinched and it's covering, and that's perfect for what I want. Let's go back to this other category or this category I'm in it and add maybe something else in the way of a stem. So I'm going to do these hollow leaves. I did use that on the pattern sample that I showed you. I'm going to add a new layer and again, just stamp it kind of in the middle. And that's a really nice big one. So this is something that I could speak and use in the background. Oh, I liked that. And I'm going to just move that down. And you can see how quickly this is actually coming together. Now I like a variety when I'm making a pattern like this. So I'm going to actually try this one here, call this one Bolden funky. You can go to the top and add a new layer. And let's maybe try a slightly different color. I'm going to stamp quite heavily and I get that. And if I stamp a little bit lighter, I get that. Now the reason for that is in my settings, what are the shape here? I've got rotation stat. So if you didn't notice it, I'll show you here that every time I stout, the positioning of that flower is a little bit different. With the Apple pencil, I've got some variety here, or the amount of pressure. What would happen if I change the pressure? So if I'm going really lightly, I get a smaller and lighter flower. So these are some of the settings that I've got here. You could definitely experiment with that yourself to see what works well for what you've got in mind so you can take my brushes, I would suggest you duplicate and then go in and make some of the adjustments to it just so that you can see how these settings will affect it. So with this, I've got the opacity at maximum and the minimum at nothing. So that's what gives us this variety in Values, it done here. You could put the next one on its own layer as well so that you can move it around and don't forget, you can also affect the opacity here. So you can even further effect reducing the opacity there. So that's something to think about. I'm going to go Fawn. I'm still going to keep it pretty dark and I'm just going to rotate it and move it into position. I'm really not sure exactly how I want this to look because I haven't done any sketches. I am obviously more familiar with my brushes than you are. So you may find that you want to do a little bit of pre-planning. Once you see the sets, I'm going to stop soon when it comes to the layout just so that you can get a better idea of the next steps. I'm pretty much filling this area, but you can see that there's going to be, let's say corners and stuff that aren't filled. And if this is the pattern and it sits next to this side, when it repeats, you can see that I would have quite a big white gap there. I don't want to fill it now, but later on, That's what we'll be doing is we'll be filling in these gaps. And I'm going to show you a trick to doing that. So let's just take a look here and see what else we can add. I'm thinking that one of these swirls might be a nice thing to fill it out a little bit. So I'm going to grab this one here. I think for this, I'm also going to go quite dark. Make that new layer, stamp that in, and then let's reduce that inside. I'm going to put this tight to the edge here. I'm not going to take it right off the page or want to be able to fill in the gaps that are on this side and this side afterwards when we're doing that next step. So I think I'm going to move this up, move this up, move this up, and then I'm going to move these down. Now I just want to fill in a little bit here and then I think I'm going to be ready for that next step in filling the outside edges. I'm kinda skipping my planning process that I'm showing you some of the advantages of having the brushes as a means to fill out your pattern. So in the next lesson, we'll perfect this little initial layout and we're going to talk a little bit more about filling in the gaps, alright, so I'll see you in that next lesson. 5. Initial Layout Tips and Tricks 1: Hi guys, welcome to lesson 4. So as I promised, we're going to be filling in the gaps on this pattern. It's not as hard as you think. Let's get started. What do I get to this stage? I often start adding textures and things. And for myself, I find that just doing the initial pattern and then running a test of it, we'll kinda tell me what I need to do to make it really work. So I don't necessarily think that this is going to be my absolute final layout. There's so many things that I could do to change it up. So I think what I'm gonna do is add some of those textures. I'll show you after I finish that, how to fill in the gaps and then we'll do a task. So for now I'm going to go into this texture category of mine. And even though it's called texture, I do have a lot of little motifs in here that I've created as a brush stamps. So these are the same as you saw in the other category. But what I've done is made them so that a repeat and that the motif follows the stroke. So I'll show you what that means exactly. You've probably seen patterns by people like Helen darted, Mel Armstrong. I could probably name a few more and I've got lots of reference for it in my surface pattern design category on my Pinterest sites. So my Pinterest site alerts are the loris now sprints. And that surface pattern design has a category for paint detailed patterns. Those artists that I'm talking about, if you check them out. But they use a lot of these sort of fillers. So I've got these brushes created in such a way that I can literally brush on a string of them. Now these are really straight. I could go in and I'm going to duplicate that. Something I strongly suggest that you do is duplicate the brush if you're making changes to it because it's hard to go back to that original. If you don't have that, then you can go into the shape here. And you can change the way the brushes look and behave. So something like this. You can make a lot of changes to make them into really fun and usable patterns. So the way I've changed it now is I won't get that straight line anymore. I literally get them scattered all over. So there is something that you can experiment with with my brushes. You can take the brushes I've got there and duplicate them and do some of these funky changes to them. So I've got some light. This is a really good example of one of the types of motifs that you'll see that those other artists use. So these can be really helpful for just adding interests and creating bill for your pattern. So that's one of the types of brushes I have in my texture category. I've also got this type which brushes on a repeated pattern that I've created. So it depends on the kind of look that you're looking for, but it can be a fun and quick way to fill in gaps. So let's try a couple of different ones here. And you can, you can draw a motif with the pattern. I mean, that's a completely doable thing too. Those are just some of the things that I have done to add interests. See what the spine Flickr looks like. The, I actually really like that. So I think I would go back, add a layer and put a little bit of that pattern in the background. And feel like I could use these, even though I've got them in these sort of repeating filler stroke, I can still use them as a stamp if I stamp just once. So let's add another layer. I'm going to make that kind of a medium turquoise color. And at this point I think that I'd be pretty close to ready to test this pattern out. Now in order to test the pattern, what I need to do is group all of these. So I'm just dragging to the right to get them all selected and then hitting group. And then my next step is to duplicate this. And we're going to use it for each of the four corners. So we're not changing the size of it at all. We're going to just duplicate it now before I do that, I'm going to add a background layer, because this background layer, make sure it's in the group. This background layer is going to be what helps us to really lock the position of those four corners so you can fill it with any color honestly, you can even fill it with white, but I'm going to do kind of a light blue just so that you can see it. Let's do both like that and we're going to drag that into the background there. I also like to reduce the opacity and I will be showing you why when we start doing that positioning. I want to erase this texture that's in behind ends, kind of peeking through. So I'm just going to actually, I'll probably just select it. So I've selected it with the freehand selection tool and I'm just going to hit Cut. And that's taken care of that problem. So now what I wanna do is just lighten this up. So Opacity wise, I've got that at about 52%, a little bit more. It's not the color that I would end up with for my final pattern that can be changed. But it's just to help us do the next step, which is going to be to fit this into the four corners so that we can fill in all the gaps. It doesn't really matter what color or how dark it is, how opaque it is. It's just really a placeholder that's going to help us to position each of these duplicates that we're going to make into the corners. So what I usually do is duplicate the SAT. I'm going to lock this original one, swipe to the left, hit Lock and I've been hide it. I'm going to duplicate three more times so that I've got four in total. Now the important thing here is for us to do this quite methodically and to make sure that we're really accurate with our positioning, what I do is take the selection tool. I'm on the very first one here, and I'm going to take it and drag it into this corner. Now before I do that, I'm going to hide these three forgot to do that. And the important thing here is that we get this absolutely accurate. So it snaps right on the lines. And I don't know if you notice that they're both of these sets of lines turned yellow when I did that. If you keep an eye out for that, you'll see that with the next step. So I'm going to drag this one. Let me show it first. I'm going to drag this one into the upper right-hand corner. So whenever I get close to that line, you'll see that it changes color and I've got it snaps perfectly onto that at this point. So let's show this third one. And this is one of the reasons I make that background a little bit translucent so that I can see as everything is happening here. Now that one for some reason was being a little bit finicky about snapping. So in that case, I make sure that I enlarge it really, really large to see that it's now paid for sure. I also make sure that I don't drop it before I get into position. So in other words, I don't have it off the page when I'm putting it into position because that would crop it and that would not be good. Pace over 2 on to our last group here, Let's show it. Select it. And again, it's a little bit more finicky when you have stuff in position. So I like to keep it a little bit off of the center, but making sure that the far outside edges aren't cut off. And then I pull it down into position when I have it enlarge. And that prevents procreate from cropping it where I don't want it to be cropped. Okay, so what we're left with here is a seamless repeating tile on the outside. And then a really obvious and easy to define area that has to be filled with some fillers. So I guess we're ready to move on to that next stage where we're going to be doing that feeling and stuff and kinda call that the finessing stage. So I'll meet you in the next lesson where we're going to get going on that. 6. Filling Gaps and Finessing the Design: Welcome to lesson 5. So here we're ready to get started with a little bit of testing. So usually what I do is I take these groups here, so I'm just going to group them by sliding them to the right and hitting group. And then I'm going to add a new layer. And usually what I do is make this into a group. So I'm going to add two, I'm going to select them both, make them into a group. And I'm going to be using more than two atoms. So I don't mind that I've actually need to hear because I'm going to add some fillers here and I want to make sure that they're on separate layers for the most part. Now the most difficult thing about this is that I don't really have an overall view of what this pattern looks like. So that can be a little bit difficult to really figure out like, what is it that's going to work to make this area cohesive with the rest of the pattern. So I'm gonna take a little bit of a detour here. I'm going to hit Gallery. We're going to select that artwork that we're working on. We're going to duplicate it. And then we're going to select it. And I'm gonna do something else with these four corners. So what I need right now is a flattened version of this. So I'm going to unlock this. I'm going to delete this original because I don't need it showing through there at all. And then we're going to flatten what's on this document. So I could have made that duplicate document before adding these groups. It doesn't really matter. We're just going to snap and together. You can also do that by hitting this combined down. And now, as you can see, I've got everything on the same layer. So this is just to give us an idea of what it's going to look like. And we're going to again duplicate know I guess I have to flatten this 12. There we go. That's what I wanted was a flattened version. So we're going to duplicate, duplicate, duplicate. And this time instead of just moving the entire square over, what we're going to be doing is resizing it and putting it in the corner so we can go through. And in this case, it doesn't matter what square goes where. And you can see how helpful these snapping his for us here. And now we can get a really good idea of what might look good. All the gaps that we have to fill. What I like to do here is to also flatten this out and save this as a JPEG. And I'm just going to save it to my files in my pattern folder. Now here in my working document. I can import that image. Once I've got that space here, then I can go to my reference here on the canvas. And I'm going to use the canvas as my reference image here. So that way I've always got it here if I need to refer to it. So it's really helpful because then I can kinda see everything in a bird's-eye view. Now the other thing I often do is print this out so that I've got it The beside me. And I find that when I do that, I can also sometimes rough in like draw in some of the ideas that I might have for filling out this pattern. So I'm going to currently hide this layer. And one of the things that we're going to find here very quickly is that I'm running out of screen real estate. So when I want to switch into this view, I just simply make this visible. And for what I could see here, I think that I can fill in a lot of this with flowers. And then I might want to put one of these big curlicues in this area as well. So I'm going to hide that for now. In this new group here is where I'm going to do all of my adding of motifs. So let's go into the brushes again. And this is the curlicue kinda thing that I used already. I'm just wondering if this one might work. No, I think I'm going to stick to this one here and I'm going to put it on that separate layer because then I think I can do the manipulating that I wanted to do that. So I'm going to flip it horizontal. I'm going to actually turn off snapping at this point so that I can move things a little bit more freely. So flipping it hopefully will help too. Make it look different enough. And you can see here that it's kinda tying in really nicely with this top one. I think I'm going to put a little gap here. On this other layer. I think I'm going to put some additional flowers. So let's go back to the flowers and I'm going to grab this one again, sample this color, and put that way in here. I can move it around a little bit and rotate it so it fits in a little bit better with this motif here. I'm gonna go back to that other flower, which is this one here. Sample this color, and add a new layer to put a few of those in. I'm going to put those three on the same layer. I don't think it's going to matter too much. Actually in this case, this one. I'm going to put here separately so that I can work with it a little bit differently than those other two. So I think it was other two are okay. And let's grab another flower as well. I really like these bold, simple ones for filling in. These seemed to work quite well. I'm going to take this or pedal just for a bit of contrast. And we'll go look at smaller, add a new layer. And I'm going to put a couple of those in here. Now I'm getting really warm. I think I like what I'm seeing right here at the moment. I'm going to maybe add another one here. And perhaps in here. And you can see how nice it is to work with the brushes. It just makes it so much easier. And so I'm going to add another layer here. And I'm going to go back to my textures. And let's just add a little bit of this texture in behind here and in the blue. So I like that. Let me drag that underneath here. And so far I'm really happy with what's going on here. So I think we can go ahead with some other testing and we'll do that in the next lesson. 7. Final Pattern Testing and Correcting: Hi guys, welcome to lesson 6. So here we're ready to get started with a little bit of testing. Okay guys, so what I decided to do here was to just do the four corners test exactly same way as I did the first time, because I want to see overall how my layout looks. So this is how it ended up. And I, I don't mind it, it's not that bad. Of course, there's always things that can be improved upon. I really like the idea of this swirly thing forming a chain. So I'm thinking that it would be best if I had a new brush, so a new scroll that could kind of flow a little bit better. So that was one of the things. And then the other thing is this big flower is, now that I see it in this repeat, it's much too high for the stem. And there's a couple of little flowers here that I would just kinda move over, maybe filling the gaps or enlarge. And then I thought that maybe it would be nice to put white dots in part of that background rather than block everywhere. And I like that light blue dots that are blue here, and I liked the dots that are black, so I'm experiment with that. So those are amongst the things that I have decided to change. Pretty much what I can do here is just go back and just delete the test. Let me unlock that first. And so there's a really good look at it, at its full size that I can delete as well because it's going to be different once we redo it. And so really this is the layer where most of the changes are going to take place obviously. So what I've done is I have taken the time to create a new brush. So here in my flower set, you can see that I've got an additional swirl. So I'm going to be using, and you can see just even here in the brush panel, kinda different sweep to the middle portion of it. And again, I've gone ahead and done a bunch of those little things off camera. So I'm going to show you the results of my reworking. So here I've got that new squirrel, which you can see I think is going to work nicely with the original one there. I pulled that flower down so it's closer to the stem, so it's pulled down a bit. And then I've replaced those dots in the background with white dots rather than the black. Then I went ahead and positioned at the four corners exactly the same way as we did in the first couple of lessons there. This was actually what I had used as a guide. So what I had done is I had imported the marked-up one, One with the red marks on it because I really wanted to get that angle Perfect. So then with my new brush, I was able to get rid of that swirl that was in there. And so what I had done there was to simply stamp my other brush. I did it on a separate layer, of course. So let me show you that. So I stamped it. So let's just say it's not there. I'm going to hide it. And rarely I'm going to choose black and add a new layer here. I've already got it, but I'm going to show you exactly how I did it. I'm guaranteed stamp approximately where I want it. Show that original guide that I had pasted there. So that's the same as this, but I just isolated it so it would be easier to see. And I just resized it and positioned at based on that red line and ended up putting it a little bit more down here. But you can see how the guides can be really helpful. So sometimes I do it literally on the piece of paper that I've printed with the original pattern on it. And then sometimes I do it right in the document to just help me basically guide myself. And really, you know, once you have it at this stage, you really almost don't need that if you've got the idea in your head and you can basically just cool and do your positioning, just using your eye as your own judgments for that. So I'll take that 10 because this is the one I ended up using. I can delete this and you can see that I've added or moved around my flowers there. And I'm ready to do another test that can actually get rid of this as well. And I do want to do that just simply to have less layers because I want to do that test again of the four corners. We can get rid of this group here as well. And let's just do a test now with these. So what I'm gonna do is actually group everything together. And I am point to this one person and group, all of this stuff. So it's got that first main group. And the subgroup doesn't really matter as long as I've got everything I need together here, we'll duplicate. I like to keep this one sort of as a backup, so I'm going to lock that one. And then I need three more copies of this one. So 1, 2, 3, and exactly the same way as we did it in the first place. We're going to take and move each of these into position. So make sure it's snapping and magnetics is on. Make sure I'm on the top one. I'm gonna move that to the top corner. And again, I'm going to enlarge before I get it completely into position so that I can be sure to see these two yellow lines as I drop it into place. This one, I'm going to do it up to this corner. Now, as far as the order, that's completely up to you, I have decided that this is the order that I want to do again and then I'm really consistent. So every time I do a pattern design, I will do the same thing as because I know what my routine is. So once you establish kind of a pattern or a routine of doing this, do it the same every time and you shouldn't run into any trouble. Now I want to caution you to never hit anything on the outside area here because when you do, you're actually moving. I don't know if you can see that. But this is a method for moving things just a little bit at a time. So one pixel at a time. So it's easy to think you how these all in position and Ben accidentally click somewhere and move it out of position. So you've got to be really careful with that. Because the moment you click out of your selection there, you have committed whatever you've got going on. So I've got some problems here as you can see. So I'm going to backtrack and through that again. And I'll meet you in the next lesson where we're going to have a finished pattern to double tests by doing the smaller repeats. All right, so I'll see you there. 8. Additional Editing to Finalize: Hey guys, welcome to lesson 7. So we're at the end here. We're going to do some additional work to just get a really good idea of how well our pattern turned out. Okay, So I'm ready here to do the four corners again. So I'm going to group these two. This is the group that has the fill. So all the stuff that fills the gaps, and then this is the original group. So we'll slide those two to the right and group them. I'm going to pull this one down to the bottom here. This is the the first attempt that I did remember with the swirl that was kinda facing the other waves. Or now we've got the sort of reworked pattern, I guess you'd call it C. One thing here I might want to move, thinking that I will move this one up above the swirl as well here and then maybe duplicate it. Give myself a slightly smaller version. And with these here, I'm just going to make a slight adjustment. I'm going to move this one a little bit to the left and this other one and make it just a teeny bit bigger. Just didn't like how it appeared to be such a straight line there. So we'll see how that looks when we do the test. So I'm going to do a duplicate. I guess I've hit my maximum number of layers. So what I need to do, and you'll need to do this if ever you have this happen is if you've hit your maximum amount of layers and you still want to keep everything that you had in that document. I would suggest that you duplicate it and then we're going to work on this one here. I'm going to call it original duplicates so I can keep it straight in my head. I'm going to go into this and I'm going to delete. And now I should be able to duplicate and use my usual technique, magnetics and snapping is on going nice and large and make sure that I see that yellow line appear. So that's the first one. Second, 1, third, 1, fourth 1. So I've got those all perfectly positioned. And now this would be my master document. And this one I actually want to use for my test. So again, I'm going to select Duplicate. And this one we're going to call test, repeat. Because that's exactly what we're gonna do with it, is we're going to test that repeats. So we're going to, in this case, flatten all of these and duplicate that. And of course in this case we're just simply resizing them for each of the corners. And this is the best way to really check out your repeat to see if the corrections you've made are what you really are looking for. And I really like that new sort of sweep of the line that goes through both of those swirls. I really feel that gives it a much nicer look what I make changes. Of course I would. There's things here I can see that I would change. And, you know, amongst the things that I would probably make changes on is color and placement of some of these little smaller flowers like this one could move up to this section here and space them out a bit. Maybe a different kind of flower. Maybe it's too many flowers. Definitely there's things that I would change by overall, I felt that putting the pattern together in this way with the brushes was a very fast way to come to this point. Now, I know we've taken several lessons to do this, but as I'm doing these, I find that I'm getting faster and faster and I definitely have started to recognize what kind of things work when I'm doing this. So for fun here, what we could do is just flatten all of these together as well. And at this point, I've got my background flattened in with everything else. If I was doing this for real, I would probably have kept that background separate and then I could make changes on it separately. But just even for the front of it, Let's just go in and just changes here by dragging the hue slider and you know, maybe the, reducing the saturation, maybe brightening it up a little bit and there would be another perfectly usable pattern. So the biggest recommendation I would have is that you do a lot of experimenting when you are at this sort of learning and development stage. And you'll find that as you go through testing process gets very, very fast. I've been working a little bit with this different color scheme here, which I really like. And I can show you where I started with this pattern and then where I kind of ended up with edge. So you can see that I've done a lot of experimenting with positioning. And in this case, these are a bunch of 9. Conclusion, Mockups and Next Steps: Guys, we made it again. We've got another pattern to add to our portfolio. Thanks so much for hanging out with me today. And here's a look at a couple of mock-ups that I've done with my pattern. This is one of my favorite parts. Now if you haven't done so already, make sure you hit that follow button up there. And if you have a second, can you just leave a couple of anecdotes here? If you have any questions, of course you can go into the discussion section and leave them there. If you'd like to see more of my work, you can check out my stores on docile.com and aren't aware here in Canada. And of course, my own website, shop dot Dolores art dot ca, which has a link to my portfolio. I also encourage you to take a look at my two interests sites to largest art dealers now sprints and teach it alert snaps grids. I showed tons of resources on there and I've got a huge section on surface pattern design. When you're on my website, also make sure you add your name to my mailing lists. My website is where I store all of my artists resources. Some of them are free, so you'll have to check it out. So I guess we're done and I guess that's fine for now. I'll see.