Easy Watercolour Seamless Repeat Patterns in Procreate using Brushes with 20 Brushes Included | Delores Naskrent | Skillshare

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Easy Watercolour Seamless Repeat Patterns in Procreate using Brushes with 20 Brushes Included

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

8 Lessons (51m)
    • 1. Intro to Watercolour Seamless Repeat Patterns in Procreate

    • 2. Lesson 1 Overview and Examples

    • 3. Lesson 2 Brushes and Technique

    • 4. Lesson 3 Making the Seamless Repeat

    • 5. Lesson 4 Adding Pattern Elements

    • 6. Lesson 5 Repeat Construction and Checking

    • 7. Lesson 6 Finessing the Pattern

    • 8. Lesson 7 MockUps and Wrap Up

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About This Class

Easy Watercolour Seamless Repeat Patterns in Procreate using Brushes  20 Brushes Included and Instructions to Make and Edit MoreAbout 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, notably with a seamless realistic watercolour background. And, 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:

  • my step-by-step methodical method for making seamless patterns in Procreate
  • tips for creating compositions for a really varied and appealing pattern repeat using brushes
  • my workflow for use of layers and other great features like snapping
  • adjusting patterns to perfect the flow and adding elements in the second iteration of the design
  • fully seamless watercolour background creation
  • methods for keeping the swatch fully editable for later adjustments and recoloring 

If you’re an aspiring 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 alterations and adjustments
  • a look at Procreate brushes and their various idiosyncrasies
  • approaches you can take in your creative work

This is an ideal class for you, even if you are not sure what you will use the pattern for, whether it be for fabric design for sites like Spoonflower, scrapbooking paper, custom web graphics, or whatever! Learning new Procreate workflows is always desirable. I guarantee you will create something really appealing, and it’s so much fun, once you get the hang of it!

Intro to Easy Watercolour Seamless 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.

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. Knowing how to adjust brushes is very important in Procreate.

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 every step of the way. By the end of the lesson, you will have the beginnings of 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.

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 pull our layout together, and I will correct the small details that make it work. I bump up the contrast on the white of the leaves and many other small adjustments. We take a quick look at color adjustments and talk about next steps. 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 7: Conclusion, Mockup and Next Steps

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

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, 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


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, 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, Patton, Trends, Metaverse, Evergreen 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... See full profile

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1. Intro to Watercolour Seamless Repeat Patterns in Procreate: Guys, welcome. My name is dealer's ask, grants come coming to you from sunny, Manitoba, Canada. So as you know, I've been working a lot with Procreate and I've created a few classes for you. One of the latest ones I did was producing an abstract watercolor. For that class, I developed a bunch of watercolor brushes. And I thought, well, what else could I use this for besides abstract art? You know that I'm also into surface pattern design. So I asked myself, cannot use this in my backgrounds for my patterns. Well, I tried to find some information online. I looked everywhere and honestly I couldn't find anything. So I'm bringing to you this class today to teach you how I created a seamless repeat pattern with a complete watercolor background. So the whole background is covered in watercolor. I'm using a lot of my brushes to create really lovely repeat patterns. And I'm going to show you a whole bunch. And I'm going to show you the whole process. If this sounds like something you'd be interested in, Let's check out that first lesson. But before you do, make sure you hit that follow button up there, that way you'll be informed of any new clauses as I released them. Are you ready to get started? All right. Let's get into it. 2. Lesson 1 Overview and Examples: Hey guys, welcome to Lesson 1. In this lesson I'm going to show you some examples. I'm gonna give you an overview of what we'll be doing in this class. Let's get started. So like I said in the intro, I wanted to figure out a way to have a seamless watercolor background in behind my pattern in Procreate. So I started out by trying to find some really good examples. And I was looking through trying to get inspiration. And there was nothing here in my search that was exactly what I was looking for. I wanted a solid watercolor background and then I wanted to do my florals over top. So I mean, I found a lot of this kind of thing. The background is watercolor, but it's not exactly what I was looking for. I wanted a solid watercolor background. So even when you look for instructions or information on, I don't know the backgrounds. Like a seamless repeat background. I was looking through here and there was nothing here that was really what I was looking for. And I also wanted instructions to produce it. And I really couldn't find any class that was really exactly what I was looking for and not in Procreate anyways, I've created many seamless repeats backgrounds in Photoshop, but I had not yet done that in Procreate. So I thought, well, I'm going to learn how to do this. And once I learned how to do it, I thought, well this will be a perfect thing to make into a class. So this class is going to be all about creating that seamless background watercolor, and then taking it one step further in adding the line art that I want to feature on top of that watercolor. So let me take you into my procreate gallery and show you some of the things I've been working on. You probably recognize a couple of these from classes that I've given in the past. And what I've been working on lately is a bunch of different watercolor stuff. So I've done just repeat pattern with watercolor flowers. But I really wanted to figure out a way to do a solid watercolor background to put behind my florals. I wasn't sure exactly which artwork, which florals I was going to be working with, whether it was going to be good a line art stuff or one color kind of leafy pattern that I've worked on, or just a combination of solids and outlines. But the main thing was that I wanted to figure out how to do a watercolor background. So it took a little bit of experimentation here. In Procreate, I've created repeat patterns, seamless repeat backgrounds in Photoshop. I've got a couple of courses on that, and I've actually done it in Illustrator as well. But what I wanted to do was of course do it here in procreate. I don't want to have to create a background somewhere else to bring into Procreate. And I knew it was possible or just take a little bit of figuring L. So the kind of look that I ended up with was this. So it's a really bold watercolor in the background. Lots of really intense colors, but blended in lots of blooms happening. So really natural-looking watercolors, sort of techniques and textures. And I've done a whole bunch of them just to really get into the practice of doing them. So we're going to do one. I'm not sure exactly where we're going to end up. It may be more like this or it may be one of these. The important thing is that background. So I'm going to take you through the whole process from start to finish. Now I've developed a brush set that we will use for this. If you've were in my watercolor abstract class, you probably already have this brush here that I call blender. Terrific. So this is one that I developed myself and then I've got this watercolor blend here. These are a couple that I'm going to probably give you as part of the class downloads. I'll give you a couple of really nice watercolor brushes as well that are lights use for this sort of thing. So I've got this really nice adder edge brush. And then I've got some really great just kind of textural watercolors. I'm going to give you enough that you can actually pull this off without having to buy a set. I'm actually going to be selling my SAS. I just haven't gotten around to organizing them yet. I just too many things on the go right now. We're in a new development, in a new house, and I am just working so much on the outside that I really don't have a lot of time for the extras besides teaching. So this is one of the things that's on my to-do list. The most important brush of all here though, is this blend terrific because of the way it takes what you've got in the background and then just kinda makes it all work and blend together. So we're going to be doing something like this, which we're then going to create a repeating tile. So you can see this line here would have been the outside edge on what you were just looking at and this in the middle of that other child you were working on. So I'll explain it all step-by-step so that it'll be as simple as possible. So now you can see that here with the repeats that it blends in absolutely perfectly. So there's no sign of seam there anywhere. So we're just going to go through that whole process and we'll do it together to make it as easy as possible. So in the next lesson, what we're gonna do is just kind of review the brushes and the technique that I use for creating those backgrounds are eight. So I will meet you there. 3. Lesson 2 Brushes and Technique: Hi guys, welcome to Lesson 2. In Lesson 2 here we're going to be taking a look at the brushes that I've created. And we're going to talk about the first steps in creating your watercolor background. Let's get started. Alright, so let's make our new document. Size I usually work with is 10 by 10, and that's at 300 pixels per inch now, depending on what you're going to be using your final artwork for, really think about that size. If it's something you want to do for a POD sites, a lot of the sites like Society 6 or what not require files that are 8000 pixels wide. This will be 3000 pixels wide. So if you want something bigger, maybe you would go 20 by 20 or 22 by 22, The only problem is that then you're limited with the amount of layers you can make. So for pattern repeats, I generally just use the 10 by 10 as my size. I'm going to be using mainly watercolor paints. And these are watercolors that I've developed myself. You don't need to necessarily use the watercolor paints for this first part because the blend terrific brush that I have will create the effect that we want, even if it's just goulash or a very plain brush that you're using. I'll show you a little bit with one of the procreate brushes. I like using this, the spatter edge to watercolor as it gives a lot of really interesting edges. So that's something that I like. I've also got a brush that I've called Martin's deep ink spatter edge, which is very similar. It's just a little bit deeper in color and it's based on Dr. Ph. Martin's ink. So that really deep intense inks that Dr. Ph martin cells. And you can see here it's got a little bit more of a pronounced spatter to it, so that one works really great. The pellet that I'm going to use is this one here, which is the one that you saw a couple of artworks there at the end, using you can go through and pick a different palette. You can use a photo as a reference. I'm not going to really focus on that too much. That's why I've actually picked the pellet already. I'm going to clear my history here and then we're just going to start dropping some color down here. I've got a couple of other ones that I use here. These are not as textured. This one has kind of a broader texture like a background might have. But believe me, none of these textures are going to make, oops, too much of a difference because we're going to be doing that blending and you'll see what happens with the blenders that I use. So I'm just going to even show you here. I'm gonna put down a little bit of color with one of the resident procreate brushes here. I'm gonna go with a little bit of orange in here too, so I'm just going to add that in my palette here. Okay, so let's take a look at how that blend. Terrific works. So I've got two that I liked for blending. A blend horrific. You'll see what it does is it creates blooms as though you had some wet spots on your Canvas that you dropped this other paint into. So the more you work, the more you'll see the edges of your original lot of color moving around and becoming really out of focus. You can start on a white section and pull in depending on how much you work hits, you're gonna get different effects. So if you don't work, it's a lot. You can get this sort of soft blending. If you really work, if you can see how it kind of changes and softens everything. And so it's as if you're adding a lot more water. If we were to look at how this actually works and the wet mix setting here, I've got my dilution set really high and the pole set really high. It has a lot of water in it. And then the pole is what has the ability to blend or pull the color from one area to another or into another color. I've created this brush as a dual brush. So it's made up of two brushes and, and took a lot of experimenting to actually get this to work the way that I wanted in this whole process of re-learning or create, Procreate with something that I hadn't used in a few years. My old iPad just wasn't doing it for me and I got this new iPad. And I've been finding that it's been really terrific to be able to experiment with the brush making. So this kind of a dual brush is something that creates some really interesting effects. So there's a lot of stuff to be learned about brush making. I'm not going to cover in this class at all, but just suffice it to say that having high dilution and a high pull is what gives you that really cool effect. I've also got a green in here and it's really hard to see, but it's kind of like a dark charcoal, quite textural green. Like I said, it took a lot of experimenting to get this to work exactly the way I wanted to. And this is the effect that I really did want. I want it to be able to pull from one color to another or create those kind of multicolored blooms as few colors mixed together. So very much like the real media, if you had a semi dry section, still had a little bit of moisture in it and if you put down some really watered down pigment, it would want to spread into the semi dry areas. So that's how you get those really neat, hard edges. And that's kinda what I was after for this, I wanted to have a really interesting background that when I put something in front of it or over top of it, would still be very, very dynamic. You can see here like I've mixed now those other paints that was just the Nikko rule brush that's here in Procreate. So I just wanted to show you that because I wanted you to know that the most important brush to have is this blend, terrific. The rest of them really don't matter that much because as you mix them together, you're going to get this effect. Now the other one that I have is a watercolor blend. It's quite similar. So it does a lot of what the other one, the blood terrific does just kinda slightly different settings. So you can experiment with both of them. And you can see that despite having the orange color kind of picked out here, you can blend it right out so that you're really diluted the pigment with water. I'm getting close to kinda what I had in mind. I wanted some really dark, intense areas blending in with some of the sort of more neutral areas. I want to be able to really work with those things in the foreground that I'm going to be putting on top of this. So I wanted to have a really good variety in my background. And that's kinda what I'm thinking I'm at that point now maybe add a little bit of color to the edge. Because I want to really explain to you how the pattern repeat works that we're going to do. So what happens with the repeat is that this side has to blend in perfectly with this side and you can see that it would not, this has got oranges, It's got green, and the same with the top and the bottom. This has got this gold. This is more of a pinky brown color at the top. So it's a little bit mind-boggling at first, trying to figure out how you would make this into a repeat. And I think I'm gonna do that in the next lesson. So let's meet there and I'm going to explain absolutely everything you need to know about this. 4. Lesson 3 Making the Seamless Repeat: Hi guys, welcome to lesson 3. So it's in this lesson that we're going to try to create that seamless background watercolor. Repeat. Let's get started. So this is where I landed at the end of the last lesson. And as I want you to know that there's no reason why this can't be altered as you go through this process. So let's just get started with creating that seamless repeat. As you recall, we did our document exactly 3000 by 3000. So what we need to do is divide that in half so that we can repeat this on all four corners. So to do that easily, go to your Canvas and put your drawing guides on. And if you go into your drawing guide that if you've done a ten by ten, you can pull this right to the max. So the grid size is at the max. And that's going to divide it perfectly in half, which is 5000 by 5000. So let's hit Done here. So now what we're gonna do here is duplicate this and move it into the four corners. So go into your layers palette here, swiped hit Duplicate. In total, you want four layers. It's actually quite interesting how different it looks when it's layered like this. All right, So what we're gonna do here is we're going to move each of the squares into a corner to make it easier. We're gonna make sure that we have magnetics and snapping on. And what you're gonna wanna do here is move each of the squares so that they're in each of the different corners. I do this methodically. I start with the top one. I move it into the first square, second one into this square, third one into this one, and the fourth one down to here. So we'll start with top. And you can see as I get to the guides here, they turn yellow. So that's how you know that you're perfectly positioning them. And you get really fast at this after awhile, believe me. So we've got it there. You can see that it's not a seamless repeat. So at this point, not even close. I'm going to turn the guides off. And you can see here what we have to do. We need to blend out these lines here. So we're gonna do that again with the blend horrific or the watercolor blends. So one step I forgot here, we need to pinch these altogether, so I'm just going to do a quick pinch. And now they're all on one layer. So now we can go ahead and blend out these lines here. Now I suggest that when you get to the joints that are right against a line here, that you go with a much smaller brush. I usually like to go in and kinda just do the very edge here. The reason that you don't want to go along the whole line is that you could change it and then it wouldn't blend anymore. So just to kind of the very edge here, and we're going to do this more than once. So you will get a chance to see exactly how this works. But now I can go in with the blend terrific at a larger size and closer to these edges here, and not need to worry and experiment with the watercolor blend as well. And basically we're just trying to get rid of those join lines here. But we don't want to make it obvious. We don't want to have what looks like a cross, so I wouldn't want this straight line here. What I wanna do is blend out from the edges are from another spot. I kinda wanna get some really broad areas of color. So I thought that worked well with my design as I was working on it. Remember you can also go in and add any of the colors that you feel might be missing in this section. And you saw that I just grabbed pastel super soft. It really doesn't matter like he said, Which one? If you wanted a bit of spatter, find a brush to use that has some of that. If you were going to just use the procreate brushes, I would suggest the spray paints spray paint category. It has a couple of really nice nozzles that give a bit of us spray effect as well. So that can be something that you add. You go back to my blenders and you can see how nicely that actually ended up working. So I'm looking for a sort of bigger, broad areas of color and I'm hoping, uh, haven't really messed up these other parts. But I am going to show you a way that you can double-check that. So yes. So what I'm gonna do now, just to check my repeat, check the seamlessness of it. If I'm going to do that whole process again, so I'm duplicating swipe to the left, duplicate, do that. So you have four layers. Turn your guides back on, Start with your top layer. Move it into this corner. Turn off your guides. And this is a great way to check to see how seamless your repeat ended up being. So you can see that there's really no evidence of that line that we had there originally. And now this gives me a chance to sort of make this part work a little bit better. So I'm going to use that blender effect. Some kind of broadening those areas a little bit. And you know, there's really no way of knowing how exactly I'm going to do this pattern because I'm doing it. As you can see in a very intuitive way. I'm not pre-planning this at all. I'm just going to see if this is going to work. So this is an experiment for me as much as it is for you at this point. So I think I'm ready at this point to stop working on this background and start working on my foreground items. So I'm going to meet you in the next lesson where we're going to get started on that. I'll try not to touch this when you're not looking. All right. I'll see you there. 5. Lesson 4 Adding Pattern Elements: Welcome to lesson 4. So this is great. We've got a watercolor background and we know it repeats perfectly. Now let's start adding some other elements. This is a set of line art leaves that I've been creating a plan on selling a brush set with this. I just haven't finished it yet, but I wanted to experiment with it in pattern design. So this series of experiments was perfect for testing them out. I've used them to great success with these repeats. So I think I'm going to try to do that again with you just to show you how I went about and produce these. The one thing I did find with my brushes that I had created these leaf brushes was about the stems weren't long enough, so I created a brush that would work nicely with it to tie in with the same texture. These leaves have a bit of a texture. So if you went into the brush here, you would see that. And of course, the one I pull up doesn't have the texture of it. You'll see that I have this green that I've put on them. And this is just one of the grains that is part of the source library. Can't remember exactly which one it was. Let's see here. Here it is bad sprain. And so I've created a line brush that has the same texture so I could use it to add parts or blend. And you'll see me doing that in a minute. Let's just get started and do some composing of our pattern. So I'm going to add a new layer here. And I'm just going to sit down nice and hard right in the middle there to get an a month turn off my snapping and magnetics. I'm going to try to keep the pattern fairly simple so we're not going to put too many elements on here. I've got my brush set pretty big here. See whales, we can see some of these brushes are quite elaborate. As you can see, they've got a lot of leaves together and I did find that after a while I had to create some that didn't have as many leaves in them or I would be kind of taking some of them away. So let's just see what we can do here with these two that we've got. I want to create a kind of a linear pattern this time. And I can see that what will happen is as soon as we commit to this one here, that we're going to have some species that we're going to have to fill here. We can do that when we do the pattern repeat. And I'm going to show you exactly what I mean by that in a couple minutes. And maybe I will add this little flower here because it does have a really good vertical kind of a field to it. And then we'll see where we could place out one. I'm going to scale down that texture a little bit. Now. I'm trying to keep the thickness of the lines pretty consistent here. And I'm thinking that this one might be just a little bit too fine. Let's see what we can do. Yeah, I think I'm just going to eliminate that one. So I'm gonna go back to the stage here, move that up right to the very edge here, and see if we can grab another leaf. We'll just try a single leaf for now, put that on this layer. And if you ever find that you have one that's a little bit later than the others. A trick that I learned is to duplicate it and then just pinch those two layers together. So you can see that works just fine for that. So let me just produce a, this one a little bit. And we're going to move this one a little bit. And I'm going to use the eraser on this layer. I just put that eraser to a syrup brush because it gives a very good clean erase line. And then the one brush that I created that works pretty well with this lineup cut blunt. One of the things you can do is duplicate it and then go in and check what grain you have on it. And I think this one did work quite well with that, but you can always go in and edit it. And if you could remember which one it was a US, you could definitely more thing. It was this one actually, yes. Bad sprain, sorrow, rename this one Minecraft bad spray. So it's a duplicate, original lineup cut lunch. But I added bad spray just so that I could remember that that's what the texture was. So this lineup cut, bad sprain is the one that matches. You see that if we look at the grain, it's the same one as I have on the brush. So you'll see when I paint with it, that it gives us the same sort of tonal effect there. So that's what I'll use in a case like this to extend my line. Now you may have to go over it a couple of times. Remember that this leaf here we had done in two layers. So korean and do anything that you see. And we're going to end up having to do something with these, but we won't know what that is until we do the repeat one here. I'm actually going to enlarge. Now. I'm going to go right to the edges there and I'm going to change to free form so I can just pull that in a little bit. So I see that I've got basically my whole square filled. I know that when we repeat, we're going to have obviously some areas down here which will join to this that will need to be addressed. You can take a look at this, you can decide what you wanna do. You're welcome to use other brushes. Of course, this look is very different from this look, and this is one that I did using the same watercolor type of background, but I added some sort of deeper, darker flowers. Really just a matter of personal preference, what it is that you're going for when you're doing this design. And this time I'm just kinda working with this idea. So for now we're ready to go with actually moving this around to the four corners in much the same way as we just did for creating that perfect seamless repeats on the background. And we're gonna do that with this one and move it around so that we can fill in any of the spaces that need to be addressed. So what I do here to prepare for that is I select all of them and put them into a group. And then we're going to repeat that group. So we need four copies in total. I actually usually do five so that I can keep that initial group here and I just lock it so that nothing happens to it. It's very important that whatever your design is that you have at least one layer that is completely filled. So if you weren't going for the watercolor look, you could put a solid color in here and that would work. But what is important is to have it solidly filled so that it'll snap to those guidelines like we did in that first repeat. I'm going to go ahead and start positioning that into the four corners. And I'm going to do that with you in the next lesson. So I'll see you there. 6. Lesson 5 Repeat Construction and Checking: Hi guys, welcome to lesson 5. So as always, we want to check our pattern as we go. So we're going to make some adjustments and then we're going to make sure that the repeat works. Let's get started. So this is where we left off at the end of the last lesson and we're ready to do the test of the four corners here. So as you know, we've got the four groups and we know that the background on each of these is going to snap to our guidelines. So we're gonna put snapping and magnetics on. And I always like to start with the top one and move it into the top corner here. So we're going to do that. And as I get closer to the center line, I don't have showing. So I'm going to go back to the drawing guide on, and one of the things you can do with a drawing guide, if you've got a pretty dark pattern like this, you can really be put out here by adjusting the opacity and thickness. I'll hit Done here. And let's get as big as we can into that area and make sure that we've got those two lines lighting up. Now, did you notice what has happened there? I accidentally clicked and you can see that that has moved it off. So you have to be very careful for that not to happen. Once you get it into position. Do not click or tap anywhere on the outside. Let's grab the second one. Same thing we're going to, this one's going to move into this learner. So I always go sort of not all the way there and then enlarge and then pull it into position. So I see I got the bottom one there that turns yellow. And now this one's turned yellow. So we know that that's lined up perfectly. You have to kind of ignore this. What looks like a mistake with the edge of the square showing up kinda beyond the edges. Just follow the guide. You'll see as soon as I let go, it's perfectly fine. So again, we're going to move down. And this is where it's really tricky to not click somewhere, right? You want to make sure that both of your fingers hit the Canvas and you pinch with both fingers there so that you don't accidentally move your art work. Okay, so we are on number three here. Again, close to position, enlarge. See both of my lines lit up there. And last, but not least, close to position. And you can use two fingers or a figure from each hand to do you're enlarging if that's more comfortable for you, a rate. So we know that those are perfectly positioned. And sometimes before I even go back down in size, I'll just temporarily locked them to be sure that everything is okay. So you can double-check, pull it up really big again, make sure everything's locked, nothing's going to move while you're doing that, and that other layer was still on. So that's why we have that duplicate image there. So this is a perfect. Now we know exactly what we have to do next. And that's going to be to fill in these spaces here. So for that, I always add a new layer. As a matter of fact, I usually do a group. And in order to make a group, I have to have two layers. Select them both. Swipe to the right group. And now I've got that to play with. These layers are going to be useful for either extending the stems or adding more leaves or whatever. And I think that's what I'm gonna do first is I'm going to see what I can do in the way of adding a couple of extra leaves. So we'll go into this line, aren't plants. And, but it probably add a couple of singles here. And I think I'm going to end up making new brushes are additional brushes for this set because I can see now the kinda things that I really need. So that was that three leaf. And I'm going to add that because I think I can maybe take away one or two will see. I'm just going to stamp it in there. Nice and big. And I'm going to actually rotate it. Let's see. So this is these two leaves here. I don't want them to be exactly the same, so I'm going to flip it and I think these two would work the best. And I'm going to probably get rid of that one. So I'm just going to use my selection tool and cut three fingers down and I was able to catch him. And now I'm going to enlarge that a little bit more good. Turn off the snapping. What I'm looking for here as I'm putting these brushes down because their line art, I want all the thicknesses of the lines to be quite consistent. And because this brush is the same as this one, I flipped it and I'm also trying to make it a slightly different size. So I think that kinda works there. So I'm going to have to do some erasing here. And I like that I think has worked out well. I'm going to paste that single leaf back in here again because maybe I can use it over here. So we'll flip that. Fit quite nicely in here if I maybe moved to that one. So let's place this one. I'm going to make it a little bit more squats. And, you know, maybe I won't even have to move that other one there. So I kinda like Knox, I think I can continue the stems down and make it all work. So on this other layer here, I'm going to do that. I'm going to continue drawing some of the stems and I'm going to go to that line of credit lunch bad spray that we created or that we altered in the other lesson. And let's just work with peace to start out with. So I'm just going to continue that line. Continue this line. I'm going to add one here. And because it's a matching brush, you can use it anywhere you want to do a little bit of touch-up. So this one I think will be good mean stem that I'll continue. Just remember you're actually not at the moment painting on those original layers. This is going to be completely separate. So if it's really important to you to habits on the original layer, then go back into the group and put the correction right on that original motif. I know I can keep this straight in my head so I'm not worrying about it too much. Remember rotating my canvas so that I can get the best angle for, for my curvature of how I work with my stylist. Now in some of these little areas here, a lot of them I'm going to just leave because there are three fairly well balanced in this case here I think I'm just going to draw another little random leaf here. And this is a very easy motif to draw. So you basically just do appointed sort of a seed shape and then just add a couple of additional lines inside to make it work. I think I'm going to pick on this line here to match all the other stems. Not sure why that one was that much smaller. Oops, erase those two excellently. And I think I'm going to be okay with this space here just simply because there is a lot of balanced negative speed. So I think we'll be all right, and I think at this point we're ready to check the entire repeat. So you can see that our watercolor works well in the background, and I'm going to be making changes on that in the next lesson. Let's check this document by doing the repeat where we reduce and have the four corners filled with the repeat. And whenever I'm gonna do that, I always make a duplicate of the document. I like to keep that original for the purposes of editing. So I hit select here, select main, duplicate. And then this one we're going to call mean Test 1. So let's open that one up. And in this case, we really just need to have this entire document flattened. So I have to unlock all these groups here. This one I can unlock and delete because we know we have it in the other document, then we're going to actually flatten them all together. I should be able to pinch them. And yes, that works. We're gonna put our guides on over there, so on. And we're going to make sure that the snapping is back on. And let's pull that. Like I said, I like being methodical, so I'm going to pull it into this corner. Once I have it sized correctly, then I can just duplicate till they have four and pop those into each of the different corners. Let's turn off our guides. And now we can really get a look at how that repeat turned out. I'm liking it. I find that the sweeping lines are great. We've got some really nice curves happening. The spaces are very well balanced. So the negative spaces balanced overall, I really like it. I think that we could, just, for the fun of it, pinch those together and take a quick look at what we might want to do later on with messing around with the color and look at how delicious that is without watercolor in the background, you can really change that to be almost anything. It's still would work. Watercolor just makes such a gorgeous background. So that's with hue and saturation. We could also go into color balance and make changes there. So we've got some very nice stuff going on here. I can see that I didn't, I should have had this all flattened to a course. And at some point I must have ever so slightly moved one of those squares because I do have a dark line there. But as a test, this is perfectly fine and I'm really liking it. I think I'm going to make some changes with the watercolor in the background. And let's just save that for the next lesson. We've done enough in this lesson. Alright, so I'll see you there. 7. Lesson 6 Finessing the Pattern: Hi guys, welcome to lesson 6. So this is the stage that I call finessing the pattern. Let's get started. So when it comes to this point of my process, I like to get a really good look at this. Repeat. There's lots of things I like about it. I really liked the sweeping lines. I think that most of the negative space is balanced. I did a little practice here. I'm just adding a little leaf in that spot there. And what I'm thinking could really improve my pattern here would be maybe a more deliberate placement of my colors. So that's one of the things I'm going to edit in the main swatch at this point, really see if it's all on one layer. I can copy and go back into my main document. And sometimes what I do is just add that. So just paste that in. So I've got it to refer to if I need to know, I don't think I'm going to really need that much because I know what I want to do here. And that's to make adjustments on the placement of this color in here. So if you look at the sample, so I'm just going to move all of this stuff into a group. And that way I can turn it off all at once. And I'm going to take those guys off for the time being. Now I can refer to this if I need to. So looking at this, I'm thinking that rather than have my color running so linearly like in such straight lines across here going to make a few changes that kind of draw the colors into more of a vertical shape or vertical lines. So that's kinda the main thing. And then I may add that little leaf in there. There's a few other things I would do if I was actually submitting this for art licensing. I think I would go through and thicken some of the outside lines, so I may do a little bit of that in here as well. When I did the example piece that I was using for my titles, I did go through and thicken up the outside lines here and I kind of liked that. And about that too is it's a good way to inform the production of the brush set because that's something that I would like to fully develop, fully perfect before selling it, before putting it on the market. Those are just some of the things that I've observed just by looking at this piece here. So I can temporarily shut that off. And I think I may be at the point to where I'm going to be running dangerously close to the maximum amount of layers that I have. So I'm going to do a little bit of housekeeping here. I'm putting all of the leaves in one layer. So basically I've got the one layer with the background and then the one layer with the foreground, which is the leaves. And don't forget, I've kept, I've kept this one sort of master as I was working through just to be sure. And I think what I'll do to that group is add this one so I'll duplicate that was those fillers. And if those fillers are in this group, that I know that that initial group here is complete. And if I ever need that for editing or if they have submitted this one for licensing. And it turns out that they want some minor changes done. I can go back to that original, original. So that's a really important thing to think about. So I'm swiping to the right so I can select them all and then pulling them down. And this guy, I don't need in here. So I'm going to move that all the way up to about the four together. I'm going to pinch them or they're just one layer and I'm going to start making my changes. So depending on how you want to work, you can hide all of those leaves. I'm actually going to leave it on because I really want to be able to see how the color interacts with the leaves that I have there. So I'm going to try to avoid the edges. But if I end up hitting the edges for some reason, then I know I can remain for seamless repeat if I have to buy it for now, I'm going to kind of try to avoid it. I'm going to sample the brightest orange there. And I'm going to go into maybe the Martin's steep ink color and Course 1, the wrong layer. I'm just going to kind of rough in some of the color as I was sort of visualizing it a little bit bigger here. What I'm thinking would be nice would be to have the colors really run behind the leaves. And you know what, that just made me think of something. I'm going to actually rotate that. Actually before I do that, I'm going to put my snapping on and I'm going to rotate it. Seamless repeat is still going to work, right? All the edges will be the same. So let's just see how this works. I'm going to definitely add a bit more of the color, but that's probably going to work better for that linear feeling that I'm looking for. We know that we can blend all is two, so that's going to be neat. Let me go into my palette here. And then of course I'm going to go back up to the blenders here and do the watercolor blend this time. Because I do want to kinda still get those really cool sort of blooms happening in there. And we've got look so good in there, it does not. And I still want to leave somebody who's sort of lighter areas too. So I probably going to stop pretty much now here. And I think I've managed to avoid touching any of the edges. It Famous last words work. Now the next thing I wanted to do was to work on these leaves little bit. And for that, what I wanna do is two things. First, I'm going to combine all of those white. Not sure if I can do it like this or if I have two. Yep. I've got to move them into the same layer. So same as I did before. I think because group is now empty. So I can delete it. Oops, not duplicated. And so our file is getting really nicely cleaned up. So I've got all my leaves together, including all of these fillers here, and I've got my background altogether. So in order to work on the leaves, what I'm gonna do, fish them altogether. So that's a real commitment there. I mean, I know I still have it in here, but I like working with it when it's all on one layer, so it's always a balancing act there. You definitely want to keep your fully editable file. So never touched that group. I usually even have it locked so that I can't make any changes accidentally. And one of the things I did notice also about my leaves themselves is that there's a lot of variation with the white. So somebody who looked to me to be a little bit pinkish. So I'm going to go in there and adjust my hue saturation and brightness for the layer and brighten. That's going to be it for my adjustments. Now I also know I want to use that bad spray brush, Leno cut blunt, bad spray so that can match the texture. And the other thing I can do here to brighten this up even more is to duplicate the layer and then pinch those together. So already I like that better. It's really popping on that background. One of the things with doing this touch-up, if I do any with this white, is that for example, this stem on this flower, because it hits the edge. I know that there's going to be an adjustment that needs to be made afterwards. So I'm going to do the touch up fully knowing that I'm going to have to make adjustments later on to just make sure that this spot here perfectly balances out. And I think I might just kinda dark in a couple of these lines are thick in them. And then remember I had the idea of adding just a little leaf in this area here. So I'll draw the leaf first before I attach it. Yeah, there's no law that says that when you buy a brush set, that looks a certain way that you can't make adjustments to the motifs after they're drawn. They can be used exactly as is with the brush. Or you can go in and make changes. I had done some artworks way in the past and by hand inking, but I had these sort of motifs and I had actually put circles in there almost like they were pea pod. So that's something you could experiment with once you have the brush set and they definitely don't all need to be adjusted. I'm seeing that most of it is consistent. There's just a few spots here and there where the lines seemed maybe a little bit too thin, mainly with that one stem. And I'm wondering maybe I'll put a little leaf in here as well. And I quite like this. I think we're ready to do our first test of the pattern, which will help us to also fix that one stem. So, you know the drill, I'm actually going to move these here instead of having it subgroups. Now, I'll get rid of these two. And then the group is very simple. It has the background, it has the foreground, and it'll be really easy to put together. So let's duplicate that. We have for step one is to put on your guides. Step 2 is to make sure you're snapping is on. I'm going to hide these layers as I move each of them into positions so we know the top one moves to this corner. And I really find that once you have less items in your group, that the snapping works so well. So I'll do a quick time-lapse of me positioning the rest of these because you know the drill. So now that we've got this in position here, we can double-check those stems. This is the one that I made the alteration to, so that's the one that I would be the most concerned with. So I'm going to open this one up and this is the one that I just need to make a very slight change to. I'm using the same eraser, so the lineup cut bad spray is going to be my eraser. And that has worked out well. I like the thickness of most of my lines here are like the way the changes with my background have worked out at this point. We're ready to try it again and test that repeat in the four corners. And of course we're going to do that another documents. I'm going to select that, duplicate it. And we're going to call this one test two. And you know that what the tests, what we do is we merge all the layers. I can delete this one and no, it's locked, so I got to unlock it and delete it because we know it's on the other document. All of this can be flattened together. Actually, we can delete that too. So all of these guys, what slots? This one here is locked. Okay, unlocked. And this one we know is just into the corner. Duplicate, duplicate, duplicate. And move those into position. They snap beautifully, turn off our guides. So here's my final test and I'm really loving how the watercolor now kind of follows the overall belief pattern and it's really rich. So I really liked that. I could go on and do more changes. But for the purposes of this class, I think we're ready to call this one done, and I'm going to use it now to do a couple of mock-ups. Remember that this one is all flattened. We've got it all, basically all on one layer. So when we make changes, we're changing both the foreground and the background. Now in this case, because the leaves are white, it doesn't really make too much of a difference. So that's one of the reasons I stuck with the white motif for this class. And really you could make some gorgeous fabrics out of this. I can just imagine this as a dress. And I think when I get it into Photoshop to do the Mockups, I'm going to try a couple of different color schemes, but I really think that the dark could be nice, but then we need to brighten up the white. And that's something that is more easily done in Photoshop for me. And so I'll meet you in that last lesson, which is basically going to be just showing you the mockups that I created and then wrapping up. Alright, so I will see you there. 8. Lesson 7 MockUps and Wrap Up: Hi guys, Welcome to the wrap up. So as always, I want to show you my finished pattern on some mockups. I think making a mock-up with your pattern is the ultimate way to check and make sure that it works. I think this pattern would be absolutely gorgeous on a dress, but you can use it for almost anything. What do you think? I think it turned out really great. So if you're really interested in this class and what it makes sure to encourage you to hit that follow button up there if you haven't done so already, that way you'll get informed of any of my classes as I post them. And you'll also get posts about products that I am making and selling or giving away on my website. You can check out my website, you'll find it at shop dot Dolores art dot ca. Make sure you add yourself to the mailing list there because that's where, like I said, all my free resources will be honestly that just aren't enough hours in a day for me to do things I wanted to do. If you want to check out my stores, the biggest one, I have an add Sawzall.com. I also sell it Arctic where hearing Canada. And you can just Google my name and you'll find some stuff online. I've even got some products on Wayfair right now. Check it out. Now if you're looking for additional resources, I think I've mentioned my Pinterest sites. The first one is diverse art dealers now sprint and the other one is called teacher Dolores now sprint. And on those two sites, I also post a lot of resources. There's tons of categories, so you gotta get there and check it out. Thanks so much for being in my classes. I just love to see you guys here and I really, really enjoy seeing your posts projects. So if you've got a project, once you finish this one off or getting other projects, please post them in the gallery. It's always great to see how you use my products. Also, if you have any questions, make sure you post them in the discussions area here. That way I can answer them publicly and everybody gets the benefit of the information. So I guess this is over and out, and I will see you next time. Bye bye.