Extraordinary Illustrator Brushes for Pattern Design | Delores Naskrent | Skillshare

Extraordinary Illustrator Brushes for Pattern Design

Delores Naskrent, Creative Explorer

Extraordinary Illustrator Brushes for Pattern Design

Delores Naskrent, Creative Explorer

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13 Lessons (2h 10m)
    • 1. Intro Extraordinary Illustrator Brushes

    • 2. Inspiration, Color Swatches and Workspce Setup

    • 3. Creating Your First Brushes

    • 4. Adding Variety to Brushes

    • 5. Creating a Rough Pattern Repeat Template

    • 6. Advanced Techniques in Brush Construction

    • 7. Additional Brush Construction

    • 8. Producing the Leaf Motifs

    • 9. Finalizing the Leaf Brushes

    • 10. Working on Swatch Composition

    • 11. Finalizing the Pattern Swatch

    • 12. ATD Colorways

    • 13. Outro

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About This Class


In this class, Extraordinary Brushes, you will be guided step-by-step through the process of producing an intricate repeating fuchsia pattern design, from initial brush creation and composition of the design to creation of the final pattern tile. In this class, you will learn how to thoroughly use the potential of Adobe Illustrator custom brushes. Our brushes will include leaves, petals and stems that can be manipulated infinitely, and it will look like you created hundreds of brushes, when in reality you are producing just a small number of them. These brushes are an investment: they can be added to other brush sets in the future, and you can use them to make many more designs than the one you create today! Using these extraordinary brushes in layers, you can see the design truly materialize into a charming botanical composition.

This Extraordinary Brushes class is tailored towards designers with some knowledge of Adobe Illustrator and basic brush creation who want to learn additional techniques, though basic brush construction is covered. For those wanting detailed introductory lessons or a refresher first, please check out my earlier classes such as Fake a Watercolor, Part 1, or Textural Floral Pattern Design.

Please Note: The Adobe Textile Designer Plugin has been de-commisioned by Adobe, so you will be unable to download it for free as stated (by joining the beta program). Please ignore any reference to it. There is much to be learned in this class without the use of this plugin, so don't worry!

For this class, you will need the Illustrator and Photoshop software. If you are the type of artist who likes to start your projects by drawing to roughly plan your project, you’ll also need some very basic tools like plain paper and a pencil and phone or scanner to get your work into the computer. I’m pumped to show you how to sprout your fuchsia design, so let’s get you started!

The verbal guidance and demonstrations will help you learn all the necessary core skills that can be applied to so many of your future designs. Whether you are new to surface pattern design, or an accomplished designer, you are sure to learn something new. 

The beauty of this course is you can pick JUST the lessons you need, so you can skip concepts you have learned previously. In this class we will go through specific concepts in 11 lessons that cover:

  • Using tools and brushes in Illustrator for creating more complex art brushes.
  • Creating a pattern tile in Illustrator and ensuring the repeat works.
  • Exporting these different colorways and creating proof sheets

You will get the bonus of…

  • around 120 minutes of direction from an instructor who has been in the graphic design business and education business for over 40 years
  • knowledge of multiple ways to solve each design challenge
  • FREE brush set to play with in creating your pattern in Illustrator.
  • A project sheet with step-by-step written instructions to create your first textured pattern successfully.
  • a list of helpful online sites to further your education into surface pattern design.

Upon conclusion of my class, I encourage you to create this project and try out my methods. Feel free to participate in the free guidance I offer while sharing in the projects section. Get involved in the process and benefit from the constructive advice and support of fellow artists! Whether you are new to surface pattern design or an accomplished master, learning to make extraordinary brushes is another one of the “must-have know-hows”. So, let’s get the ball rolling! Start the Extraordinary Illustrator Brushes Class NOW!


Lesson 1

In Lesson 1 we will talk about inspiration and reference and how to set up your workspace in Adobe Illustrator. We will also set up color swatches using a reference photo.

Lesson 2

This unit focuses on extraordinary brush strokes, an overview on how to create them, and how to adjust variables and stay organized.  Brushes will be developed in this lesson to help review brush construction.

Lesson 3

You will now get the opportunity to create an extraordinary petal and you will use a bunch of techniques to create highlights and shadows on your brush.

Lesson 4

We take a break from Illustrator here and use Photoshop to help prepare our rough sketch for use as a template for our pattern repeat in Illustrator.

Lesson 5

We explore alternate methods for creating highlights and shadows that have you exploring the blob brush, the eraser tool, as well as transparency and blending modes.

Lesson 6

We will go into greater detail here on construction of the brushes. Also, the power of layers is explained as we discuss composition.

Lesson 7

In this lesson, we will start constructing the compound brush shape that will become our first leaves.

Lesson 8

We work more on our leaves here and learn a few other techniques including the super-fun puppet warp tool. Next, learn how to make this tile into a perfect repeating grid pattern.

Lesson 9

This unit focuses on all the other little brushes we need and we begin to explore the layout of the pattern swatch itself.

Lesson 10

Testing and finalizing our tile is the focus of this unit, and it is so much fun and so very satisfying! 

Lesson 11 has been removed for reasons which are not in my control: The Adobe Textile Designer Plugin has been de-commisioned by Adobe, so you will be unable to download it for free as earlier stated (by joining the beta program).

Concepts covered in this course: pattern design fundamentals, Illustrator brushes, puppet warp in Illustrator, blob brush, eraser tool, calligraphy brushes, Photoshop, Illustrator pattern design, Adobe Textile Designer, Adobe Textile Designer colorways, surface pattern design, mockups, mockup design and production in Photoshop

Meet Your Teacher

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Delores Naskrent

Creative Explorer


Hello, I'm Delores.  I'm so excited to be here, teaching what I love! I was an art educator for 30 years, teaching graphic design, fine art, and theatrical design. My own 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 also been involved in art licensing with contracts from Russ, Artwall, Studio El, Trends, Metaverse and more.

This is where I say something existential or clever about my inspiration: The colours of nature and my intuition guide my art: my most generous muses are light, sunshine, and flora. My work ranges through multiple media: my co... See full profile

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1. Intro Extraordinary Illustrator Brushes: Hi there. And welcome. My name is the Lloris NASCAR. And and I've been a professional educator for over 30 years and a practicing professional, graphic designer and artist for over 40 today I want to teach you Ah, fun new approach to pattern design. Using some extraordinary brushes that you'll create in this class, you will learn illustrator skills too numerous to mention along the way. Remember that Brushes you create our own investment, they could be used in multiple projects. And the skills that you learned today will be so transferrable. And at the end of this class, I'm gonna take you into photo shop where you're gonna learn how to use the color ways that are part of the adobe textile designer Plug in. It is so much fun. Are you ready to get into it? Well, let's get to Lesson one 2. Inspiration, Color Swatches and Workspce Setup: he guys, welcome to lesson one. So in this lesson, what I want to do is talk to you a little bit about inspiration. And then how I went about gathering reference to start working on my extraordinary brushes . Let's get started. I want to start my class by talk to you a little bit about inspiration. Looking back through a bunch of my old journals that came across this piece, I had used it to do a calendar, which was published in 2018 through Trans International that with the background that was how the final page looked. These fuchsias, I inked an illustrator. Here they are here. I remember always thinking, Oh, I should be going to a pattern but I never did get around to it. So I've decided that this would be a perfect example to use for my class because I wanted to make some really great, really colorful brushes. Fuchsias, this by their nature, are absolutely gorgeous, bright and colorful. So that's what I have decided to do. I went along and did a bunch of sketching of different fuchsia flowers and some of the leaves. This has become the basis for my brush set. I am just in the process of creating the brushes and that that's what we're gonna cut to next, and you'll see that when I break it all down, it's actually very easy to produce some extraordinary brushes. That's the purpose of this class to just show you how to do above and beyond the brushes that I normally show you. So another one of the pit stops on me and I'm being inspired is, of course, the Internet. This was the type of fuchsia that I was interested in drawing, creating brushes for. I copied a few of those over onto my illustrator document as inspiration. Also created a Pinterest board with a few other inspirational pieces here. Like the flow in this one's one has a really nice flow as well. So these were all things that were going through my mind as I was designing. So then, over to my illustrator document, I decided I would create my color scheme. Based on this picture here, you can see I've created a bunch of color swatches here, and I did that by sampling the color that I wanted. So we just used the eyedropper tool, the con color that I liked, and it would come up in my swatches palette here, and then I could just drag it down into my swatches. As a rule, I generally go through and assign a global indicator on it so that if I needed to make changes later on, I can just make it globally. It will change the color wherever it shows up on my document. One of things that might be helpful to you, too, is to go through and make your swatches. I generally make a little square with the color in it. So it taken duplicate that square option dragging makes a duplicate you could see have a double arrow there, and holding down my shift key keeps it perfectly aligned. Now, one side on that original duplicate that can just use Command D is a short cut to pick athe swatch square and then duplicate the entire role. You could do it in any arrangement that you like, but this is the way I chose to do it for this one so that I went through and changed the original color that was in. They're gonna put the pinks on this role, purples some how about that one out of alignment Line that back up again, K. And let's see, I got a darker green here, and then I've got just some mutual colors. They had enough there, approximately. So sometimes it's nice for your mood board or for your reference to have all of these kind of worked out and their own little swatch here now that it. But all this inspiration I want to import my sketch, which I'm going to use as a guide for drawing my individual brushes in for a shock in a select all and copy and illustrator here, I can just paste get my scan. So, as you can see over here, I've actually started working on some of those a little bitch. I've done some experimenting and creating of some brushes, so started to make a few other little adjustments here on my colors before I proceed with some of the drawing. Yes, I just don't have exactly what I want, so let me just straighten these out of it, Okay? So what I'm thinking is I need more of a range of purples here, so I'm going. Teoh, read those right now and point out one of the things here that I've done is I've created a color group that is a good way to organize your colors because it's easier to save it into libraries after. Just want to show you that now one of the things with an individual color. If you double click on it down here, it takes you into the other model that you're using, where you could make adjustments. When I'm choosing colors, do you actually use? Initially, I like to just double click on the swatch here. That gives you the color picker, which makes it easier to actually choose your colors, especially if you don't have a color book or something like that for reference. So I'm double clicking on this one. I'm gonna make it lighter, maybe even a little bit later on. And same with this one. It's one isn't even this color, which is what I wanted double clicking on it again and making it even lighter, though now you can see about more of ah radiant happening here with my colors of Gotsche theme agendas. I've got the purples, I've got the greens and I've got kind of a neutral background color. This can change often changes several times before I'm completely done. It's just one of those things that is part of the process. Okay, so now that we are number, the color swatches, at least temporarily I want to move into eating some of the brushes. So as we go along, I'm gonna probably inundate you with all kinds of different things that I think of as I am doing them. And one of them is moving around my documents. So holding down my space bar gives me this hand tool which allows me to drag and move my document. And that's one of the ways to quickly move to another spot. The other way that I really like is using my navigator. When you click on your navigator, I always have it on the top. Here, a navigator allows you to drag this red rectangle, move you really quickly and in one increments rather than five over to where you want it to be. So right now I'm going, Teoh, put it right here. These are the two areas that I need in my view finder at the moment while we're working clothes, that navigator and the other two things that I'm going to be using much constantly is Mike's watches Peller and my brushes. So I'm going to call out the swatches paella, and I'm gonna talk the Russia's palette Right to it is my brushes public it. Let me open that up. Amenable. Let swatches palette. Ouch! And, doc my brushes to the swatches, and then I'm going to dock them right here on the side of the tools. I like that because they can stay open all the time and that makes my work go quite a lot faster. I'm also gonna talk my libraries panel back down here so that I've got more real estate here, so looks like we're pretty much set up here in the next lesson. What we're gonna do is start creating some of the brushes. I'll see there 3. Creating Your First Brushes: you guys welcome to lessen, too. So in this unit, I'm going to show you how to create the basic brushstrokes and how to stay organized and make adjustments. Let's get started. Okay. So I want to take you through a just the creation of one of thes pedals. Exactly how I did it. I started out with drawing a shape. Let's go over here to my template point to just draw this shape here. So this means sort of double peddled shape. So we're just gonna use my pan tool real quick. I'm going to Tracy outline of it here, changes to know, feel temporarily. And I'm just kind of roughly tracing the edge to change direction here. I'm gonna click right into this last anchor point with my option key hell down that allows me to change directions. What I'm trying to do is lay down a few points as possible here, keep the amount anchor points down so that my document will remain efficient. So it's gonna show you down here. If I didn't auction click in this anchor point to change direction if I tried to pull up here like yet is a little curl in the end of my path. And I don't want that What you click in that point and you can see that when I drag, I tried to drag and keep it fairly close to the direction where I'm going to be leaving next. Oh, quickly hitting its roughly drawn. And I think I'm going to finish this off with a curve at the top and I'm gonna be overlapping with this other piece. I've got a very basic drawing here, most enough to what I originally land. I'm gonna bring that over here. Is this my basic brush construction area? So I'm going to start by feeling that with my darkest color, which is this one here know it worked to create this brush to grab your direct selection tool really quickly other than going into the menu here. If you press a on your keyboard that will get you that direct selection tool. If you wanted your selection tool, V would be what you'd want to press on the keyboard. I would select your entire shape. But what I want is to be able to directly select and this one here I'm only though my option key. Teoh break it from that other handle. Okay, So one of things I know about creation is that I want to keep it as close to vertical as it possibly can and you know, perfectly straight, so that when I go to draw my brush, it's not gonna do weird things and seem distorted. So I'm going to blow to guide here, which will show me the center of this particular group of pedals. They can see here that if this is the center time, way off at the bottom here, this is not centered above this. So I'm going Teoh, use my directs electoral drag over the points that I want to move and just kind of shift them over so that there will be more centered on that center line. This is still sticking out quite a bit further than this. So I'm going to move is the same process, and I could go in and make corrections, but I think this is pretty during most of what I intended. I don't have a handle on this part of the path, so I'm going to click here. Teoh, invert yaka point to a smooth point that makes a lot easier to adjust, right? So I could drag this into my brushes palette and create that brush just like that, with no other shades or tents on it. So what I'm gonna do is demonstrate that somebody drags into the brushes palette, trade the art brush like, Okay, and you can see here. But I was talking about with the drawing and keeping it quite centered. I'm not gonna change any of these other settings here other than this one here. We're gonna change it to pressure so that it will respond to me pressing softer or harder with my stylists. And I'm just going to make the range about 15% between whether a press hard or I don't. If I go to my breast tool by pressing B on the keyboard, I can actually just ain't that particular stroke. Look how quickly I could actually do this first level of my fuchsia. I'm going to delete Thies, too. I'm gonna keep it here in the brushes palette, but what I'm going to do is add a little bit of dimension to it. I adding some of these other hints of my color A so I could do that. I drawing them with a pen tool. That's one of the ways to go Changing feel color or what I prefer to do is have a brush to use for the shading. I created this brush earlier. It will be great for doing some of this. I'm gonna show you how I did that are saying I did was draw and the lips filled with the color that I wanted. If you're gonna make this smaller, tried it, actually keep the profile pretty close. To what? I think I'm going to be needing it. That particular application And in this case, what I want to do is I want Teoh. Make sure that the endpoints here let me just enlarge, come to a point. So I'm going to do that by clicking Here you invert the selected anchor point to a corner point, clicking on it here. Same thing here, and see how it now comes to a point. Oh, if I leave it in this color, it'll only paint in that color. What I actually think would be the best thing to do here is to created in black. What we're gonna do is allow that black brush to be affected by whatever watch that we choose. I'm going to make a slight adjustment here because this is close enough to another brush that I already have. This one here. I'm going to just change shape a little bit that it is an alternate to this one here. I'm gonna add points here and there. So using plus key while I am still on the pen to allows me to add points. So I added a few points above and below center. What I'm gonna do is pull of center out a little bit and pull these in a little bit. You can see that That kind of changes a profile to be quite different from this one Here will be kind of a fat line in the middle and any skinnier ends. Now I can drag this brush into my Hala Testify Arte brush Look okay. And the most important thing I need to do here, I will, of course, change what the amount of pressure will do in affecting that switch. Changing these percentages gives it a range of 20 or 30% depending on how hard I press. But the most important thing I want to show you here is the colorization. If I leave it at, none is going to be blocked every time I use it. What I'm gonna do is I'm gonna change it to tents, and this will allow me to specify the color based on the color swatch. I'll show you that right now. Click ok and switch to my brush tool. Draw it. And now, when I go into my swatches, make sure I have the outline in the foreground. Click on a swatch and you can see that that has now drawn it in the color I specified. Let's try that over here. You can see that that will work great for making highlights on. I'm going. Teoh Makesem Shadows here, back on the brush. Look on the darkest color and this is a good example when I would have to make you do squat and dark in the color. So I've created a really nice little shadow. Take out one of these extra points here, and it's really neat the way it on a bulges have a little bit in the middle. That's created a really nice highlight and shadow on that one leaf. And get rid of these to eat them anymore. So this could have actually just been one of these flowers over here. Or I can actually use this to create another version off that we structure. So the way I would do that, first of all, I would expand all my stroke. So right now, these were just stroke. It has not been expanded. So I need to do that before I can create a brush ongoing tickle to expand appearance. Now that is completely expanded. Then I can drag in there. But since that profile is exactly like this original one, I am going to change it slightly so that there's a bit of variation I'm actually gonna change. They used to be smooth. Just tighten up that so I could do it this way. Or, you know, if you saw that when I select is that little circle in there, I can pull that up and I get around the end of it. And I think it just changes point a little bit here and now when I drag this one in here, wait a sec before I drag it in there. I am definitely gonna simplify you See how many points there are along. These is completely unnecessary. So I'm going to select these three shapes. I'm holding down my shift key while I'm selecting, and I'm gonna go to simplify the path I've got a shortcut, which is command slash. You can find it here on your path to simplify. So you see here I've got the keyboard shortcut commands last. That's what I do. This little panel comes up and I mean already it's reduced it down to nine points and actually looks fine to me. But if I needed to make more accurate adjustments, you click on those three dots, and now I can make it even more accurate. And even if I go to almost full accuracy here, it's reduced it from 85 points down to nine point. So that's what you want to see so that your document remains fast. Don't forget that you will be producing a whole bunch of flowers and hills. Ashes binds all that kind of stuff, and there was going to be a lot of points. You can actually get to the point where the memory on your machine is really being taxed by all those points. So you want to keep that as simplified as possible. So I'm just going to click. Okay? Here. If you wanted to, you could actually uncheck this and you could see the before and after. And I do that just to make sure that I haven't really messed with it too much. And I'm gonna say, OK here. So now I can select this whole assembly, this whole leaf peddle group, and drag it into the panel specified Arte Brush. I'm going to again change that to pressure changed the range. 25% difference depending on how hard I pressed with my stylists and I'm gonna say, OK, let's just get that one test run. Let's be on the keyboard. It s Oh, that looks like it will work very, very nicely. What it thinks I do to is I like it. My brushes here to group brushes that I've created that are similar together. So I'm gonna drag this one up and this one I'm gonna bring way up here. So now we can actually get rid of these so you can see here. This is Thea outlined original shape that I drew in order to create the brush and then this is the finished brush and you can see that the path that I drew if I was to draw change direction, you could see how flexible that has become and how different they look. And I asked really softly and then press really hard. I can affect but the sizes. So that's pretty cool, too. Get rid of all of these and striptease here. OK, I got rid of all of those. And now I'm going to go into creating some of these single pedals just to show you. So I've created bunch of them already, and we're going to do that together now. OK, so that's what we'll do in the next lesson. I'll see you there. 4. Adding Variety to Brushes: Hey, guys. Welcome to Lessen Three. This is the unit where I'm gonna show you how to add a lot of variety to make. Your brush is really extraordinary. I'm gonna show you ways to add highlights and shadows and plenty of other things to add variety to your brushes. Let's get started. So I think the next pedal I'm gonna design is this one here? Something like it. I've got a couple of them here. This is one that I did that's already been created as a brush over here. It's my art brush 10. And I am going to start shy. Just trying O is kind of an outline here. I showed you before how to do it with the pen tool. And this time I'm going to just do it with the pencil tool. It's all personal preference when it comes to drawing. I actually use brush tool, probably more than any other tool. But I've been using the pencil tool to do these rough kind of outlines. What I get to the end of the path and I wanted to join up to this one, hold down the option key and it will join it. I'm gonna have no help line on it. And I'm going Teoh, drag it over here too, where I have in creating my brushes. But first of all, I'm going to simplify it. So remember my shortcut. If you don't have that shortcut, I would strongly suggest you make it because it's one that you will use frequently. So you need to have the entire thing selected before starting Celester that again already. That reduced it down to five points and honestly, like that IHS, pretty darn close to what I want, you know, still reduces it from 22 points to seven points, which is awesome. Okay? And then I will move it into my production area. Here it away from the template over here where I can see it really easily. Gonna bring in actually to this guideline, I have already to fill it so that you can see it better. And these were the ones that will be in the purple color. So I'm gonna fill it with my darkest purple and the number to rotate it to make sure that I have it lined out. Well, to my center, my 90 degree point, I mean again, I could make adjustments. I think in this case I'm going to bring this little pointed tip to the Centre Street in this curve out of it because I think I can get this effects off thinning and thickening by working with the pressure to create the effect that I want with the brush smooth that that will work Absolutely so in comparison to this one over here, let's just bring this over. Its smaller it has around her tip. So it's definitely gonna make it quite different than this one here. I'm actually going to match the size a little bit closer and have some of the shading, so I'm going to use this brush again and just draw a line. Actually, let's remove the fill. Changed the stroke to be slightly different stroke color and start drawing in a little bit of contrast here. This would be a good time to actually look at my photographs. Normally, I actually have these right besides my brush construction area. So I've been actually just shift all this over here. Then, as reference, it will be right there. It's going again real close, and one brings it back down to actual size. but it centers it right here. I'm going to use my navigation to bring it over to where I want it. And in large one of the shortcuts that I use that I really don't see that many people using is holding down my space bar and manky at the same time. And then I can enlarge specifically in one spot. So command option, it will do it again. So that is great for enlarging a very specific spy. So let's make a few changes here. But let's look at some reference as we're doing. So I'm looking at this one over here, and it's quite different than the darker one. I'm going to make it light like this, so I'm going to specify this lighter, real color. And then this shading that we do on here can do in some of these other increments of color Think I'm gonna probably want something kind of in between I like along this edge how there's a highlight. So I'm going to create a new swatch. So I got the news watch, which is exactly the same as the previous one. But I'm gonna click up here, and I'm gonna make a very light version of it. And for that when I'm going to use this little brush that I created because it's gonna work in exactly the same way I'm gonna have no feel long. But it will pick up the color that I specify. We're real close. That could be lighter. So I'm going to lighten it even further. Every that one. And now we've got that little highlight along inch. I think I'm gonna lighten these two as well. And now going to you stupid Kate. This band appearance simplify Young That reduces inseparably, Stephen, Try like the full maximum and see and then just go down from there or to toggle between preview and no preview, and then you can see if it has altered it too much. I like it going to drag it in here brush. Okay, change it to pressure of I percent difference. And but another brush which employed to tryouts be on my keyboard depending on how hard I press get very different sort of effects. And, um, and hit save just to be on the safe side. And I've got a pretty good idea off how have created brushes and as you can see up created a variety. I am going to start with ease and as we go along will probably grow other brushes that we're going to need. I'm gonna show you another method for reading highlights and shadows. I'm going to work with this space shape here. So I am march in dragging it with my shift key or to the side here, and I'm going to grab this one as well. And then I'm going to color that with the exact same color as the background. So that may seem counterproductive, but I'm going to show you an alternate method that you may want to use. So I'm gonna go into the transparency panel here, and let's just bring that over here. And instead of creating alternate colors like I did up here is swatches, palette. I'm point to use a blending mode to make a lighter area. So for lightning, I usually use screen and then I can reduce the opacity. And as you can see, I have created highlight area really quickly and easily with the same single color being used. You can actually go through and do all of your leading like that. It's really just a matter of personal preference. You a combination, you decide. What is the method that you prefer? I'm still gonna put some highlighted lines on here. I'm going. Teoh, use this one here. Back to my brush to and add a couple of highlights. Now the has parents. He will work just as well online Back into that and I'm gonna hit screen. You see, opacity, you'll have got what I want. So that's one of the many modes that I use most commonly IHS screen. That's for lightning. But one of these in there as well And I'm going Teoh, try lighten here instead. Just move over touch General. But I'm doing stuff like this. I've got my hand poised on my man shift in auction keys. I can really quickly access a for the direct select tool or V for the move to on. So I generally just came my hand resting on those. He's just to make things quicker, going to straighten this one. Ouch! I'm building is just an alternate. Even know what to call these parts here. But the sort of anchor of the whole flower is this a bulb at the top and I think maybe for this one, I will also hop at the end of it. So back to it. And instead of having it come to a circle like this, I'm going to bitch. So let's give e eraser tool try and we just talk this transparency pellet again. So I'm gonna select everything here. We grab my eraser tool and I'm gonna try just racing the base there. And that's done exactly what I wanted, Teoh. And that's to create this little kind of a cupped shape at the bottom. Happy with this one. And I am going to expand appearance while it is still selected. I'm gonna drag that into my brushes palette. Justify Arte Brush Usher, 20% difference will be just fine here and I'm going to click OK and got up into this area here. I've got to French sort of shapes or the top of my flower. Kind of like that. So much better with that, a little bit of a cup at the bottom that I think I'm going Teoh in and do the same thing with this one. I want to move this particular line in behind this really light shade so keyboard shortcut to move something back. Just one step of the time is to use the left bracket music. My command key bracket brings it forward. Left bracket sends it to the back. Not that far back again. And I've got the order the way I like. Yes, I'm explaining. It definitely takes me longer to do this than if I was just motoring through it. You do get much faster at this as you practice. So the more you do it, Astra, you'll get I'm going. Teoh, select this. It might be race for tool again. You see that short cut his shift, e So I'm gonna do shift E. I've got the tools on this one. I'm not going to cup quite as severely as the other one. And then I'm going, Teoh, expand appearance and drag it into my brushes palette on alternate way to do this, not dragging it into the brushes palette. You can just click on this little page icon here at the bottom of the brushes palettes. So that's the new brush icon. Click on that and you get to this same exact spot. Click Arte brush and make your adjustments and just note that all of these little changes that are made here you can make it any time I'm going to click. Okay. Here. If I want to change brush, I could just double click on it. And I could make any changes that I want right here. All right, That shows you an alternate method. And I am going Teoh, say, if this think we've got a good start here with ease. So we're gonna move on to the next lesson where we're going to actually draw some of our flowers here in this layout to see how our brushes air working out. 5. Creating a Rough Pattern Repeat Template: Hey, guys. Unless it for what we're going to do is take a little bit of time out of Illustrator and go into photo shop where we're gonna work a little bit on creating a rough guide for our pattern. Repeat already. Let's get to it. We're gonna take a little break from brush creation because I want to scan in a sketch that I did for my basic pattern. Repeat that I want to produce. So I'm starting here with the scan. You can either scan your drawing or you can photograph it. Whatever is the quickest and whatever you prefer. Then I'm gonna show you how I go about finding the repeat. And I find I like doing this earlier on in the process of brush creation because it just gives me a really good idea of the kind of rush and motif shapes that I want to create. I have created documents 16 inches by 16 inches. Show you here. I've just got a resolution of 150 which is more than adequate for making my roughly Ouch. I'm gonna open up my hat on rough scan. It's looking at all copying it to close it and I'm gonna pace it into this document here. So I've got it roughly centered. And what I want to do is create a guide for myself. 10 by tan for just checking out how this rough Leo might work. I'm really hoping Teoh achieve long, sweeping lines that go from one pattern. Repeat to another. I'm going to create G 10 by 10 square. So I'm going to select my marquee to undergo to fix size 10 by 10. And I'm gonna make that guy kind of a light blue color roughly position that in the center it doesn't have to be perfect. Leave me on. Gonna make a stroke on itch of six points made a little bit thicker than I normally do, but it's just so it'll be easier for you to see it Move that underneath and I'm gonna use dark. And it's my blending mode so that you can see my pattern very clearly 10 by tennis size that I generally used for my pattern repeats. So that makes it. I think it's back to the days when I had to actually do all the calculating for repeating my pattern. Now I'm using Adobe Textile designer, So I'm not really eating Teoh do it 10 by 10 But I guess just out of habit Ideo I'm re sizing it so that roughly it fits within my guide to square. I'm going to experiment with offsetting it to see how well my sweeping lines are gonna work . I'm gonna duplicate layer that sits ways Command J the duplicate of layer here, and I'm going to go under filter, toe other and down to offset. And you can see here. I've got a keyboard shortcut command option shift em. So that's what I would normally use. But I just wanted to show you where this is. And I know from a little bit of experimenting that 1200 pixels above and below seems to work really well to have my lines positioned to where I want the biggest yet, but a really nice kind of sweeping line working here. So I think 12 50 like that. I might get rid of this little stem year and have this feed right into this larger fuchsia . And I guess in between here, add some leaves or something. So I think I believe at 12. 15 was okay, and I'm going to duplicate these two layers and flatten them. So now I've got an entire strips if I turn this off, You see, I have an entire strip here. I want to try now offsetting this one. So we're just gonna leave just this once elected my square and that that blending mode too dark it as well. So now I'm going to try the offset. And you saw my shortcut command option shift M. And this time, instead of vertical music critical at zero, and we'll try that 12. 50. Oh, gratitude Piccoli or hang out Branch. It duplicated my layer Man Ocean Ships M zero for my vertical will try 12 50 left and right . OK, so there's a little bit of craziness happening here, so let's try a little bit smaller. That's what exactly panitch is. It's not gonna work. So let's try 12 or 1300. That's feels a little bit better. Um, try 1500 to see exactly the 10 inches. I think I could move this over a little bit and make it work, so hey, bring that over. And I'm not actually looking at the left side. I'm just looking here at the right side and it looks like this could work quite well for really in these spots here. So I am going to keep that. I'm gonna just get rid of this, my marquee to normal. And I'm gonna get rid of this dunk on this side because as long as I've got the right side here, I've got the repeat. So this repeats to this perfectly, and so we know that's gonna work. It was a little bit more critical with my vertical because I wanted to see that sweeping line. But now I think I've got what I need for actually laying out my flowers in Illustrator. So I'm gonna hide that Shan I'm going to I don't need to, but I'm going to move these over to the center. Also don't need to do this, but I'm gonna It's cropping it a little bit closer, and I am going to flatten it all. Electoral command e flattens it, and I'm going to save it. So now I can select all here. I can go into my illustrator documents. I'm going to actually create a new document 10 by 10 1 of my presets. So I could just hit Okay. Here, create. Can I can just paste my pattern. So I've got this all ready to go for positioning my flowers and creating my vines. So now I'm ready for when I need it. So we'll just put it away for now. And I will see you in the next lesson. 6. Advanced Techniques in Brush Construction: Hey, guys, welcome back. So in this unit, what I'm gonna do is show you some advanced techniques and brush creation and some really different ways to add highlights and shadows. I hope you're ready to learn a lot. Let's get to it. So off camera, I did a little bit of practice with my different brushes. See if it was gonna work with my illustration and I realized that I really need more of this particular brush and I want to make some changes to it. But I have unfortunately deleted it from over here. So I want to show you how to deal with a situation like that. So basically, what I would do is use me brush, tool and draw at she and then select it and expand appearance. That takes you right back to that old line shape that we had to create the brush. So what I want to do here is just a little bit of ah, alternate to what I just chose. I'm going to actually get rid of all of the's highlights and shadows because I want to do them in a different way to just give you a bit of ah, alternate method. As you know, with illustrator are always alternate methods I'm going to copy. And so, command see and then pay Sit in front. His command F So I've actually got a duplicate up at sea right there. I am going to use the transparency like I suggested earlier. I'm going to set it to screen and reduce the opacity on that. I'm gonna use my eraser shift, e not my eraser. And what I want is to have highlighted area kind of in the middle of these. So I'm going to just search erasing. And you know that the cool thing about this is that these earl paths that can still be adjusted. So even if I'm not super accurate with my initial erasing, I can still go back and change it. So I'm just kind of messing it a little bit here now so that you know the shortcut to reduce the size of this eraser or basically any brushes just to use the key, right bracket key makes it bigger left bracket key makes it smaller. That's a good one to have in your act pocket as well. I've got a nice arc section of Ah medium toned section, and I'm now going to coffee it pace it in front because it's already set to screen that 44% is giving me kind of highlight. John, I'm gonna go along and basically do the same thing. Race resulted in here too, and have created a really nice kind of a tri tone group of pedals. So in here, I just want to slightly adjust that point slightly. Change the curvature. Hey, so I've got another alternates close that transparency panel from that brush. Get in here and art brush and change it to pressure. Teoh, help me. Very. Based on how heavily I use my stylist like Okay, and let's give that one a try and housekeeping. There's just do all three of these to just get a lot how different they are. We've got a good varieties three, right? It would be easier if I spread them on a little for you to think about it. A good range of different groupings of this pedal. He my brush tool. I'm just going to check the size of these depending on how far I pull down and get that cupping in different spots. I'm thinking that this would have been better with a little bit less of a curve here. I'm not going to take time to because I can always manually adjust the yesterday I have position, but this is where your arrow keys will come in handy. Now, I know with my little tests that I did that I'm covering more and more of these different shapes that I need. We leave the statements and the leaves for another lesson and same with the fine. Okay, so I think I'm ready to start working on my actual repeat pattern member. I greeted that sketch that shows me the placement of all of my items. I know it's a lot rougher than this one here. I think it's going to be useful for me to have that on my art board right now, so I'm gonna move this one. Got it locked. So unlock calls. Command ship to remove that one over, and I'm going to lace notice. I got it. Shortcut here and shift P and I am going Teoh, place that image. So I've got a kind of a 10 by 10 square here. I'm not sure how that will work out But now it's basically roughly placed there, and I'm going Teoh locket, so command to locks it. And then I'm going to start constructing my chiefs that I'm going to place in position. So I think I'm going to move all of these way out of the way so that I can move my pictures in a bit closer and actually, maybe I'll move them. We over here so that I can work on these individual motifs and still have the photo to take a look at the same time. So I'm gonna lock after now to command to Let's start working with some of these brushes that I created, So I think about it, kind of create this mean sort of full lorette, this one first pull straight down that's got it, Teoh, approximately the size that I want. So look at it here, or if it's still a brush path and one of the things that if you've taken my other classes, you have learned. But I will refresh you is that you can use the stroke palette. Teoh actually increase the size of your stroke. Two is too much. One is too small. So let's try 1.3, and that gets it pretty close to what I'm looking at here. Okay? Going to close that and let's try using one of these has my other pedals here, so it's need to be in back, so I'm gonna select this one and bring it forward and let's try. I don't know if I've even tested this one before you get too much further. I want to also point out how important layers are going to be in the next little bit. So I am going to open the layers palette. You should have it open here. And, Doc, it's on the side here again. And when you look at what I've got here right now, it is just all on one layer and it's going to be such a mess. I ever want to go in and do anything here. So I'm gonna create a couple of layers and move some of this stuff on two separate layers. So it's more organized. So I'm gonna all this one color swatches, I'm going Teoh, make a layer for reference photos, and I'm going to make a layer for original brushes. Brushes are chan. Let's just start moving some of this stuff around. This is going to be this one motif. Medical at Maine will teach one. And that's these guys here. Let them make sure. But you can see here by this little squares. What about selected? I'm gonna go through and do this, and I'm gonna fast forward it for yes. So you don't have to sit here and watch is I put her through it. Okay, so I've cleaned it up considerably. Now we've got these later is going on, and I'm gonna change the name of this, you motifs. And that's where we're gonna put all of them as we create them, The group, soon as I do and G it creates a groom within that group is going to be all the parts for that particular motive. Think I'm end up adequately to proceed to get my brush again, Go through and continue building this one out. So this is a really good reason to have the layers open, cause you could see what was happening here as I was doing. And one of the ways I can change the stacking order is to just drag these underneath. So I'm going to make these bigger so that lines the highlight lines that I put in there don't look quite so small. And remember, you can go in here and change the thickness, just typing in a new number. So I think I'm going to use this for my main purple on the inside here and again. I could just drag this down. Or remember, the keyboard shortcuts are there for helping you send things to the bad man and the left bracket personally find it faster to just drag it down here in the layers palette, which is one of the reasons I keep this open. And I want that one the underneath there and so there I've created pretty much my whole first motif at the little part of the top. Gonna be a little bit smaller and carefully positioned that remember your drag. Select two large. He won in large right in this area down your space bar in command key. And you can enlarge really specifically writing just bought that you want. So that part of it down and I had created a bunch of the little stamens show you real quick how I created them. We go into my original brushes, layer. So I'm drawing this that layer, Phil, and I'm going to dio light purple no stroke and purple Phil. And just to quickly go back and forth between Phil and stroke rather than going over here. Teoh, select it. You can just use the XY, and it will get you there same way. So I think I'm going to actually do this one up. Light paint like these other ones here. Soling. It would like pink He a little bit skinnier and draw this anyway that you'd like. You can use the Ellipse tool and then alter your ellipse. You can draw it by hand with your and so remember to hold option key it in and it'll close the shape. Just remember that pencil tool and Elitch with whatever color you'd like to do the light green and I'm going to use fresh just a slightly darker agree on there. Let me see what I've got here. Want this to be a little bit different than these ends here too. So I'm just going to make some slight alterations. I'm going to use band appearance first and then just make some changes if ever you want to really change the shape of something. Is your puppet work the really cool way to change shape of something? So let me get a close up here and this little thumped having a McGee allows you to switch to the puppet warp tool and you put in tax and you can move attacks around to shape. I've got a lot more detail on this in my other classes. So I'm not gonna take a lot of time to do that right now. And I'm just gonna straighten that out. Smooth that point. And like an ad, this brush to my brushes are fresh. Okay, Sure. OK, unless move that be up there. So now I've got four different ones. OK? So I could hide Thies This original brush layers like this ended up in there after all. So I'm gonna drag that back into my original brushing, Then I can shut it off. So now back to Russia's be on my keyboard and let me try this one. First. Hoops, get into the right. Later. I think this is gonna be a little too small. So we change that 22 points you're gonna do actually is go into the brush itself. I think it's gonna have to be bigger pretty much anywhere that it is. So I am going to change just a little bit. Gonna go a bit bigger here and now this a fixed size and go a little bit bigger. Half? Yes. You can see that. It's thickened it up and made a little bit more like the other ones. Try. That's one. So I'm gonna take that off pressure put on fixed and make it a little bit bigger like that . Oh, but our portion it Lee going back in and doing the same thing. So you see how easy it is. You can just double click on your brush, your settings and you're set. So let's look at that. Need to be It could be grouped, actually, So let's just select the mall grouped. Um, so this whole group can now be moved underneath, and I think that is pretty during good. I I like the look of this. I think this one that we're gonna be able to use in our pattern layout. So let's check out where some has to go through, and I do all of this stuff first. I create all of the motifs and then I go back in and position them. But I think this time I'm going to do it this way just so that I can show you so darn exciting and see that you can, of course, alter and make adjustments. I'm sure there's gonna be a lot of things that I'm going to do differently. Here are so many different sort of motifs that I need to draw. And, you know, sometimes I do it here and do it over to the side on really a sketch. Or I can just go right in over this pattern template and start doing my drawings. I think my next lesson, what I'm gonna do is I'm going to draw out thes stems. So I'm going to create a stem brush and then we can get started and really working on this actual pattern. Swatch. We'll see you next lesson 7. Additional Brush Construction: either. Guys, welcome back. So I did a few things off camera, and I want to quickly explain those. I created this stem, which is what I'm gonna show you first. Then I did this pod and I created another top so that I have an alternate. I've got a a green one, and I've got a pink one day. Then I've done a few things duplicating brushes and bring them in French blending mode to create shadow effects. Have also gone in and edited some of the brushes to be shades so that I can create thes darker shadow sort of pedals in the background. Okay, so I'm gonna show you first this damn. And I just want to warn you, my husband is outside cutting grass, and there may be times when you're going to hear a little bit of noise in the background. Sorry about that. So first I'm going to show you this stem that I created already. And I often do make alternate stems anyhow, because in nature, all the stems would never be exactly the same. This is the one I created. And depending on how hard I press along, the line is will appear completely different. Taking a look at it up close. This is what it looks like. I've done a variety of different effects to affect this line. So I'm going to quickly show you how I built the brush. So I start with a rectangle. This was the original rectangle, believe it or not. So I'm gonna create that rectangle first. It's got no outlined at the moment, and it's filled with a kind of light yellowy green color. And as I want to make this stem a little bit different than the original, I'm going to change that color to this one. What I want to do is create lists back direct angles that I'm gonna fill them with the different colors that make up the doors of the stem. Then I'm going to do a little bit of a distortion effect that will give me this strange kind of outlying. There's so many different ways you could do this, but the way I didn't that I found the fastest was just a copy it, she said, in front with e and F and grab that one rectangle and make it a little bit wider and just have the shadow on one side for this new stamps. So I'm going to fill that and send it behind. You can see that it's just peeking through a little bit on this side. Went to use my brush that I created that I can apply any color to. I'm gonna have no Phil. And then that brush. I am going to use three yellow to a couple of highlights along other edge of the brushstroke. Okay, I'm thinking, actually, for this here, I'm gonna extended a little tiny bit more, and I'm going to go a little bit lighter. Fill it. I want effect. So that's more what I had in mind. Okay, In order to make it look a little bit more naturally painted, I am going to apply the roughened man to it. And don't worry that these two aren't lined up because we're going to do after is get rid of those uneven edges for using the rough in command. So I'm going to simplify the pound again. My shortcut is man forward slash That has simplified it considerably. You can see from 64 points to 12. So that's going to make this work a lot. But I'm gonna go under effect to distort, transform both to Ruffin hit preview and does this craziness. I definitely don't want it to be like that. So I'm going to reduce his down Teoh. 1% are meant a little bit. I'm gonna make this smooth to see how that works. Old 1% and 1% seems kind of work for me. And what this does is it will make my line look a little bit more natural. A za five hand drawn it or hand painted. I still make adjustments to it once I apply this. So I am going to just go through and apply it, and then I'm gonna just bad appearance again and make some adjustments to my lines. A lot of these things probably seem to be really time consuming as you are serving me here . But if you get really fast at this after you've done it a few times and it does make a big difference your finished product to make it look a lot more hands created rather than machine created, they'll remember what it looked like before it was just a super straight line. Now it's got some character to Now, I've got a pretty nice Stamler file going on undecided about whether or not to make the ends lunch. So I think for now I'm just going to leave it. I can keep this. My original brush group, which I'm gonna do that right now. I'm gonna move it into that group. And where are they? Okay. Here. Their group. All of those in a group. All three of those. Now, this entire group can be moved down into my original brush holder. Actually, this group needs to be as well, so I'm gonna move that right now just to stay organized. Now, we're gonna make this one into a brush by doing exactly what we've done before. And that's just drag it straight in the brushes palette, letting Arte brush change this to 25 to 30% difference. And I'm using pressure. I'm gonna click, OK? And I've got a new brush. Let's hikes again and a sample of each and I'm gonna get out of this. This layer is my original, and there's my new one. So round ends, we'll see later on whether it's something I want to come with their I want them blunt like this. We could decide later. But at least now I have an alternate that I can use for running in some of these stamps. Okay, so the next thing I want to show you is some of the things that I have done to give myself some ultra nuclearization options. Remember, we created all these pedals here. Peddle one pedal to and pedal three. What I've done is I've duplicated each of those and created a shaded version, so this would be the regular pedals. So there is one and three, and then the shaded versions I'll put right alongside them. So you can see now the shading as of this tints and shades that I've put here, shading is going to be based on whatever stroke color that I put here. So if I wanted to keep it in the same family of maroon color, I'm gonna go with a dark maroon and I paint in that color applies a shade based on whatever I've got chosen as my color show you a couple of other ones. So you get the idea very quickly. I have allowed myself to have some options, and I'm actually working on my layout Show this one. Show you real quick as well. Right now, Green is selected, so that makes it green. This will make a great possible alternate leave on. And this one here, this one's gonna be really versatile. Because, of course, depending on whatever color gonna get really cool alternates to whatever I'm working on when I want to give it some depth. Okay, so that was one cool thing. I want to show you real quick. I did go through and name a lot of my brushes. I have got them all named. I think one of these sods here I created also has shading. So let's just see if we can find This is why your name brushes so that you can find one that you want more quickly. This is the one you can I want to show Aziz using one of these originals and making changes to its shape in the photographs. You know, these do have a lot of variety. And just to give myself a 2nd 1 toe work without thought this one down here, I'm gonna make some changes to it by using the blob brush. Just hadn't show you that, so I wanted to make sure I do. So I'm gonna select this back most portion of this pod, and I'm gonna grab the blob brush. Shortcut for that is shift be OK. Something is that shift be. So the blob tool has a bunch of different settings. And to access the settings, you double click here on the brush. You'll itself. So you'll see here. I've got options as far as how I want the law tool Teoh affect the shape that I have here, and I do want to have it merged with a selection, so I'm going to put it on that. Merge Onley with selection option and just like any other brush. Of course, it's got the fidelity settings from accurate. Just smooth is to let you know that the higher you have this, if you have it smoother, you'll have less anchor points. If you have accurate, you'll have tons of anchor point. Generally keep it around the middle, so that's something that you can experiment with and decide what works for you. You can also change the way the brush will behave at the moment when I make a stroke, See that it remains the same thickness everywhere. So if that's not what you want, you can change. So that pressure or Dallas? Well, tilt all those things coming. Play personally. I usually put it on pressure, and I think I will do that again. Just know that when you are on pressure, you can set the variation. Right now you can see that all three of these dots are the same size. I would keep it Still having no variation when I is down harder on my stylist. But I wanted to have a bit of variation and you can see as soon as I are moving this around you can see how much of a variation I will get. So I kind of like that. I personally have a habit of pressing harder when I want the line be sticker Kind of like you would do with the markers. Oh, I will get on that and I'm gonna leave the other settings the same. And then we'll play a little with that. So I'm going to select the shape so that I can affect it. Now you could see that I am. Actually, I think I just forgot to do one thing I want to keep selected. Okay, I forgot to check that off because I don't want to de select every single time and I have to go in and select the shape. So I'm using this as a really cool and fast way to change a shape of my odd. You can see if I press really softly, my line is thinner. I'll do it over here, and when I press harder, it gets thicker. Could have done more of a variation. I think I will. That way that's what I can get him pointed to even more so that's kind of cool. And the nice thing about it is it's like a brush with an expanded shape. You can see here now. It's not just a line that's gotten thicker. It is actually a full on shame that could be really useful in a lot of other instances. A little extra knowledge to put in your pocket. There s so select that Shea want kind of around it in one when I have here already has appointed in and smooth it out a little because it is actually weights. I could still use all of my other rules that I would like to work with ease that switch to pen tool. We're going to use the minus key and just subtract a couple of extra points here. I could also use the Simplify Command. Remember that one is command forward slash, and so I could go in just like the whole shape, simplify it just around with the settings. If I would like Let's go fairly accurate was gotten rid of quite a few of the points, down from 19 to 7 points. That's not at it's a little bit bumpy over here living with this one out. Remember, you can use this little circle anything Teoh control your curves. You could also use the smooth tool. Select that line and smooth it out so many different ways that we can smooth our paths. I'm going to make that into a smooth point. And now I've got a part that I can ground and make into a brush. So you've learned a whole bunch of new techniques, and in the next lesson we're gonna do some more work on our motif. So we're here at the end of lesson six and this is a good time to take a break have a little walk around, Maybe have a cup of coffee or tea. And I'll see you in the next lesson where we're going to start working on our leaf motifs. See you there. 8. Producing the Leaf Motifs: So here we are in less than seven, where we're gonna work on the leaf motifs. That's the only thing you haven't seen me do yet. I hope you're prepared to learn a lot more fundamental illustrator skills. Let's get started. I'm gonna do one rush real quick. Then I'm going. Teoh. Time lapse meat producing the other ones. I made two brushes here. I have this one brush originally. And then I made a slightly heavier one. Gonna make that even bigger and use that to compose my leave here. I'm going to use a darkish grand. I'm going to draw the veins. Probably as you recall, when I was creating the brushes, I sure did kind of around it. And on that I made sure that they were set Teoh react to the pressure that I was placing on my stylists. And one thing I've learned is when I have these templates that I'm gonna work on, I set them up like this so that I can pull my brush strokes straight downwards. That's my most comfortable way. Everybody's gonna have a preference. That's just the way I do. I'm going to select all these. I'm going to expand appearance and I'm gonna go to my path, find your palate. I don't think I've showed you this once. Expand appearance. You know, if you can see that here. I've got a bunch of separate shapes and what I want is for this to be unified into one using Pathfinder. I'm gonna use this Unite Command here. So now it's all a single Shan. This is obviously something I don't wanna have. Here's numerous ways to get rid of extra points. You can go under, object to path and remove anchor points I've got that is command shift for a slash and that gets rid of them. That way you can use the minus key with the pen tool on your keyboard and subtract them. It just depends how many points and what your preferences fixed that went up adequately. I don't think I saw anything else that I didn't like here, But I'll leave that for now. I'm going to actually move this out of the way for a second. I'm going to show you a couple of different ways to draw. The background shape of the league is always a good bullpen tool and you can grab it put anchor points wherever you need to control line, but its fury. And it's possible that kind of go to the extremes, maybe one in between. That's fill this with the lighter color, so that's the one way that you could go around and create your shape. You can do it with your pencil tool, and I'm going in really quickly, not super accurately. Once I get to the end, I'm going to hold down my option key. If you don't, that's not a problem. Just select the two endpoints and option J will average them and put them right on top of each other, and Jay will join them. And you can see here that I've really messed up with the fidelity of it. Really not that accurate, actually. Let's just fill this so that you can see what's going on. I'm gonna set the transparency to 50% temporarily so I can still see my template hate. So to go in and fix this, I can use my pencil tool, and if this is selected, I can just add, actually use a smooth tool. So in a case like this, one of the reasons I think I ended up with this so smooth is because the fidelity was set way too high. So I'm gonna bring it back down to boat here. 50% Daniel, see that I'm able to actually draw the shape a little bit more accurately. You can see here that I didn't get a very accurate drawing on this side, so I could either at it with the block tool. Or I could check out what my settings were on my pencil and draw it again. So I'm gonna delete it so you can see how this is done. And I had it set to very smooth. So that's why I didn't get these little indentations that I wanted. I'm going to set this back to about 50% click, OK? And I'm gonna go back in here this again, down your option key at the end, and you can see that that has done a better job of drawing my beef. Couple things that I would want to change. Here's first. I want to fill it. I'm gonna pitch back to that 50% so I could see my template. These lines here, or that indentation is I want Teoh actually change to be one of points, so just click on that. Makes it into a corner point. Same with this one. Okay, so I've got that kind of fixed up. Once I put my gems in there, I can make some other adjustments, so I think I will do that. Now, take this into the position. I had a notch. One of things I just noticed here, of course, is the amount of anchor points I'm gonna go in. And some adjustments. They're just gonna be too unwieldy to work with all those points. So remember, this is a beef, So a leaf brush that could conceivably be drawing 50 times on this document. So I want us few points as possible without losing the shape. I think this looks pretty during good. You can click preview on and off to see, and it looks pretty accurate to me, so I'm gonna get okay here, bring that to the front. Now I can see where I have to make adjustments. And with this leaf shape now, I'm gonna go back and get it to full capacity. So I don't see my actual template anymore, So I want cheese to somebody. Go in nice and close. Okay, so you see, I'm having trouble here because it's snapping to the pixel grid or to a grid or something. So I am going to go under here, snap to grid on it, can turn it off here and see if I have any more success. And yes, Ideo. So that's something to keep in mind. All the snapping can also be accessed up here so you can click on this and you could turn all of this off. So I'm going to do that and click, OK, just to be sure. And I'm gonna hit save because I could see my document is starting to run a little bit slow . Okay, So when you go through and make all these little adjustments, I'm going to add it might hear a the end. So with my pen tool accepted plus on my keyboard. And the reason I want to do that is because this is a really good spot for using the alignment to get the two points lined up to each other so I could either align them this way, or I could have then keyboard shortcut man Auction J and said Okay, so I thought this leaved on and I'm going to put you go through and make the other ones. Okay? All time lapse. That were you. So one of the things I really wanted to show you two is the habit work for making alternate shape. So I'm gonna drag this one over it. It's quite similar to this one over here. Gonna drag it down my option key. So I get a duplicate that temporarily reduced the capacity here to do this separately. And I'm going to select the entire shape. Grab my butt warp, you'll That's the one that looks like the thumbtack over here and use thes tax and possibly putting additional one to help me reshaped my leaf. So if you ever want to get rid of a pin, you just click on it and you just hit the delete key. So I want to get rid of that one. I would just hit delete, and it would be gone. Think I'm gonna keep that one, but delete just one. Yeah. I have been at one here, Lis over a little bit. You noticed that this pin here kept it anchored. So the pull this one in and out. Just when I'm going to move down here and at up in here and a pin here, that's what I'm gonna move down, get basically, completely alter the look of this leaf. It's using the puppet work tool. Once I'm happy with shape, I hit return and let's just de select to take a look at that. So there's some problems in here. Nothing that can't be easily altered. So all you need to do that using the time lapse and you can see the changes that I end up having made and how my leaf looks in the end. So sometimes that work is really useful. If it ends up taking you longer to use the puppet work than it would have to draw it conventionally, then it's probably not worth as designers were always kind of weighing out benefits of using certain tools. So it was just one of those things that once you're very well practiced, you get better at really have to choose the most efficient way for you. So just a couple quick things before I continue here. I wanted to also point out that you needed to change a smooth point like this to a corner point. I know. I said you could go up here, but if you wanted to do it even faster shift See will give you the convert anchor point tool. And then you just have to click on it. And you've converted it from a smooth point corner point at a point in here and this once, I want to be a smooth point that you see right now, select it. It is a corner point. So to convert is remember, Chef, see real quick. And you've got a smooth point there. May on my keyboard gives you my pen to again. ACI exact Heard that it. All right, so next lesson see me finishing up. So let's get right to it. 9. Finalizing the Leaf Brushes: Hey, so I'm gonna continue with my leaves. I'm gonna definitely time lapse it for you. And one of things I'm gonna do at the end is to test it with the stems that I've drawn. Obviously, the stems have a lot of yellow in them. So chances are I'm gonna change design of the actual spine here, but I'll do that very intricate here ago. I think of anything else I'm doing this. I will let you know what do the things I do also with leaves is make sure that the stem is quite long. I just find that's easier to work with in the composition. So I'm just grabbing that end line and holding down my shift key and just pulling vertically. So I'm gonna square off the ends of thes two leaves a swell, and then I'm gonna mess around with the color off the the stem. What is how much? I'm using my alignment tools to get things perfectly straightened out. I'm gonna do that right now with these whites here. Now that I've got this on the vertical and one of the easiest ways to grab, I find when the points are in. Ah, very busy section of my artwork is to use the last you tool. So I'm going to use that last through those points noticed they're the only ones selected. All of these have remained hollow. And I am just going to align them like that would do the same thing with this other side. And now you can see that kind of my leaf is perfectly aligned. And 90 degrees is that'll work, coach. Well, when I'm drawing, I'm gonna go ahead and do that with all of the other leaves as well. Also noticed that turning my sketch on and off when I need it so you'll see that the shortcut for lasso tool is the letter Q on your keyboard. So that's a good one to also remember, it's great for selecting. In that case, I could have just dragged over with my direct select tool. But just so you know what that shortcut is, - so you see me actually add points and divert the anchor points to make this end straight, and I just want to show you another method. So right now I've got one point I want to, and I don't want them to be don't want this to be a smooth point. Another fast way to do it is to grab your rectangle tool, draw a rectangle overtop and select both, and then go to your Pathfinder menu. Divide and you'll see right here. It has divided it all up for me, and I could just grab the direct, select, delete the parts I don't want. And now I've got a nice, blunt end here. Realign those and let's make that stem nice and long. A little bit of testing with my stamp, and I'm going to grab these two originals. Move this guy over a bit first going to bring these two stems over, and you'll see me actually testing and correcting dams on my leaves. I'm just trying to make them somewhat similar. You don't have to actually line up. It's just so that when I am painting the leaves onto the stamps, they looked like they actually grew from that stamp, and I think I'm going to create a darker green stem as well. So duplicate this one and you'll see me changing the colors on it, creating a brush. Of course, I can just grab basic brushes up here and colorize them and use them on these stems as well . If you ever want to match a color up, select the one that you want is the original. And you can also just drag the little swatch and put it into position. I am going to make layer for my leaves to help me keep him separate. Change My layers organized over here, and I'm just gonna go through and a little detail on my leaf stems. I'm gonna lock this part of the leaf so that I can work on a little shadow that I'm creating. Look, this is well command to is my shortcut for lock use the last you tool again. So, cube, I'm going. Teoh average these. Ouch. Line them up, center them and then the point down. So what do you think? It's faster selecting it and going up here to align them or doing the command shift j an average. I kind of find this one is faster. Not necessarily to put tons of detail on these leaves, but detailing will make them add more interesting. It may seem like I've spent a lot of time on these leaves. One of the reasons I don't mind doing that so much. Is that just kind of a leaf is very universal and can be used in multiple different designs . So it's just a investment for me to do it and have them available for other designs. So I think I'm ready to make these into brushes. So same steps as always. I'm going Teoh. Select Entire grew ragged into the brushes palette, art brush. Change it to pressure, arrange and click. OK, there, unlock everything. What may seem really time consuming all the stuff that I'm doing. But believe me, you actually get really fast at this. And as I'm explaining it to you, of course, is taking me longer. But normally I can whip up something like this in just a few minutes. So I actually think I've got most of the components I need. Teoh, start working on my actual on Leo. Just do that in the next lesson. 10. Working on Swatch Composition: Okay, so I'm ready to start my actual layout of my pattern. And I'm gonna do that on a new separate documents. So I'm going to set it up to 10 by tan. Just a size. A commonly used very easy to figure out things when you're doing a really good standard size. So I've got custom. He said here of 10 by 10. So that's what I'm gonna use it. Create it and hear it. ISS. And what I'm gonna do is I'm going to back to this document and I'm going to export my brush set and then imported into the new documents export a brush set if you've done by other classes. You've done this a couple times before, but just in case you haven't, I will explain it. Here, go to this. Fly out menu brushes, palette. You go to the bottom option here that says save brush Library. I've got some saved here, so I am just going to add to it. I'll name this one. You should brush. Set. All right. I'm going to my new document in front of me and go to the brushes palette again. This time I'm going to go to open brush library and go to the user defined. And here is where I find my brush set importing it. And here's my entire brush sets. So, Aiken, Doc, that with my brushes, this one I'm gonna actually save as well. And I am saving that here. I'm gonna name it if you shot pattern Swatch. So just a little aside, I have all my life spelt fuchsia F u S c h i A. And just recently saw that it is actually spelled f u c h s a right. So I got my brush set ready to go. And no, I'm going to place my pencil. Leo Church of the pattern. This is what I roughly laid out in, Uh, I think it was the second or third lesson. So I will place it, and I am just gonna click and then resize because I can't remember why they actually made this too. So to resize it, I'm just holding down my command key. Amusing my shift key to keep it portion alone. And let's see how that works in the 10 by 10 space that we have. I'm gonna try that if you see this flower here on a good one toe. His is a gauge. Got my repeat. More like at eight inches Central are will bring my feelers out. I'm going to bring a ruler guide to approximately the same spot as I see here. Let's just do it from here to here. I'm basically here to here. Okay, So I'm gonna take a measurement here. I just want to see what the distances between these two guides and the quickest way I know how is to grab the measure tool. And I'm gonna click ones here and again here. You see, the properties and info panel came out, and this is what I'm looking at. Here is the distance. So it looks like a boat 6.5 inches. So I think my pattern rip each. Let's try this again and do horizontal line up from here in those two guys to hear it. Click probably could have done without even drawing the ruler guides because I could have just clicked at the tip of that, leaving the tip of that. We have got 7.791 So 6.45 7.7. Probably close enough to square that I can fudge it a little bit, so I'm gonna enlarge it. Basically, what I want to do is enlarge this portion here. That's in between my ruler guides and have that fit my 10 by 10 square. Hey, so what I'm gonna do is crop that exact space there and in order to crop in Illustrator, once you've got an image and it selected, you can just control click on it or to crop image. Can I ask you if you want to embed at file after and then click OK? And now I can just drag my crop controls to the area that I want Cropped have done this and four shot. But I just like that other process of being able to kind of see my repeat beyond the edges off the pattern tile when I'm in a photo shop. So now I just have to click. OK, my image has been cropped and close enough to square. Let's just check this out and see if it is too distorted looking a little bit. So I am going Teoh, adjust it on the bottom and may end up having to do a little bit of filling around here to make it work in the repeat. Actually, it would have been a try doing is actually calling this might also work. It's not actually too bad. So I think I'm gonna use it exactly like that. So I am going to lock that command too. And I've got my basic pattern child that I'm aiming for. And I am going to get rid of those guides so you could just hide them by doing command and semi colon. Or you can go to eyes here and you'll seek command option shift semi colon. Well, get rid of them completely. So they're going. So now I've got my fabulous little pattern, like a road mt to what I want to get done. And I am just going to start going for it. Remember, in our other document, I did have some of these partially drawn, I think this one here. So I am born to that back up again, as this way would be to open recent I'm just going Teoh route this one and copy it exciting here. And you know what? Just for the heck of it, I am going to band appearance on this one this large a little bit. Well, we do. It'll look at all those points and going to simplify that. Obviously. So 1800 whites for one. Ah, flower. You imagine I am going to go a little bit more accurate because I know that it's still not going. Teoh crease it by much. And like I said before, you can toggle preview on and off. And I think that's a pretty good So even air here, that is a pretty good representation. The worst thing I see is actually this part here which maybe was like that. Anyways, I'm going to fix that. I don't like that, but otherwise it's made a big difference, and it's reduced from 1873 points to 380. So I'm gonna click okay and is going to make a correction here and see that into a bit of a point down a bit. I'm gonna smoothed out a little bit. A is your friend on the keyboard that gets you to your direct select tool so quickly. So I'm gonna use much all of the brushes in this brush set, but one of things that I want to point out to you is that you can't directly edit the brushes in the brush set. So if I was to double click on a brush does not open the control panel for that brush. So I'm going to slide this brush set over and you see, because I clicked on that one, that it's been automatically at it. Fastest way that I have found is to just go through and click on the brushes and they will be added. This kind of lets you add it a little bit. If you don't want a particular brush in there, just don't click on it, and you see that they're being added here. It's probably a way to do these all at once. But tell you what that is the big brush set like this. It sure would be nice since my three leaf brushes created at the end. And no, I could just close out this brush, Satch and everything is here. The first thing I wanted to do was to work on the stems. I'm gonna click on my Stam brush. That doesn't look like all of my stem brushes. There's 33 of them here. Another fast way to yet rushes from one document to another is to draw with, um, hoppy them go to your do document and paste or added automatically. And then you can just delete them from here to delete that one so that I only have one a copy of it. Actually, I'm gonna under that, and I'm gonna keep one and have it a little bit thicker than the others. So I'm gonna move it down here and be with the other stand brushes. Click on that. And what I wanted was to have one that's a little bit bigger. So I'm just sliding those over a little bit. Hit, okay? When to take it off tints and shades. And I'm going to get that run. Let's see how that works. So I'm gonna go through and in a bunch of these it. Now I am. Keep in mind how this might join up to this side. It looks like it probably joins up over here. Well, actually, keep it away from the edge for now. And us, I am drawing might accurately along that. Pat's almost like it corrects me a little bit too much, so I'm gonna double click on that and I'm gonna bring it down one notch in the two options that I can get it a little bit more accurate. So the more accurate want it? It's a lower unit. It on this scale, I like it quite smooth. Oh, but that was just a little bit too much. So I'm gonna say OK, and let's try this again. Are we going to do things like change the order of thm later on? But I don't have to do that right now. Right now. I'm just basically laying the structure down. Get rid of that one. So this is just a basic structure, very creditable, not something I could do. Leader on is just to get me going, and we're gonna check this layout with the pattern you'll in a minute. So right now, it just looks like a bunch of worms on age. But once we start building up some of our other icons, it's going to make sense. OK, so we're gonna go ahead and start doing that. What you'll see now is a long time lapse. As I compose my different flowers. I'm not necessarily following at Leo in the background for the actual drawing of the flowers. It's just really a rough guide for me to position notice. As I'm playing in different direction that pressing harder or more softly, I get a real variation in that base shape the fastest way to bring my swatches into here. As you recall, I was creating my swatches and little squares over here on my other document. And I'm just going to coffee this and bring it into my pattern design documents. So of those colors have shown up here and even if I was to cut them now would still remain there. Okay, But I think I'm gonna keep them here for now because they are not really a good guide for me to follow is going to group them on, put them in their own layers so that I can hide them whenever I watch. Like right now. OK, so I'm going to start composing my pattern, and guys can just sit back and watch as this inspires. You could see a lot of testing goes on. As I am working on this, you'll see a lot of experimenting ever. You want just to grab something and you don't want to switch out of your brush tool. She will go on your command key. You'll get the selection tool temporarily. You can select your item and then you can get rid of it. I really love how these leaves were turning out. What? Some of these short stems. I don't even need to have him there because of the way I created my shook The long, extra long stem. I'm deleting some of those stems here and there because they're just not necessary with my national way. It ISS so you can probably see that having the flowers and the leaves on the same layer is going to give me a bit of an issue with overlapping. For the most part, I want the hours to be in front of the leaves. So I think I'm gonna take these leaves and put them on their own layer going to drag these four hours that I started and put them on this slayer. So they're completely separate. And I already have this reordered so that the flowers are in front so you can see that if I change the order going to take my template and separated as well so that I can make sure that that's always on the bottom. So you layer rag my pattern and put my pattern layer on the bottom of the stack. Okay? So I can find my layout any time I want. Helps me for checking my progress, and my flowers are on top for now. That's just the way I wanted to know about some of these pods and things happening here, so I think I'm gonna switch over to that. Just get rid of that, actually, and draw a leaf here about these little leaves here. And I don't know if I can press lightly enough to have a small leave that doesn't look distorted. So I'm gonna duplicate this leaf by dragging it onto Russia Icon here, and I'm gonna put right below the other one original. And I'm gonna double click on this one, and I'm gonna make it smaller here. Let's try that. That looks better. So this superfund for doing the leaves, by the way, there's something so satisfying about it. You can see I'm missing my pod leaves. I guess we never actually completed those. So I'm going to go into my other document and grab that and get into a brush working on this document. I know that I'm gonna be using my strokes palate a lot more, So I'm gonna drag that over here. It's a handy way. Teoh, change the look of your strokes really quickly and easily. It's when I want a little bit smaller. About 1.2. This one, too. We'll do 1.3 just to make a little bit different. Show my template again so that I could see what I'm human if I never created a brush with pedal here. So I am going Teoh. Select that so they can make it into a brush elect. This one will get down my option key. Just want to check the soap before I make it into a brush out of that and want to straighten it out So you can either hold down your manky and you'll get this control or you compress our in or he board and you get the actual rotate tool that prefer to do that. So I know it's all enough positions vertically here and it looks like it's been simplified . Actually, that's just yeah, looks like it's been simplified. Switching into outline mode off speed to see if There's some extra stuff in there, Kasey, that raid here. Think that's good. Now will drag this one into the palette brush. So I think the time has come for me to do a bit of a test of this pattern Swatch to see how it's working out. So, you know, if I do have it selected, I can use the brush tool to reshape it. Time for thes people. Pedals now temporarily make a new layer for them. They may end up in this layer. But if I do do them here, I know that they'll all go behind. I have a boy to doing this one, and this one goes. I'm thinking I might be able to use these. Just copy them and but the main positions. So I'm going to group this one right here. I don't want that included. You can see by the color of the sky. It's here for the strokes that they are on different layers. You can see that over here is well, as soon as I group them, they end up all on the same layer. So I'm gonna name this one flower one, even though that definitely wasn't the 1st 1 but I'm going to duplicate it. And Aiken duplicated by copy, paste or duplicate, let's name this one hour to left aside, and I'm gonna bring that over here. Well, this one flower three, this one's on the side. So that's what I want. So this one is now layered underneath the leaves and the other flowers. Don't let me rename that later flower three left side. So I'm gonna put that in there. Well, taking the time to name your layers and name your groups and such is often a real time saver. In the end, I think I'm going to replicate this layer. Call it lower left for now. And I'm gonna use that one down in this corner as well. I just need Teoh resize it. It had a couple more pedals up here just to make it look different. - But only nice line here going on and I got another line over here. I think I want this one to contrast a bit. I'm not sure how that's gonna work with theater. Repeat that. I watch, but let's just give it a shot. This might be a good time. Teoh actually test our pattern for the first time. So let's skip on into the next lesson and will do a quick test, and that will show us what else we need to do in our composition, So I will see you there. 11. Finalizing the Pattern Swatch: Hey, guys, welcome to Lesson 10. This is the fun part where we get to really test what we've done. I hope you're as excited as I am. Let's get to it. I'm gonna go to Great Pattern, which is shortcut command. Austra fee for me. It has added that to the panel, so you know that it's done. It's job. The pattern options opens up. I am going to change us to 10 by 10 because that's what I've been working with. Did it have 1/2 drop? Repeat and let's just take a look. I could even go higher with this one. What do you think? Oh, that's one of the changes I can make. And, jeez, leaves just sort of appear and aren't anchored to anything. So this stamp needs to be enlarged or lengthened, and same thing with here in a couple spots. The stems need to be addressed so I can edit pattern right here. So you'll note that if I select one of my original motifs and I know I'm in the tile because it's in this blue square. So if I was to move these here, you can see that I'm getting kind of a live adjustment. As I'm doing that, I'm going to do a little bit of it this way. I'm just going Teoh, make my changes by selecting and moving them. You'll note in here that these air not brush paths anymore. That's one of things that's gonna be a problem for me. When I am adjusting my stems, I'm going to go back to my original. So I am going to just create a screenshot. You know, everyone has their different sort of workflow method. This is the one that I use often, but kind of gotten used to it. And I like having that hard copy a lot of times that print my screenshots as well. It's just something that you have to decide for yourself what works best. So in this screenshot, I want Teoh take a picture of this whole area here. I think it will be helpful. So that shows my original art board and then this shows the pattern tile. So I am going Teoh do compassion for that a drag, select the area that I want and then I'm going to open up that screenshot and I'm gonna work with it from there So this is smiles, green shot. I really like the way it's flowing, so there's just gonna be a few adjustments. I will rage if there's anything really exceptional. Otherwise, I'm just going to do a time lapse as you watch me. Make those adjustments mainly on these stems and moving a couple of flowers around, select all copy paste, my little template to follow. And let's just get right to it over here. For now. Close that panel. Times like this that I wish I had an even larger work space a little bit larger of a Ford area. I'm going. Teoh is close. This allow me a little bit more workspace, so let's take a look at some of these stems and see what's going on. So underneath this flower here, right out in here, we've got this junk happening with the stems. So that's basically this stem coming down and meeting nothing, and it's connecting to these leaves over here. So I think it would be easier for me to move that up into this area to work on. So I'm gonna do that. I moving using the move tool. So if I am on my direct select tool. I could just hit return and my move dialog box comes up. I'm not gonna move it horizontally and vertically. I have to move the a minus 10 inches two move upwards on my documents rights when hit, OK? And you can see now that that's gonna make a lot easier for me to work on this. I guess that's one of the advantages of the old traditional way of doing your piece and making sure that anything that's hanging over one side is exactly the same as what it is at the bottom. So the top on the bottom always matched, and the left side and the right side always matched. I'm sure you've seen a ton. Of course. Is that still teach? That method s so stop talking and I'm just gonna work. So that's one of things I've done here is that my dark leaves are mainly leaves that are in the background, which is why air the darkest. So there are a couple of other ones. This one did just select my dark. Please. We'll do it manually. I'm holding down my command shift keys that I can select more than one at once. and I'm going to select ease and make sure that they're all dragged into the dark leaves there. So you can see that now I turn it off. All of them should be in there. This guy didn't make it, so we'll get him. Where is he? Hide in there with all That's another Another point for the layers panel being helpful, right? Perfect. So their background sort of leaves me still in not bringing it in front of this stem. But anyway, that's stuff I can do without born you with all of the details. So what I did here just to fix up this connection is I duplicated this path that it connects to its stem. And I'm gonna go up here and I'm going Teoh, adjust so that all of these first of all, are aligned to each other. These talk ends of the leaf stem, and then I'm gonna select them all using que Onda. I'm going to just move them slightly to the side here, so I know it will connect nicely with the stem that I have and see if we can send that back . Yes. So I used command shift and the left bracket and I sent it behind. So now I can get rid of this one. Just look a little bit more closely. Maybe I'll move those a tiny bit more, and I know that that's gonna connect nicely with the end of that stem. So command option and two will unlock and just get rid of it. It's gonna connect to its stem down here. This one here, - one of things I'm can want to do is create a stem that goes better with these really dark leaves. So quickest way to do that is to drag a stem and make alterations to it and then drag it back in there. So I'm thinking if I get rid of this lighter color on here, this will work well, with that, I'm gonna add a bit of a brushstroke in the darkest green as well. So I'm just dragging. Make sure I'm on the stroke here and just dragging a little bit of the darker green in there actually will do it here at the tip knowing that that's what I'm gonna want. Teoh have blend in nicely this brush here. I can press really softly or really hard and get different sort of witnesses. And that's because this is a calligraphy brush. My other courses I explain the difference and how to create these brushes. So that's something if you need to brush up on you could go back to my older courses. And I think that's gonna work for me. And what I'll do is a couple of adjustments. Once I have created outlines on all of this so selected all object span appearance and I'm going to go to simplify the sand as well, just to be sure. Okay, so that can be made into a stamp brush. I'm just going to grab the whole thing, going to drag it into my brush palette. Okay. Here. Pressure. Okay, let's move that one up with the rest of this stems. Delete this and then I'm going to change this one to this. That works a little bit better for that blend into that leaf. So in this case, I don't like the way this blends into this leaf. So I am going to an appearance. I think what they want to do is just take this one. Drag it. Must it until I should that simplify this whole path have you note that I don't do this until I'm really at the end of my layout and composition? Because this now would be a bit of a liability if I ever wanted to change belief stamps. So keep that in mind. Don't expand your brushes until you're absolutely sure got them where you want them. That might come back to bite me leader on, but hopefully not. So this grouping, which is it's grouping over here. I don't know if you can see here, but this one is which is a little bit short. So the Stam continuance of this leaf doesn't make sense. Here it's a little bit short. So I am going Teoh lengthen that. Just a touch. Hopefully that works. I think I'm gonna send it to the back, which is I can and let's see what else we got happening. It's time for another chest, perhaps somewhat fixed the Syria. I'm gonna check this up close first. It seems to be last little area. I want this to be behind the stample. Let's see what's happening here. Okay, so here's another example of one that is in another layer that it shouldn't try to place it in this layer here and see how that works. So this is where the layers palette is. Most useful is when you have problems with layers. So I am going, Teoh, actually move this one and we'll see in our next test. If that work does, you know this flower is just floating. I am not sure that I may need to add a stem to that. So that's this flower here. Or else find out what this stem is doing. And that's probably the one it needs toe attached to this one. So this here is the stem and it attaches to this flower crap. It's pot as well. I'm grouping that so I can move it more easily. Sure, this one's grouped and we pick up just a little bit going back and forth to my other document, I realized I hadn't created this brush. This was one of the drawings I had done, and so I quickly did that off camera. So I'm going to replace this one with this one, and it's already got its own built in on ish thing at the top. So I am moving that other one and placing this one so hopefully that works out well, with Leo that I've got here is gonna go back and see if I forgot anything else. I don't think so. I'm pretty sure I have this one. So onwards and upwards, I'll continue with Miley out here and I will time lapse it to make it faster for you to see . Probably gonna do a little bit of testing again and finalizing my patterns. Watch. I'm gonna get rid of this one because I want to test what I've got here and let's do it. So I think I still want to stagger these to a little bit more. That's kind of bugging me that they're a little bit too close. And when I squint my eyes, I just feel like this a really dark area. So it's one of the things I'm going to address. Show my tile edge through a screen shot here and follow my same processes. I always do. And I think one of things I'm gonna do is get rid of all of these swatches that have been produced holding down my command key so I can select all three of them on delete them open my latest screenshot. Holy Doodle. I gotta get rid of some of these screenshots. So this means that this one here still has to be moved higher on this one. I think I will move lower because it doesn't actually match up to its stem here anyhow, So that's what I'm gonna do right now, so it doesnt bunch more work on this. I have added this pot over here. I've deleted some of the leaves. I've changed the order of some of the I am sending some behind to create depth and just of general cleaning up of my documents, my layers, palette and whatnot. So I'm ready to test this pattern. I'm hoping that this will be basically all we need for the purposes of this last. So I'm going to select ALS my handy dandy command apostrophe shortcut to get into my hat, earn dialogue box, and I'm going to set my half drop and my grid size at 10. My kin returned. I'm thinking that is going to be my final pattern for the next part of my horse. And one of the things I want you to do at the end is to make sure that you enlarge like I have here right now. I think I met over 200%. And this gives me a really good view of how my brush strokes are looking and one of the things I want to have you take a look at our carefully is areas like this. Okay. And that's usually caused by a kink in the brush. So you would just select the line and make your little adjustments to get rid of them. And I saw one up here too. So this one here and now, if you could tell, has a little bit of a hook on it. I'll go into outlined view and you'll see that and that little hook and just be deleted. So that's the kind of thing that you're looking at and you're just giving it a once over at this size to make sure that everything looks exactly like you want it. Teoh, I usually save a duplicate of this document, and then I create a new document. And on that new document, after I've done all those final check, I create outlines. So this one has not been changed, and you see, here I have it outlines. But I hadn't fixed that little spot there first. So look at all the points and all the things you'd have to do to fix that up. So that's why I wanted to point that out to you this way. Once I've created outlines, then I completely done, and I want to create the patterns watch. And that will be the patterns Watch that I take into Adobe Photo Shop to use the adobe textile designer to re color when I'm completely satisfied. A select all do. That last test of my pattern has been added to my swatches. You'll see here. Remember that when you are about to make your pattern Swatch, you need to be sure to have a square in the background that is positioned in exactly on the art board. So in order to line it up after I made the square, I took the time to go to my alignment, and I've got it aligning to the art board you can see here Aligned Art Board and I've aligned it perfectly, so it's in position will show you an outline mode. You can see that square in the background. That's what defines your swatch and you want to make sure you do that. Otherwise you're gonna get some little lines, artifacts showing up at the edge of your child in photo shots. So now I know that my swatch is perfect. It's ready to go. You can do recovering here in Illustrator. One of the reasons I often take it into a deal before the shot. The very end is to be able to add things like textures and whatnot. So I have been using Adobe Textile designer hearted bitch since its inception. There are so many things about it that I really love. So I want to take one last lesson and explain that old color ways thing. You don't be textile design, so I will see you there. 12. ATD Colorways: either guys welcome back or on the last lesson. And what I want to do is explain Adobe textile designer color ways. In my other classes, I've explained in more detail use of the whole will be textile designer and that extension can be downloaded here on the adobe site. If you have not tried it before, you can sign up for Beta. I'm a returning user so I can log in and I could see thing you that's been added. There are videos. They're they're great for reference. So if you are thinking of using this extension, then definitely check it out. Like I said, I've explained in detail in my other classes. So for now, we're just gonna focus on the color race. So back to photo shop here and I've got my swatch, which I've opened up, and I've got my extensions already opened and you can see them here. I like to arrange them like this so that as each of them is opened, I can see the complete panels side by side. Okay, so here you can see my lovely pattern being repeated, and I actually don't need to use this panel here anymore, so I'm gonna close it and we can focus on these two. I like keeping the preview were open. And what we're gonna do is focus on the color ways panel here. As you can see here, it's come up with 16 as my number of inks for this document. And this is a number that you can change east on whatever your manufacturer needs or whatever your needs are. In general, you can reduce the number of colors and create separation. Separation shows up here. Obviously, that is not enough color for me. And I think I'm going to settle at a boat. I'm even going to try iron number here and create separation for the purposes of this class . Were just doing some experimentation so I can show you a few of the ins and outs off the color way. So as you can see the preview here, I don't have a background, and I've done that specifically, I will now show you how to create the background. I do it right here in Forshaw. Add a layer, looked back, and I'm going to feel it with some color that I don't have currently in my document, and you'll see why in a moment that looks absolutely awful at it's going to change, right so I can close that panel off, just reducing the size. If I can hear you get more room for the actual document. OK, so I'm going to create separation again because that blue was not added to my list of colors here. If you see a list of colors, it's all showing up here. Every color that I have and it has arranged, Um, it's on the percentage of ink use. You can change that to a different order, like Hugh, which is the one I like to see. My colors are now in their color groups, so to speak. I think I can work with that for the purposes of this video. So depending on your manufacturer again, you can specify whatever requirements that they have. I'm gonna use thesis es eye color wall reference. It's definitely a standard, and it's one that I like to work with if you don't have it as one of your photo shop presets for color. If you don't have the C S I standards on your list here, you can go to the C. S. I website, and you can create a new account. They'll send you a link, and from that link you'll be able to do your installation. All the instructions are given to you when you you find out for it, and when you go to download it, you'll be sent a link in your email. Once you download on this page, you will be able to install it into your applications presets fuller, and it would become available here on this list. Then you can see that it's switched from color table to color way. That's the only way you're going to get to this color way or be able to make any adjustments is to choose a color reference. Now that I have that color reference chosen, it's given me ecosystem appropriate matches to my colors based on this color wall guy. Right now, I want to show you how to go about playing with this and creating some other color ways. So if I like this color way, I could create a snapshot of it. We could just create new snapshot and this exact color way. It's saved here for me, so I want to, of course, change this background color. So let's go with that first, and I will look on the color here is going to take me to this re color tool, which is so fun to play with because I waas selected on that color. This is where the color shows up. It shows up with a dark outline on it. You could see the list of my colors here at the top, and I can click on any of these individually to find them with this one here, I think what I want to do is something a little bit less bright. So as you can see here, the colors from that reference guide that I chose illustrated here in kind of little sections. So it's easy to go and grab another color from that particular global. So I can work with the hue, saturation and brightness, and either drag this to a new location. Or, as you can see, I can make adjustments here, and I can also go into a rightness and Hugh and there I can also deepen the colors, darken the colors and just move it around until I find something that I really like. So I kind of like something like this for my background. I have not adjusted any of my other colors. I think what I'll do is possibly this dark green that's running through these leaves here. I will adjust them to be a little bit more into the teal family as well. So I'm gonna click on that color and I'm gonna drag that one around you a little bit later so you can see here in the preview window that colors change. It is the best quality preview. As you can see, it's quite a liest along the edges and stuff, but it works for our purposes here. I'm kind of liking that. And I think I might also do that with this green as well. Just bring that one over a little bit more into this family and number two click OK or apply. So this preview has been updated with my latest colors that if he was shown right here, if I want to create a snapshot, click on that got another complete version off that particular color weight of these are completely independent of each other and they can all be exported for different variants. So I'm gonna go back in there and I think what I want to do is start playing a little bit with this set of colors here, the deep colors that air in my flowers. So I'm going to click on that one first, and I think I'm gonna just that background color once again. So I'm going to click on that. I'm going to go with a really deep and really dark background. So that's a very deep, very dark background. I love that. And now that start like a little bit with these colors here, I think I wanna light in this one a little bit. By the way, if you ever wanted to move all of them at the same time, you could length um and is he here that I can move all of them together? That's pretty cool. I've kind of shifted it more into the Navy's and Reds and shipped it back, and then I'm gonna unlike it, and I'm going to just work on this color here, so going Teoh a little bit. So I'm pulling it a little bit further out. You're gonna lighten this one a little bit, and I'm going to play with that green in the leaves this one here in this one here. I just want this little bit yellow er and then I'm gonna do a little bit of changing on these mid tone thinks that I have kind of, like the look of that reddish color rather than the purple against this particular Teel like that. Somebody hit, apply. Yeah, I really like that. And if I'm happy with that, I could make a snapshot, and that would be another color way complete. I think what I'm gonna do that was under two. Play that purple a little bit. So no matter really which color you click on because once you are in, you can choose the color at the top, and that's that purple color. I think I'm gonna move that a tiny bit more into the red as well and maybe a little bit brighter than I can create a snapshot. And there you go. I've got three amazing color ways already. I'm going to try one last one with a really light background. So let's do that now. You don't have to click right on that color to get the re color tool, but the nice thing about it is it comes up with that color already selected. I'm gonna take that color right now, and I'm going to move it way over here into the yellows. It's kind of neat to a brown. See how much fun this is. I mean, honestly, you could spend hours just doing these color ways, just experimenting. I'm going to go in here. And she was a very light version of this, I think. And again, I'm gonna change that shirt green that's in believes. Try a yellow for that. And then I think I've been changed some of this purple here. So the darkest purple, I'm just gonna make it a little bit lighter. And this one here too. I'm going, Teoh, make it a bit lighter and apply. And I can see that color weight, right? So I'm going to do a little bit of experimenting off camera and then I'll come back and explain to you the rest of the information that I want to share. So one of the things I thought of showing you that I had not included here was to add something. In addition, the last lesson I mentioned, this is sometimes a place where I add textures or other aspects to the design. So I've opened up this watercolor. I'm gonna select it and copy it. And then I'm going to you one of my layers palette here, and I'm going to paste it now. You're going to see that as soon as I paste it. There's going to be a change in this part of the panel to watch that, and you'll see that as soon as I paste. I've got an exclamation mark showing up on all of the's, and that's because it doesn't know how to deal with the fact that I've added something and these would need to be re sync. So I am going to make my changes that I want here. First, I'm going to enlarge it a little bit. I'm not going to take it over. The edge is here. It's not in the scope of this particular course to talk about this in terms of the pattern . Repeat, I just want to talk to you about what it does to your color weight and happy with the size of it and the positioning of it going to get out of that final grew and you can see that that has not showed up here in my various color ways. So what I would have to do is click on each of these to sink, and then you'll see that coming out in the background of that particular color way to go back to that layer. And I'm gonna hit screen so that it actually blends in very nicely with my background. I'm gonna reduce that capacity a little bit too again. You can see that it did not sink here, so I would have to look on my different other ways to actually have the changes that I made sinking here. That just has another dimension to what you can do here. So this is completely live and completely edit herbal, and whatever you do can be, then apply to the color ways that you have produced. Hey, look at these. Pretty cool doesn't show much of a change here, sincere lightly in the background. But I find that adding textures at this point really makes a difference to your designs. You can see that each of these color ways is very, very different. I think I'm happy with those four snapshots. I think that explains most of what I wanted to explain to you or show you. Last thing left to do is to show you how to export my different color way. Snapshots in this panel here at the bottom, you'll see the export options. I'm gonna click on that, and that takes me to my export options. And here you'll see a bunch of different things that can be done. Now you can export all snapshots. See it down here. It just simply click export all and you would get separates exported files for each of those color ways. You can choose to do it as a proof you can do it is a pdf as a PNG. All of this, of course, depends on what the requirements of your manufacturer are. So those are things that you would need to check. You can also export for production, depending on which one of these you choose. You could also make those same choices here. So again, check with your manufacturer to find out which ones are required for them. If you make your choices and click export all snapshots and they will be exported to whatever folder you specify when it comes to proofing You can also specify the size of the final piece that you want. Example. You may need to have an example of this to use in a look book or to print out on a large proof. So that's something you conspire Ament with as well. You can choose to add a watermark to it, so that could be something like your logo. If that was the case, he would choose so to wherever you have your logos saved. And she was whichever one you wanted as a watermark. I'm not gonna do that right now, but just so that you know, that's how you would do it. At this point, I am going to export my proofs as PSD. He's hit export all snapshots. I'm going to export that into my project documents and what a shop does it staying in the background. You can see it's going through each of the Ford that I had, and it has created the documents for me. So if I was looking my project documents, I would see here each of the different color ways has been exported. Open that up and let's just close all of these off. Take a look at the layers and you'll see here that you have emerged psd layer. So this adobe textile designer is so much fun to play with and so much more intuitive, in my opinion, than the illustrator re color tool that I often come into Photoshopped finish up my patterns. 13. Outro: you guys you made it were at the end. Thanks for hanging in there. And I hope you've learned a ton along the way. Each of my courses teaches you more and more. If you haven't taken off my courses, please do take a look. There is so much more for you to apply to your day to day illustrating. Remember to take the time to leave your questions and comments below. And if you have a minute, could you please give me a thumbs up? Or maybe a review? I'd really appreciate it If you know anybody else who might be interested. Please pass on my info. If you happen to share on social Media, could you please hash Tag me, Delores NASCAR aunt slash skill share Thanks again. It's been so much fun by