From Paper to Screen: Digitally Editing Your Artwork in Photoshop | Cat Coquillette | Skillshare

From Paper to Screen: Digitally Editing Your Artwork in Photoshop

Cat Coquillette, Artist at

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7 Lessons (45m)
    • 1. Intro

    • 2. Scanning Your Artwork

    • 3. Cleaning Up Your Work in Photoshop

    • 4. Color Exploration – Digitally Editing in Photoshop

    • 5. Creating Patterns

    • 6. Resizing for Various Template Dimensions

    • 7. Final Tips

170 students are watching this class

About This Class

Cat Coquillette is a professional illustrator and designer as well as a full-time traveler. Thanks to her success with licensing her artwork and selling through on print-on-demand companies like Society6, she is able to fully support herself as an artist and travel the world. Cat is one of Society6’s top artists, selling over 58,000 products on their platform alone.

Cat will walk you step-by-step through her entire process to show you how she gets her artwork from paper to computer, focusing on all the steps she takes to digitally transform her artwork into top-selling pieces, including:

• Fusing multiple scans of artwork together into one image
• Removing the paper background Erasing pencil marks, paint splatters, and errors
• Exploring color variations
• Creating patterns
• Adjusting artwork for various template dimensions
• Saving artwork files for optimization

One key factor with succeeded with passive income streams like licensing and print on demand is making sure your artwork translates beautifully from paper to screen. This class will be tailored to that process. There is so much more to the process than just scanning in your artwork and uploading it to sell online. What you do in-between those actions can make the difference between an average piece and a best-seller.

If you don’t have Photoshop, no problem. You can sign up for a free trial online in just a few minutes:

As a bonus for this class, you'll receive a free digital guide that covers all the basics of the class PLUS a high-res watercolor paper texture so you can get started immediately with digitizing your own artwork.



1. Intro: Hi, everyone. I'm back for another glass. For those that don't know me, my name is Couch co collects, and I'm the founder of Cat Coke, which is my illustration and design brand. I'm 29 years old and I'm a professional illustrator and designer as well as a full time traveler. Thanks to my success with licensing and print on demand companies, I'm able to fully support myself and travel the world during my class today, I'm going to show you how I get my work from paper to computer so I can digitally edit and enhance my paintings to create top selling pieces of artwork. There is so much more to the process than just standing in your working, uploading to sell online what you do in between. Those actions could make the difference between an average piece and the bestseller. I'll walk you step by step through my entire process, and I'll show you all the tips I used to increase my chances of getting artwork noticed and creating a viable incoming harvest. I'm coming to you from Chiang Mai, Thailand, my current home away from home. I'm originally from Kansas City USA, but in the past six months I've been in Thailand, Vietnam, Indonesia, Malaysia and South Korea. Traveling inspires my heart work, so my portfolio lately feels like a visual diary of all the incredible places I visited, from lush jungles and mountains to restaurants and city life. Can you tell that I have a thing for watercolors and cute animals? In conjunction with traveling 24 7 and running my own business? I license my artwork to various companies, and my income is 90% passive, which means I don't need to punch a clock to get paid. Passive income is the money I continue learning long after the work has been completed. For me, that means reading an illustration and then earning royalties from sales off that piece in the following weeks, months and years. This is what allows me to live my life as a permanent traveler. As long as I have creative inspiration flowing and excellent wife, I can continue earning a living. One key factor with succeeding with passive income streams like licensing and print on demand, is making sure that your artwork translates beautifully from paper to screen. My class today is going to be all about that process as well as optimizing your work. Once it's digitized, we'll cover all the basics from scanning in your work to digitally cleaning up your artwork by removing the paper background, pencil marks and any sorts of errors. I will also do some of my own paintings as an example to show you how to explore color variation, create patterns and adjust your work for various template dimensions. I'll also show you how I saved my files for optimization and what I always keep in mind when I upload my work and share with the world will begin the class by going over how to scan in your work and get it from paper to screen. Then we'll work on specific techniques for optimizing your artwork. This is an intro level class, and we'll be using Adobe Voter Shopped editor work. You don't have Photoshopped. No problem. You consent up for a free trial online in just a few minutes. The best way to get your paintings digitized is through scanning, even if you have to scan in multiple images and fuse them together in photo shop. Don't worry. We'll cover that, too. If you don't have your own scanner and you aren't quite ready to invest in one just Google artwork scanning services plus your city name, and you should be able to find a business that offer scanners for use as a bonus for this class. I'm including a free digital died that covers all the basics of what we talk about today. Plus the high rez watercolor paper texture so that you can get started immediately with digitizing your own harbored, ready to pick up techniques and make your own artwork shine didn't roll, Let's get started. 2. Scanning Your Artwork: All right, let's talk scanning. I prefer to scan my work rather than photograph it for a few reasons. One. It's easier. I don't have to mess with camera settings or get the perspective exactly right. I also don't have to worry about lighting and can scan at any time of the day, regardless of its son. You're nuts. And two, I generally paint on 11 by 15 inch paper, which is pretty easy to scan since it's fairly small. Even though my flat bed is only nine by 12. Aiken just scan into pieces and fused together in photo shop, which is what we'll learn how to do. In the next video, I use an Epson V 55 0 photo scanner While I travel. I use a canon scanner that's lightweight and easy to toss it in my backpack. I scan my paintings at a super high resolution, usually around 1600 DP I or so the files are huge, but this allows me a lot of flexibility. You can always scaled down, but once you start scaling up, you'll lose quality. So it's better to start with a higher rez file than you actually need. It's important to clean your scanner bed before ever uses Well, you'd be pretty surprised about how much grit winds up in there. It's dust, eraser scraps and sometimes dried flakes of paint as well. Scanning in my work usually take several minutes, and I usually hold my hands over the lead to make sure the papers pressed really firmly against the glass. You have to stay incredibly still. Well, it's scanning or else the area where you moved will start to blur. I try to line at. My paper is busted. I can Molly scan, and this helps what I'm going to be fusing two scans together into one image. If both files are lined up well, it's less work on my end. When I adjust them to blend together in photo shop, you'll learn more about this later in the next video. Also, if you're going to be scanning in multiple images of the same artwork, make sure you're always laying the paper out on the same angle. The reason this is important is because when the laser highlights the paper, a slight shadow was cast over the texture of your paper. So if you have to do a multiple scan of the same artwork, and you weren't consistent with the angle on what you laid your paper out. The textures won't match up, and have your painting will look slightly different than the other half. If you have the option, you should save your files as tiffs. This will give you a truer scan and prevent quality lost the but otherwise a current A J. Peg. Once you have your image or multiple images of your piece saved as tiff files on your computer will learn how to fuse them together into one image, let's start the next lesson and learn how. 3. Cleaning Up Your Work in Photoshop: this video was all about cleaning up your artwork. Once it's been scanned in and is digitized, will fuse multiple scans together, removed the paper background and replaces the fresh new layer and erase out any imperfections like pencil marks or paint splatters. Let's get started. So now we've got to scan files the same artwork, and we need to fuse them together and Photoshopped to make one cohesive file that looks flawless. Here's what they look like separately, and here's a sneak peek of what it will turn out looking like. So everything blends together really well. You can tell that it was two separate files that refused together, In addition to merging the scans into one file will also be cleaning up her artwork to remove pencil marks, errors and imperfections that came through in the scanning process. We're also going to be removing that people texture backgrounds from the illustration and adding it into a new one on a separate layers. So it looks like this. All right, let's get started. So first things first. We need to merge or two separate files into one flawless illustration. We're going to start by pulling both into a master file, which I have ready over here. I call it a template dot psb. The reason I saved is a PSB is because I'm able to save the file that's over two gigs. Not all my files were that huge, but if I have a ton of color palette options and layers that sometimes they can get to be that big. So I use this master file for all of my paintings and call it template because that's exactly what it is. It contains two layers, my signature layer as well as the paper texture layer. It looks like it's white, but with zoom in, you can really see that, actually, texture. My template file is saved it roughly 31 by 42 inches at 300 g. P. I is an RGB color mom. I chose these dimensions because they're similar to my original painting dimensions, and I chose this size because it's large enough to be printed on any product including mall tapestries, betting and all wall art sizes. Always make sure you're an RGB mode if you're going to be uploading your work on front on the man sites to sell. If you you see him like a. The colors will get wonky with upload. I've outed the multiply transparency effect to my signature earlier show you like Down here , Over here in your transparency effects, there's multiply. This is what it looks like when it's turned off by Adam Multiply. It helps it blend into the paper texture. Background. Seamus if it was really drawn on that exact paper so again, that's what it looks like. Pretty settled. But I think it makes a difference. So what we're going to do is dropping our scan files into this master file and blend the illustration together into one. Later, I'll start by dragging my scans. We'll burn to my temple while you don't do that anymore, and I'm going to put a multiple effect on both of these layers. This is just so that I can see what I'm doing when I drive one above the other. So what I'm going to Dio is just laid over. Doesn't have to be perfect at this point. Select both layers and rotate it to fit the dimensions of my template file. Scale it down a smidge. Cool. I think now that we've got both of our illustration layers roughly over laid now is the important part to make sure that they're absolutely perfect or as close as you can get to be in a perfect overlay. So I'm going to drug in, actually looks pretty good on the left hand side. Not perfect on the right. But that's probably because I wasn't exactly perfect as I stand it. That's all right for now. You can hold down the control key if you want to by pass photo shops. Tendency to move images by jumping several pixels when you hold down the control key about to move exactly pixel by pixel. So that could be really helpful here so quick and then hold control. Yeah, that's pretty close. All right, let's zoom out. Looks good. The reason it's darker in this area again is because multiplies on. Okay, so now that we have everything laid over Rudy close to perfect, what we're going to do is isolate the upper half of that illustration. I'm gonna leave, multiply on for now just so that I can see what I'm doing and have a good idea what the middle ground is here. So selected, my lasso tool. You can also just push out, and I'm gonna go through and cut all this out. There's some areas like here that I have no choice. I'll just have to cut right through the illustration. No problem. We'll go back in and blur those. And later it gets pretty tight in some areas so you can zoom in keeping too another leading goal to cut off. If it's not, linger. Okay, once the entire upper selection of selected I'm going to toss a mask on there, you can just click this right here. Been, got a mess and determined to play off, since I don't need that to see anymore. As you can see, the paper texture is a little bit lighter than it is in the bottom. That's not really going to matter, because we'll be removing that texture altogether. So I'm going to do first is zoom into those areas where I had to cut directly through the illustration to make sure that they're blended Well, that's work that pushed through. I'm going to make sure my mask is selected. Get a pretty small brush in there, but the apostle of 100 just kind of wiggle that through to soften that hard line because that illustration was laid over the other ones so well. There's not much of a difference there, so we're pretty lucky. Find out what the other wine waas there again. You can barely see that come through, but just soften those edges perfects. So the reason I've been using them ask is I have the opportunity to redraw in the illustration that's covered up. It's not disappeared completely. It still lives under there. And if I want to bring it back, all have to do is brought in like so. So I still have access to the full illustration underneath the mask. So if I need to go back later and bring something back in, I can do it pretty easily. And that data is not permanently lost. So let's zoom out and make sure everything looks great before we flatten. When we merge the two layers together, we're going to lose the illustration that's hidden in the lower half of that mask down here . It doesn't matter right now, since everything's blood perfectly, so I'm going to flatten it Cool. Grant Walla. Here's our flatten layer that contains our full illustration, merged together seamlessly. Now let's remove that paper backgrounds. So what I'm going to do for this is utilized my magic wand tool. It's over here. You can also push W or what the magic wand tool selected open a tolerance on layer about 40 because the illustration is so dark and that paper is so light, 40 seems like a pretty good number. So I want to make sure that continuous is turned off on what that means is it will select everything regardless if it's touching it off said there was a white space area in the middle of this job wire. It would still select that continuous was turned off that it would not get that area. So this just means all the white areas that are touching each other. So let's do mounds. It looks like almost all of that whiteness selected, but I'm gonna do is zoom into a tight patch, see if there's any other areas. You can see places like this where it's a little bit lighter green, probably a paint water from those leaves. It wasn't selected, but we don't really need to worry about that right now. We got everything we wanted. So what, I'm going to do is invert that selection and after it's inverted. I used to keep him after that. By the way, I'm going to go into select modify and expand. What I'm doing now is expanding that selection, although two pixels and you can see barely that it came out a little bit, so it used to be flushed with that week, and now the expansion has come out about two pixels. The reason that's important is because I don't want to cut off any pressure sports of the illustration and to make it a little bit more seamless, I'll going to modify and feather feather by one. You can't really tell the difference here, but all that does blend the edges a little bit more. Now we're going to go into my favorite tool again. You could mask out that. So now what we've done is isolated the paper background from the Jaguar itself. It's hard to tell since my picker layers turned on when I turned that off, will be able to see that grew in the background indicates that this is a transparently okay . Remember those areas up around here where there were little bits of paints, water those once elected. So now I want to take care of those. So what we're going to do is copy this letter and then rest. Arise it getting rid of the mask and what I'm going to do. This is just an easy way for me to see the areas that are affected. I'm going to pop of color overlay on there. It doesn't even matter what color I picked. This is just that I could see what I'm doing, What it again? Now we're going to use our magic. Wants will again over here on the left. And this time you want to turn contiguous on. So now when I make a selection, I think this front, the only thing that selected us this watch nothing else is so it's a little bit tedious, but what I'm going to do is go through and individually select every item that's on here. And the reason I'm doing that is so did these other little random areas of paints waters. You can see them in here. Those will not be selected. So this is just a quick way and really precise way of getting only the painting parts that we once into the final. So I will go through and left everything individually. I'm holding down my shift key. In that way, I could make multiple selections at a time. Well, fast forward. So that you guys don't have to watch this entire thing. It only takes about a minute, but still sporting. Okay, now I think I have everything selected. I'm gonna check by cutting everything out. Oh, I missed you guys in the bottom. So undo that and go through on ground. These guys cool it, zoom out on cutting it away. Awesome. Everything is selected that I wanted. So what we'll do is go ahead and delete that layer. I don't need it anymore. And we're going to acquire that selection as you can see everything. It's still selected, and we're going to paint over our mask over here, so I'll get a pretty big brush. And what I'll do is invert my selection. And now, making sure that black has selected will go through and paint over everything. You can't really see what's going on here. But what's happening is those little areas that paints waters just gonna race so it zoom in . Yeah, they're no longer there So now the only parts of the illustration that are on this page are the intentional pieces that we want in there. So the Jaguar and believes so. I'm finished with this mask going to flatten it well at the paper texture. And there's our symbols illustration with and without that paper texture backgrounds. So now we're going to do is we want that painting to look like it was actually water colored on that paper. Was them in close? You can see right now it's just laying over the two paper texture. But there's no integration. So within my transparency of bucks, I'm gonna turn, multiply on there, you see, it's pretty subtle, but the illustration of a little bit darker as it sinks into that paper so that paper texture comes through on the illustration. I'll show you the book after again. There's before and after you really see that paper texture coming through, and it feels like the water color was done on this exact people going Teoh, move my signature to area work that's pretty snug in there was pretty good. Now I'm going to select both layers and kind of shift this around. We'll be down shifts, so that jumps a little faster. Get it right into the center of that page. Perfect. All right, There you have it. We have our seamless illustration with them without that paper texture about ground and a signature on that page. So one thing to keep in mind is when you scan in your work, you lose a little bit of that saturation and depth the color from the original. So what I'm gonna do is artificially at that back in. So I'm going to go to my levels and Dr Mid Tones just to be a little bit deeper. Doesn't have to be huge. 85 84 looks pretty good. I'm sure you before after about there's before and there's after this. Feels closer to what my actual always region looked like. And I'm going to go into my human saturation and make it a smidge more saturated. I think three will do it now. It feels more accurate to what my original illustration waas and you can even make it more saturated, even darker, even lighter than what you painted. That's one of the great things about Photoshopped. You can tweak things around and have opportunities to make adjustments to your painting that you would be limited with the actual medium. So if you have any errors on your illustration, maybe something smudged or some pencil marks were left over. We can get rid of those pretty easily as well. Photo shopped. So on this one, zoom in here and I've got a big spotter. So the best way for me to get rid of that is to throw a mask on there, and I'm going to use my brush. It's to be a lot smaller, perfect, and I can just really easily draw over that reset. So right now, on the edge of the brush is really hard, just fine for the areas that are racing. But when I get close to that edge, I want to make sure my brush is a little bit softer. So let's bring that hardness down. You can see how the edges the brush kind of feather off a little bit and feel more natural against the watercolor edge. So I'm just playing with different sizes and seamlessly erasing that. This is the same technique that you'll use if you have any extra pencil marks on the edges . the paper as well. It's this a Muppet. Now I just want to get a little bit tighter and Alan doing this clicking and driving my mouse to make that bush move along the edge. We'll show you the before and after what? Beautiful. And if you want to get rid of that thing spotter within, at least you could do that as well. Pretty easily. So now. But that makes much has been erased out on the outside. You don't need our last anymore. Just gonna flatten that layer. But we still have that smear right in the middle. So I'm going to get rid of that Is using my clones there. It's over here, won't stamp. And basically, what a clone stamp is is you use part of your illustration to ink and then you stamp in another place. So what? I'm gonna dio a little bit of a larger brush, So I'm holding down my old key and I'm going to click. So I just came to my stamp pad, and now wherever a draw in, it's going to reference from this area right here. So what I'll do is just slightly fill that in one of the limitations with pad is, once you get to the full edge, you don't have any. So as you can see, it's drawing a little bit over the line, which I don't want. So what I'll do is just constantly re stamp, make more brush a little bit smaller as it take down. If you see the plus sign that occurs up here, you see moving around, that's showing you an indicator of where the thinking is seeking place when it feels it all right. Now that we're at a good place with us, let's go. It's force on color variation. 4. Color Exploration – Digitally Editing in Photoshop: in this video, we're going to walk through all things color. I'll show you how to optimize the color within your existing illustrations that the tones air deep and saturated. Then we'll explore color palette, variations and tricks to adjusting the color to create a variety of options. I'll also show you how to spot edit colors so that some areas within your illustration can be adjusted separately from other areas. Photoshopped provides so much flexibility, and it can seem a little bit daunting at first. But once you get the hang of the ropes, you'll go wild with limitless possibilities. All right, let's get started. I'll do a quick recap of what I showed you at the end of the last video. This is what my painting looks like. After I refused both scans together and removed the paper texture background, I lost some of the color, depth and saturation in the scanning process. So not only am I going to add that back in, but I could make my painting even more color optimized than the original painting. This is the great thing about photo shop. You can achieve things digitally that you would otherwise be restricted to with a particular medium. This process is pretty quick and simple and only requires a few stops. So I'm going to go to command l to access my levels, make it a little bit deeper, not too much, but just enough to get enough of the deepness and tones. And then I'm going to do command you to get my human saturation. We'll make it a little bit more saturated to get closer to the original painting. Yes, OK, And then the last thing I'm going to do is going to color balance. So command be and I went the shadows to have a little bit more red in them, so drug the red cursor over a smidge and maybe out some yellow in there as well. Perfect. So that's a pretty quick and easy way to get your color back toward Originally was with your illustration, and even within this one, I pushed it a little bit more saturated than my original painting Waas. Just because I can. All right, let's move on next to your palate variations. There's a few different ways we complete with color palette explosion. Easiest thing to Dio is to go to command to you, which opens up human saturation and just dragging this toggle around and you can see the illustration changes quite drastically. As we go to different areas of the spectrum. You can also play the saturation. But then this is well, get pretty bright, almost neon. And then bring the saturation all the way down to decide trait the painting itself. You complain of lightness and darkness here, but I wouldn't recommend it. I'd stick to levels for that. Quick levels is command l. This is where I'd play with your darkness and your life s. Another way to explore color is to get into color balance. So man be will open up, follow balance. There's three options Here you have shadows, mid tones and highlights shadows. Take the deepest part of your painting and infuse color. So I'm adding a lot of blue to my shadow Tones would be adding bread will look like this, um, 20 mid tones Exactly what it sounds like. It just takes the medium tones and uses a certain color. And then highlights bring the whole painting to be a lot greater. Another way to explore color variation is to play with transparency layers. So what I'll do is just out ingredient over the top of us and going to my transparency effects and see what happens. I put lighten on top. You'll go to screen E. Fuller Dodgers pretty ugly. I like what's happening here, lighten. And this is a more natural way of getting the lighter color than it would be otherwise. If you used the levels now that you have an idea of what we're able to do with the tool said, Let's make a couple of color options, I'll start by making a copy of my original layer I'm using Command J is the key command to make a copy of that layer. What this does is duplicates the layer so that I can keep my original color palette down here and start a new one. I'm going to click the I to turn off the original and change my transparency effect to linear burn so I can see totally act really what it will look like on that paper. So what I want to do is keep that Jaguar color of the same, but I want to make those leaves blue so we'll show you how to adjust color within some parts of the illustration, but not the entire piece. So first things first, we'll zoom in on the jag wire and I'm gonna use my lasso tool over here and just select around the entire jag wire. Okay, Cool. The full selection has been made. So now what I'm going to dio is cut could also do command X so that Jaguar is gone and then start a new layer. And do you edit paste special paste in place? Don't forget to turn the transparency about back on. So now we have our JAG wire separate from those leads so we can adjust the leap color separately from the JAG wire. It's pretty simple to dio. Just make sure that your leaf layer is selected and go into human saturation. That's command you and we can drug that you down. It's the wrong way. I want blue. Here we go. Another thing I could do is click the colorize option, and what this does is make all the tones the same Hugh. So let's pump saturation up. So there's no que variation within this. That's not exactly what I want. I want to see a little bit of tonal differences. So I'm not going to turn colorize on. But it is an option if you want everything to be that saved you. So instead, I'll make this a little bit more blue perfect. And I'm going to polish it off with color balance, which was command to be and bring in a little bit more of that science with a shadow of that. Maybe there we have it. Now, for the sake of organization, I'm gonna group those two together into one group and call it Navy leaves. This just helps everything stay organized. So when you have multiple color palette variations, everything looks nice and tidy over in your layers. Once you have all of your color palette options established, you can flatten those so you no longer have to group it. It just minimizes the layers you have over here on your panel. So within this, I have my green leaves, black leaves, blue, all of the palate variations. So what I'm gonna do is make sure my transparencies are all on the *** burn and turn up all my layers except for one. So now it's nice and organized, and the transparency about so in place. All right, now that we've learned how to explore color palette variation and organize our color layers , let's move forward to making some cool patterns in the next video. 5. Creating Patterns: in this video will be exploring methods to create patterns out of your artwork patterns. Air great for particular applications and ways to your original illustration might lack. For me pattern sell particularly well on phone cases. Betting leggings and curtains. When you create a pattern, you open up the possibilities for broadening your product selection, especially if your original painting doesn't really mesh with certain products. With dimensions that are vastly different from the dimensions of your painting. Patterns provide an opportunity to take your illustration to the next level. Beyond your original artwork, I'll be focusing on two types of patterns. Structured patterns and loose patterns. Depending on your motif, you can choose whichever one feels right for you. I'm going to use a variety of minor work for this video, as each painting lends itself best to a particular pattern style. Let's begin with a simple, structured pattern would here to a tight grid of columns and rows and simply repeat your illustration or selection of your illustration that you isolate out specifically for the pattern. I'll use my raccoon as an example. So here's my raccoon. It's already been isolated from the background, and I'm going to open a new dock. Apple end. For my pattern, we'll change it. Teoh 10,000 pixels by 10,000 pixels. 300 dp i an RGB color palette. The reason I'm choosing these dimensions is this is a size that's large enough to be printed on even the largest print on demand products like tapestries and towels. All right, here's my brand new document, and all I'm gonna do is drag the raccoon over. And now here he lives. So the first thing to do is make your raccoon a lot smaller. So this seems like a pretty good size for repeating Potter. And now the process is pretty simple. So all we need to do is make copies of this layer and drag it into a columns and rows. So I'll do Apple J to make a copy of this layer and just bring it on over Apple J again. And you could rely on these breads thes pink lines that voters shops providing these lines air here to give you pointers on spacing. You can see here that everything is an equal distance apart, and it helps you with alignment as well. So I've got my three make sure all those layers air selected when you want to drag them all with the same time. And I'm gonna make a copy of all three at the same time, Apple J. And dragged down Apple J again and dragged down. When you hear to those grids, it makes it really, really simple. You can even do things like group certain Rose together. I'm selecting the layers and Apple G, which groups them together. And I could make some groups off center from the others like So, if you want to flip your illustration within the pattern, you can do that as well. Just do command J to make a copy of that layer, and I'm using my transform tool, which is command t. So when you're transform tool selected, you can right click, and I'm going to go Teoh flip horizontal and drag it over. So this could make just, um, your image. You can also flip vertically, show you that looks like if you want a vertical flipped to be incorporated within your pattern as well. So I like how this horizontal quote has been working out. So I'm going to copy and repeat that. So with both of my layer selected. I'm going to Apple J to make a copy and then drive it over. It's a place that feels about right. And now I'm going to flatten all of these together and grouping. They still remain individual within their group, and you can move each piece separately. When you flatten, it all goes on the same player. So right now, same layer is great. So what I'm going to do is copy that layer again, command J, drug it down and make my pattern just so to resize everything at once. Make sure all your layers air selected and then command t to go on to transform and you can drag everything. It wants to make it smaller within the page. Don't forget to hold down shift as you transform that when you pull down, shift your scaling within proportion, which is really important without shift. Being held down might skew it like this, which never looks great. But when you pull down that shift key, everything goes within proportion. Okay, Now that we've learned a few techniques to achieve structure and patterns, let's explore some ways to create looser patterns. Let's start with something fairly abstract. So here I've got my painting of cats positions. This will be a good example for a loose pattern, because the way this was painted, it wasn't really adhering to a grid. The cats are just loosely placed in according to the positions of the ones around them. So what we'll do is take these nine cats and turn them into a larger pattern on a page. So first, all click and drag have already isolated the cats from the background and pull them into my pattern file. So I'll make them a little bit smaller, so they put on the page. Cool. So the first thing we could do is make a copy of that layer, command J and drag it over like so. So this alone is starting to work out pretty well. Except one thing I'm not liking is this weird space in here. So what I want to do is take this cat and drag it down a little bit to fill in that space. So I'll use my lasso tool. Teoh, isolate that cat from the rest. Check which layer it's on. Okay, this one. So I'm going to do Command X, which cuts that cat out and then command B which pays Sit in place as a new layer you consumed over here. So now I can just simply take it dragging around rotated if I want Teoh. But I think just dragging it down and it does the trick for me. So one problem you can see here is is that it's tales from getting in the way here. Millet Super weird. So I'm going, Teoh. Now use my lasso tool and cut this cut out which layers that on this one and I'm going to taste it And what I'll do is rotate it horizontally and that way fits in a little bit more like a little piece. And the last thing I'm gonna do is drag this cat down to fill in that weird gap. Make sure the courts players selected and I'm just gonna drag it down when I actually rotated a little bit as well. Cool. So now what I'm gonna do is take all of this together and flatten them into one layer Command e and make a copy of that layer Command J. So I get up to the top and fill in that extra space. One thing I'm gonna dio is rotated horizontally, so there's not too much repetition there. Center. Now I want those cats to be a little bit smaller and I want more from on the page. So what I'm going to do is select both players and wouldn't use my transform tool, which is commands t and while improving my shift key to make sure things guilt unfortunately, scale them down a little bit and then drag them back down onto the page. Great things were starting to come together a little bit more. So another thing I want to dio is address this space right in here feels a little bit bearing. So what I'm gonna dio is cut this cat out, make sure you're selecting the later you want it to be cut out from man extricated man V to paste it is a new layer. And I think I'm gonna dio is see if it fits in there they do a horizontal transform. It does. Um, one more thing I'm gonna dio Now that I see it is take this cat, flip it horizontally. So what? It fits more snugly in this space. So in order to do that. I'm gonna select all my layers, pull them down a little bit. And then I used my last tool. She is pressing l to do your lawsuit. Sure. The craps player selected Command X, like, had out man v paste it anywhere, and then I'm going to flip it horizontally. Sweet. That's in there. Really? Well, all right, I'm gonna flatten all my layers, which is command E. Now everything is on one master layer instead of four. And I'm gonna drive them up a little bit, like, so cool. So now it looks like a pretty organic pattern. There's no structure, no grid on there. It's just kind of loosely placed based on the forms around it. We'll show you the before and after. Okay, So before this is what the cats look like on their own when the actor things were going to put together in a pattern. So making a pattern like this is pretty circumstantial, based on your illustration. So what I did might not work for every illustration. But if you want something a little bit looser, just know that there are options for you to isolate certain elements. Cut them, outpaced the men flipping around, rotate them. Do what you have to do to make sure we can hand. It fits together snugly to create a pattern like this. All right, let's move on and try another one. This one's pretty simple. All I'm going to do is flip my illustration and crop it in pretty tight. So here's my original. Moving it around again. It's been isolated from that background, so we'll make a copy. Man J. As I rotated, I'm holding down my shift key. And all that's doing is making sure that the angles at which a rotated are pretty precise overshot it cool for center. And I'm going to drag that the left of my illustration, grabbed both players and see how it starts to look. So this looks pretty interesting. What I might do is make a copy of this one, command J, and use that to fill in that space for this one. I'm gonna make a copy as well. That looks pretty cool, and I'm gonna save that as an option. But I also want to try something else. So that's all over here. Saved. It's in a group, and this will be my new one. So, through this, what I'm gonna do is make a copy, transforming by vertical seeing if I can kind of put it in right there. So now it'll do. It slipped both players Manti to transform well down my shift as and transforming going Teoh duplicate those layers again. We were both selected. I could hold that. Commanded j gonna get smaller. It's pretty interesting as well. All right, now that we know some pattern basics, let's move forward with the next video. 6. Resizing for Various Template Dimensions: If you're planning on uploading your artwork through a print on demand sites or license it out at all, you'll need to know how to resize and reform at your work. For various template dimensions. I create most of my artwork at 11 by 15 dimensions, but some templates, like mugs or beach towels, require extreme vertical or horizontal dimensions. Instead of just mixing these products from my shop altogether, all adjust my artwork so that it can fit a wide variety of dimensions. There some tricks to doing this successfully, and I'll walk you through my list. I have five main files that I saved for each piece of artwork. Number one, the original Emerge my layers together, which are a paper background, artwork and signature and save as a flattened JPEG. This gets printed on wall art, which makes up a big chunk of my sales number two. The original, minus the signature on paper background. The reason I removed these things is because I want to save. This is a transparent PNG so that it can be printed on T shirts and transparent phone cases , leaving the signature on her office up to you. Sometimes they do and sometimes they don't. It just depends on the application. Many people don't like their T shirt graphics type of pencil signature on the bottom number three a pattern. I save this at very large dimensions so that it could be applied to any product, regardless of size. I make all my pattern square and can cropping accordingly based on the particular dimensions. Number four. A pattern with the transparent background. This is the exact same file is the one before it minus the background. This gives me flexibility in case I want to use the pattern as a transparent phone case instead of the main artwork image and number five. In some cases, I'll create 1/5 file that contains the original artwork mirrored once. This can come in handy if I want something with more of the horizontal pole that I don't want to use the full pattern. You can achieve all of these options by implementing the skills you learned in the pattern making video. We'll show you how I save each of the file options and give you a quick recap as well. Let's start with the original, which will be created from my master template file have all of my color options and my signature and paper background in my layers. I'll turn on the layers that I want saved and turn off the ones that I don't. So make sure that you don't have any extra layers Turn on, especially if you're utilizing any transparency. FX. I'll simply go through turning on and off layers that I want saved. Reach blood in JPEG, making sure that I capture all of vehicular ballots. I'll show you how I save each of these individually. I saved them based on the color palette name. That's the information that goes first, and then I end it with what the file actually is. So art print. Make sure that you change to a J peg on. What this will do is flatten the entire file and presenter. Next, I'm going to save this again, that I'm going to remove my signature and remove the paper background so that it's transparent. Going to save it will be the same file, except instead of a J pug. I'm using a PNG. This just preserves that transparent background. You can repeat this process for the rest of your color palette layers as well, alternating between saving as a JPEG and saving as a PNG. Now let's go into our pattern file and do the exact same thing. Make sure the layer you want is turned on and will save as a flattened J peg. This just helps me keep my files a little bit more organized, then melter in that paper texture off and save it again. Same file name, but instead of a J pic extension will do a PNG to preserve that transparent background. Go ahead and repeat this for all of your color palette options over here in the layers panel as well. Option Five is to mirror your illustration. To make a more horizontal composition, Apple End will open a new dock. We went 10,000 pixels by 10,300 g p I and keep it in RGB color mode. I'm going to click in drug over into my new dock and re size down a little bit so that I can put it on the page. Now I have two options here. I can make a copy of this layer Apple J and drag it over, or I can flip this image for this composition I like it more when the colors were alternating. So I'm going to switch it back. I'm going to save this file as a J. Pecas. Well, by the time you finished saving all the variations in your various file formats, your folder should be pretty full and look like this. All right. Now, we've got a feel for best practice. When it comes to re sizing and optimal savings, we can wrap up with some final tips in the next video. 7. Final Tips: thank you for taking my class today. We covered so lunch and I know impact in a ton of information. So I put together a free downloadable guide. The references all basis we discussed today breaks concepts sound for video. So if you're looking for a specific technique, you'll be able to quickly skin. I'm also a duty free water, similar texture that's adjusted to the same dimensions, size and color settings I used when starting to edit any. So all you did you was downloaded and dragging her worked against started feeling pretty excited about digitizing your artwork. This class is about more than just getting your term paper covered all the little details like an enhancer. Our work into a top selling piece and I learned a lot. Feel free to come. I love last discussion. I read all of your comments and try to respond everyone the next