Hand Drawn Half Drop Repeat Patterns: Procreate & Photoshop Edition | Kristina Hultkrantz | Skillshare

Hand Drawn Half Drop Repeat Patterns: Procreate & Photoshop Edition

Kristina Hultkrantz, Illustrator & Surface Pattern Designer

Hand Drawn Half Drop Repeat Patterns: Procreate & Photoshop Edition

Kristina Hultkrantz, Illustrator & Surface Pattern Designer

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18 Lessons (3h 16m)
    • 1. Welcome to Class

      2:34
    • 2. Pep Talk & Pros and Cons of Photoshop and Procreate

      4:53
    • 3. Supplies Needed & Your Class Project

      2:22
    • 4. Sketching Your Half Drop Pattern

      26:58
    • 5. Color Your Pattern Swatches in Procreate

      18:37
    • 6. Adding Texture in Procreate

      15:14
    • 7. Procreate Timelapses

      1:44
    • 8. A Look at Building a Half Drop Pattern in Photoshop

      3:10
    • 9. Build Your Swatch in Photoshop 1

      22:18
    • 10. Build Your Swatch in Photoshop 2

      15:57
    • 11. Build your Swatch in Photoshop 3

      29:36
    • 12. Why You Shouldn't Repeat Motifs in Your Pattern Collections

      5:16
    • 13. Coordinate Patterns Motifs in Procreate

      9:18
    • 14. How to use Photoshop Pattern Preview

      17:00
    • 15. How to Simply Make Your Patterns More Complex

      5:53
    • 16. An Implied Repeat Pattern & Setting up a Sell Sheet

      8:27
    • 17. A Final Look at Our Mini Dahlias Collection

      4:19
    • 18. Next Steps & Thanks for Watching!

      2:38
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About This Class

Welcome to the Procreate and Photoshop edition of my elaborate hand drawn half drop repeat pattern series! This is an intermediate level, super comprehensive class all about patterning making using Procreate and Photoshop. If you love Procreate and you want to take your pattern making to the next level, this class is for you :) 

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WHO IS THIS COURSE FOR?:

All illustrators and surface pattern designers with a basic/intermediate knowledge of Procreate and Photoshop as well as pattern making. I will not be going over the basic functions of these programs.

WHAT YOU’LL NEED:

Supplies you will need to create the class project:

  • 2 pieces of paper of the exact same size. I use A3 (297 x 420mm)
  • General drawing supplies. Pencil and eraser.
  • iPad, Apple pencil and Procreate app.
  • Desktop/laptop with Adobe Photoshop. 2021 version if you would like to use the new Pattern View mode.

WHAT YOU’LL LEARN:

In this class I will be sharing my technique for creating elaborate hand drawn half drop repeating patterns using 2 pieces of paper, coloring them in Procreate and finishing them Photoshop and much more.

We will cover the following:

  • The pros of working with Photoshop.
  • The limitations of Procreate.
  • How to build an elaborate hand draw half drop pattern from start to finish.
  • How to design motifs in Procreate for secondary or coordinating patterns.
  • How to use Photoshop Pattern View mode.
  • The 2 reasons why you should not repeat your motifs in your pattern collections or portfolio.
  • How to simply make your patterns more complex and interesting.
  • How to create an implied repeat.
  • How to professionally present your patterns.
  • And many tips along the way to make better and more interesting patterns.

I am so excited to share my tips with you and to see what you all come up with in your class projects!

xoxo Kristina

If you are looking to learn this technique using Adobe Illustrator instead I have 2 courses you can check out:

Adobe Illustrator

Adobe Draw on the iPad

Links mentioned in class:

My LINKS:

  • My Facebook group for aspiring full time creatives. JOIN HERE.
  • My Creative Business Newsletter: I'd like to invite you to join my mailing list with tons of free resources for inspiring and building your creative business. SIGN UP HERE
  • Instagram @emmakisstina. FOLLOW ME.
  • Also please remember to press the FOLLOW button here on Skillshare to be notified of upcoming classes and news. Write a review too :)
  • Plus check out my PROFILE PAGE to learn more about all the other amazing classes I am teaching here on Skillshare. I've organized them into categories for you, yay!
  • Want even more illustration classes? Check out the Skillshare Illustration section here.

Meet Your Teacher

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Kristina Hultkrantz

Illustrator & Surface Pattern Designer

Top Teacher


Hello Everyone!

I'm Kristina Hultkrantz an illustrator and surface pattern designer based in the super quaint small town Mariefred just outside of Stockholm, Sweden. You might also know me as EmmaKisstina on the internet. I've been working with illustration and design since 2007 and have worked full time as a freelance illustrator and Etsy shop owner since 2010 and now a teacher since 2018.

If you'd like to learn more about me or see more of my work or just would like to say hi the best place to find me is in my private Resources for Creatives FB group, EmmaKisstina Insiders or on Instagram! You can also check out my YouTube Channel for free video content or visit my Portfolio Website if you really really want to kno... See full profile

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Transcripts

1. Welcome to Class: Hello, everyone, and welcome back to another class for me, Kristina Hultkrantz. I'm an illustrator and surface pattern designer from Mariefred, Sweden. I have been working as a full-time illustrator since 2010, and in 2016, I discovered the world of pattern-making and I've been loving adding elaborate hand-drawn patterns into my portfolio. In two previous classes here on Skillshare, I have shown you my process for creating elaborate hand-drawn half drop repeat patterns for Adobe Illustrator, and I also did a version using Adobe Draw on the iPad. But in this class, I'm going to be sharing with you my process of using Procreate and Photoshop to finish these patterns. This class is in intermediate level, so you should have strong drawing skills and basic skills in Photoshop and Procreate as I won't be going over the general features for those programs. Yeah, I look forward to bringing you along my journey of creating elaborate hand-drawn half job patterns in this class. I will also be sharing with you how I go about creating secondary patterns by drawing motifs in Procreate and bringing them into Photoshop to build out the secondary patterns, and I'll show you this in two ways. I will also be sharing with you the new Photoshop pattern view tool where you can see your pattern being built in real-time which is very handy. In this class, we'll learn how to create seamless elaborate hand-drawn half drop repeat patterns. You will also learn how to create simple but still impactful coordinating patterns in two different goals. We'll also learn the two reasons you shouldn't repeat motifs in your pattern collections, and many more tips for making your patterns more complex and difficult to spot the repeat. Then after this class, you will have a gorgeous hand-drawn half drop repeat pattern to add to your portfolio by completing the class project. You will also have the tools to create compelling secondary coordinating patterns to go with your main elaborate hand-drawn half drop repeat pattern. We'll be able to move on to creating more impactful pattern collections full of unique motifs to wow your clients in the future. That's it. I look forward to seeing you in class. Let's get started. 2. Pep Talk & Pros and Cons of Photoshop and Procreate: Before we get started into really fun pattern-making, I wanted to discuss with you a little bit about Photoshop and why I like using Photoshop and Procreate and the benefits, pros and cons there. If you didn't know the two industry standards within pattern-making and design in general are raster versus vector. Vector is Adobe Illustrator, it is very mathematical. You have to build up your patterns and your illustrations in a slightly different way. In Photoshop, it is more traditional. It is pixelated, so you have to make sure that you are working in a large size. Otherwise it can look pixelated. That's the only drawback there. But there's so many positives because you can achieve a more traditional art look. That's what I really like in my work at the moment. I previously been all about Adobe Illustrator, but I've fallen back in love with Photoshop and all of that beautiful textures that I can achieve in that program, as well as in Procreate. Procreate, I wanted to bring up as well because it is a gorgeous program and it's incredible all the different brushes that you can use and it's just so intuitive to draw on your screen, on the iPad, you create your work. I really, really love it. I swear that it has helped me make my work better and I love that. But there are some limitations with Procreate. If you're going to be working professionally, I highly suggest that you finish your patterns, your illustrations in Photoshop instead. Because not that the quality is bad or anything, Procreate is great. But it does have limitations which are the amount of layers that you can have depending on the size of your iPad, and how much memory you have, and the iPad that you have, you will have different amounts of layers that you are allowed to have. I like to work quite large at like 11 by 14 usually or A3. That only allows me to have 34 layers. That is definitely not always enough. There are workarounds that you can save a file and bring it into Photoshop and have the layers there and then flatten that and then continue to work in Procreate. But that's a lot of back and forth and that's not really ideal. So there's one thing that we hope that in the future, Procreate will come out with more layers capability that would be great. Also, there are some problems with sizes. In Procreate, there's only a certain amount of size. The largest size that you can have, which is usually, I think around 50 by 70 centimeters, is I think is the largest size that I was able to work in. Then I was only allowed to have six layers. So that wasn't really ideal there either. Procreate definitely has its limitations. That's why I choose Photoshop to finish my patterns. Another thing that I don't like about Procreate is that when you are creating patterns, the edges are cut off. To the motifs that we move things around, the edges, if you put anything on the edge, it gets cut off. If you want to then move it again, you can't do so because the edge has been cut off. That's another reason why I draw only the motifs in Procreate and then I bring them into Photoshop to build out my patterns so that I can freely move my motifs around the screen without them getting cut off on the edges. I also think that it's more professional to send off a final file to your clients that when they will have the ability to edit in a better way. But just to reassure you guys that are using Procreate, you can of course create beautiful patterns in Procreate and create a swatch. But I think those will may be better for print on demand sites in your own, maybe work that you just show online. But if you're going to be sending final pattern files to clients, I would definitely suggest finishing them in Photoshop. That's my two sense on Photoshop and why I like to finish my patterns there. I really, really, really love Procreate for all the amazing textures and things that I can work on and bring to my patterns. This class is definitely for you if you love Procreate too, but you would like to learn how to create really, really elaborate patterns using the help of my hand-drawn half drop two pieces of paper technique. Let's jump right into that right away, because that's the fun part. 3. Supplies Needed & Your Class Project: For your class project, you will be creating an elaborate hand drawn half drop repeat pattern of your own using my two pieces of paper technique. We'll Be using the sketches you create on the paper, bring them into procreate. Then we'll be finishing the pattern in Photoshop. Again, they've supplies that you'll be meeting for this class to create your class projects are two pieces of paper of the exact same size. I will be using a3, which is 297 millimeters by 420 millimeters. I double-check that my paper actually is that because sometimes I've noticed with different sketch books, they say that they're a3, but they're not exactly those millimeter sizes. It's important to know the exact size of your paper, whether it's in inches or centimeters, millimeters, so that you will be inputting that size in procreate and Photoshop later. So take note of what the size of your paper is exactly. So that's really important. Otherwise your pattern is going to be really off. It's going to be more difficult for you to adjust it in Photoshop later. Thankfully, there's a lot of things that you can do in Photoshop to adjust things, but you want to make your life a little bit easier. You will also need basic sketching supplies. I have a mechanical pencil to make my sketches, and I have eraser. First-class, I will be creating the artwork and procreate. So I'm only going to be creating my sketch on paper just as a reference. Then I would be photographing it with my iPad. I will be finishing the pattern in procreate in different layers. Then we will bring it into Photoshop. So you will need Photoshop. If you don't have that. You can get a free trial on Adobe.com. You'll be needing a desktop computer or laptop or something to complete the final pattern. That's it. That's all the supplies that you will be needing for your class project. Now, we're finally getting into the pattern-making, okay. 4. Sketching Your Half Drop Pattern: Okay. So we're in this really weird angle. I'm not an expert at working my setup, but we're learning as we go. But most important is that you understand what's going on here. So I want to show you another pattern that I had previously created. This is the one that I have behind me and I can show it on the screen here. This is my dahlias, and peonies, and butterflies pattern and I think it's beautiful, and girly, and precious and I really like how it turned out. That was my first attempt at creating this half- my elaborating and drawn half drop using Procreate and Photoshop. So it turned out well, that's why I wanted to create this class for you guys and because I had been working in Photoshop a lot more. So here's how this whole thing works. So you have two pieces of paper that are exactly the same size and you start sketching on one side. But as you start moving to one edge, you've set it up with the other piece of paper and you continue drawing your motif onto that page. Same thing goes for the other side of the paper. You switch your pieces of paper, you align them. Make sure you're doing this as accurately as you can, and you continue to draw on that side. So as you're drawing, you can feel the flow. Here is flowers. So I can see the flow of the flowers. I put the big dahlias, one, two, three, I bounce them like this. So in the pattern, I know that they're going to be bouncing like that on the horizontal. Then I have the other flowers that are like vines around. Make sure that you're not putting any important things on the seams because it's going to make your life really difficult. You can, because we're going to be finishing this up in Procreate. You can draw certain elements separately and paste them onto the pattern later so you don't have to draw everything flat. You can do layers of different things to make your life easier, but we'll get into that when we move into Procreate later. Yeah. Same thing goes for the top and the bottom. When you're creating your swatch like this, you're going to align the top and the bottom so that the pattern continues this way. The same thing here, you can see when you're building it out, how the pattern is being created with the different sections. So you can see I was going to repeat on the vertical as well, and both sides we flip it, the top and the bottom connect, and there you can see how it connects there. So that is essentially how you create this. You just keep trying and switching the size and drawing to the side and then flipping and drawing to the other sighed and up, top and bottom. Your final swatch is going to be this long vertical swatch. This is perfect for wallpaper designs, for fabric designs that you know, like on, imagine on curtains would be beautiful to have a swatch that's this large. Also, depending on the size of your paper, your swatch will be larger, and as I've mentioned before, the larger, the better when you're working in a raster format. This is A3 by eight. A3 size two of them. So my swatches are going to be quite large, but this is perfect for having a large scale fabric design, wallpaper design or something like that. Something that would be in home textiles I think would be a really great fit for this. So I love this technique. Well, my next design for this class, I thought I'd do like a sister designed to this, so it could be like something that looks a bit similar and jives with the same thing. I loved how airy and beautiful this became. So I thought that I could do something similar. I really, really love drawing dahlias, so I might do that as well, but instead of the peonies, I might do something else. So let's take a look at that. I'm just going to move this to the side so I can have them as a reference so that I can kind of think about how I created the other one. I'll get out my two new pieces of paper. This is a different paper, I use more like traditional drawing paper for the other one. This is my cheaper sketch paper, but it completely doesn't matter since we're just going to take a photo of this later. So to start off with, I'm going to do some sketches on won piece of paper. I also forgot to mention that may be a supply that will be handy to have is some sensitive paper tape. This is just some slick washy tape, but this is for wallpaper, so it's not very tacky or rip your paper. It's really handy. So if you are drawing a lot of details on one of the edges, you could tape underneath so that your pages don't slip to much. Here we go. I love creating these Tree of Life, kinds of illustrations or patterns, I mean, so creating the different tweaks and things. I think I will start off by doing that. I want to create some sketches here. We want to remember that things have to go vertically and they have to be easy to fit to stay in the middle and then you want things to go off to the sides as well to create flow. This is what you just have to sketch and fill [inaudible]. I'll do the verticals now. So here I'm just going to line up as good as I can. It's going to get messed up no matter how accurate you are in Procreate as well. But since you are going to be doing different layers and things like that, it's not going to be the end of the world if your lines don't meet up perfectly, we will adjust this later in Photoshop. Something like that. Just trying to make it look organic and beautiful. On the other side, on the vertical edges, I flip down and now I'm going to connect these sides, like that. I want this one maybe to go straight up. I can do something like that. This side looks empty, so I'll go to this, see what's going on in these sides. We are going to do the verticals now and see what's going to happen here. I added this, but they're going to go together here, but that's kind of nice. They're coming together here in the middle. There we go. Then the edges like that. I try to avoid the edges quite a bit, but also you don't want to avoid them completely because then your pattern is going to look disjointed and look very like it was going to broken the flow. So you're going to have to try to have some things that are going off to the other side. You do a branch like this I think would be really pretty. I'm going to start making my branches a little bit thicker. I'm just going to make sure that I have these as a good reference point. They don't need to be perfectly drawn. They just have to be something that I can reference later in Procreate, and then I'm starting to do those branches. I'm going to flip them again, just so that I can make sure that I continually I'm flipping. Looks good. Do something like this to make that go that way and up here maybe and this way. I'm doing this, that's a curve, this way, this way, around down, want flow. Then on the tops and bottoms I have to make sure that they're matching up well. Just erase some things so you don't get confused later. Then I flip again. That is the general idea of the vines. I think that those are looking really well with the tree of this pattern. You can see that there's two branches that are going to go up to the main pattern. There's going to be built up in a stripe of tree, which I think looks beautiful. Then I'm making sure that I have the other branches that are reaching out around and down and through so that it has visual interest and flow. You can just keep, while your drawing, just make sure that you're flipping it around and looking. I think that this branch is really different from the rest of what's happening here, which could be interesting and hopefully that won't distract. Also, this bridge here, that looks quite nice. I feel like I want something to mimic this one down here, maybe going down because most of my vines are going in an upward motion, so that I would like to add something here too to mimic that, and I'll do the same thing on the other side. I'm not sure about this empty space here. It looks empty, so I'm going to add a branch there as well. That has really nice flow there. There's not too many open spaces. Since I went up to this edge, I have to make sure that I'm adding it over to this edge, top and bottom. Maybe I can just go up a little bit like this and meet up with this little edge here. Nice. Now I have my main branches done, so now I thought I'd put in my big fluffy dahlia, because I'd love to create another dahlia print, because they are my favorite. Let's see. I think odd numbers make something really beautiful. If you just had one main dahlia in a print, it would take over so much. You would always look at that and it would be really easy to see how the print is repeating when you have one main item as repeated all over the place. But if you have three that are the same but slightly different, it makes your eye not see the pattern repeat so obviously. That's one thing that we really want to happen when you're creating prints, because you don't want it to be obvious. You want your pattern-making to be like a mystery, that you're incredibly talented and, "How did she make them?" That's what I want to go for. I think one dahlia over here. I'm just going to create a big circle for that to start off with, and then I might flip to see the other side. Again, I don't want to put any of my focal pointings on an edge. I can create a different layer later and add in things if I wanted to, if I thought that it would look best with a dahlia right here. Just so you know, you can add things later, obviously. But if I'm going to add three, I really do want to place one here, but I think I'll put it at the end of this one. I just want to make sure it's not too inline, so I'll make sure that it's higher up a little. That'll be higher up, maybe a little bit larger as well. Then we need a third one, and I think that should be down here maybe. Dahlia 1, 2, 3. Main focal point dahlias. We're just going to double-check that they're bouncing around nicely. I think I'll add five, just to be crazy. Let's see. Then one could be down here a little bit smaller. They're almost in the line here. The distance is going to be larger, so hopefully that looks all right. These two quite large, this one quite small, medium, I want to do one more. Let's see what would look best. We can also look on the verticals, how they're going to be positioned. Here we have a lot going in here, so I think it definitely needs to be up there, down here in the middle. Let's see. I think we'll try to get it as close to the edge over here. Something like that. I think that looks really nice. Yes, it's bouncing like this, one down here, like that, here. To this other side, I think that looks really good. I think that's a great start with these. I can, on my paper, create my sketch to work off of for my dahlias, by creating some scribbles, just so you get the idea that these are going to be dahlias. I draw this so often, I don't really need a sketch anymore, because I just know how to draw them now. But just want to give you guys an idea some. In my other print, I didn't draw them in, but I had butterflies throughout the whole thing, so I did create separate elements that I added on later, which I think is a great idea. But in order to fill out the rest of this pattern, I'm going to have to start adding in leaves and another kind of flower. In my other print, I created these loop pennies. I'll just think about what I would like for this print to have. I also want my dahlia big fluffy leaves all over the place. I think that they really add more flowers well to the pattern, so make sure that you're adding leaves and things like these. Again, if you do anything on the edges, you have to make sure that you're aligning the map. This is a great exercise for those of you that need to work on your composition skills, because you can really see it come to life as you're working on it, and this can be as messy as you need it to be. In order to create a good pattern here, these lines, you're not going to be creating artwork on top of it, so it's just as a reference. Just keep making scribbles and working with this and making it look how you envision it in your brain. Just keep switching it around and looking, and also remember that you can change elements and procreate later, while you're working. This is just an initial sketch just to get an idea of what is happening here. Big leaves, I think they look really cool. I do one that goes like that. These are going to be really big focal points of my pattern. I can do another sketch but I know that this is the dahlia. In all of my classes I always recommend that you make it your own and consider what you would like to create. I love these Tree of Life patterns that you can create a tree with different flora. It doesn't have to be something that is accurate. You can create a Dahlia Tree that also has [inaudible] like I created here. This one that's mainly Dahlias, and then something else. I still need to figure out with that is going to be. I thought it could be interesting to have these as a focal point and then we'll just have leaves as the extra elements. So that these can really shine and the other pattern, I had other smaller flowers, but this one will just have the Dahlias and lots of leaves around. So let's add in some leaves to all of these little extra branches to really fill out the pattern. I might consider adding in different bugs like I did with the other one. This one could maybe have dragonflies, the other one had butterflies. But that's also something that I won't draw in this sketch. I will just be adding those later in Procreate. Some kind of bug will be cute. Just a little hint of something else growing. So we don't get bored of the leaves only. So this is my initial sketch that I'm going to be using to bring into Procreate and draw from. I think it is enough reference for me to know that my pattern is going to be put together nicely here, that I have the flow going. So I don't need to work on that. I will of course be able to add in different extra elements as I go working and drawing. But I think this is a great start, how I want everything to be setup. So next part is to photograph these with your iPad, if you have a scanner that's even better. My scanner kicked the bucket, so I don't have that. So you have to make sure that you are photographing your artwork as straight as humanly possible. To do that, I'll probably put my iPad on some kind of surface, it's flat above this. I can show you how that is done. Okay. This is the part that's going to make your life a little bit more difficult if you can, you have to try and align this and as straight as you possibly can. All right, so that's it for this section we've created our pattern, sketched it all out, and now we're ready to bring it in to Procreate to start creating the final artwork. It's really exciting. I love this process. I hope that you enjoyed the process of building a pattern like this. What's really neat is that it will be a half drop repeat. So it's a little bit more complex and a little bit more interesting to look at. So yeah, let's jump into Procreate now and get drawing. 5. Color Your Pattern Swatches in Procreate: Welcome to Procreate. I'm going to go into my folder where I've been working lately for these kinds of things. You're going to open up a new canvas that is the exact same size as the piece of paper that you are working on. Mine was an A3, which is 420 by 297 millimeters, and I double-checked that my paper was exactly that size. I'm going to turn it because it was vertical and then I'm going to import my image that I took with my iPad, or if you had a scanner, you could scan it in or something like that. Go to Add, Insert photo, and I am going to choose the one that I feel is straightest. Let's see, this one I think, and I'm going to place it just until it's as good as I can possibly humanly may get. It's not going to be possible to be perfect here, it's going to be a couple millimeters off, and that's just the way that this technique is. It is a little hand-drawn, and it's going to be a little off. But thankfully, we can adjust things in Photoshop so it works out pretty well. Once we think that that is as straight as possible, one tip is to at least try to align it on one edge and one edge. It's hard to get everything, especially if you take a photo, it's not going to be completely aligned. It could possibly be better with a scanner, but it's a little bit more back and forth with scanning, bringing it into your computer, transferring it to your iPad, etc. It's also upside down, so let me just redo it like that. So here we are. We have my sketch finally in Procreate, and we're going to start drawing on top of this. The best way to do that is to have different layers and to make sure that different items are in different layers, so later on when we do bring it into Photoshop, then it would be much easier on us when we go to edit and change or move things around if needed. Definitely, going to be needed. I'm going to start off with the stems and going to make sure I don't work on a different layer. I don't know how many times I've started on the sketch, and I have to redo everything. We can also think about background colors, but the sketch for right now is going to be on top of it. If you want to see your background color, I think I was working with this pink or this darker pink. But I thought it looked nice in contrast to the other print that I created before, and I thought that I should show you that to give you an idea of what my ideas. Here's the finished pattern that I created as a test before doing this, and this is my main print. I thought it was beautiful with a bold yellow dahlias with the pink, some kind of flower as a complement, and the butterflies and things like that, and it's really girly and beautiful. So my idea was either that this branch would be with the yellow background to match those with a pink background so there'll be contrast from this aqua turquoisy-blue background. This is the main pattern that I created for this collection, and I'm creating a secondary dahlia pattern to go with this. So that's just my overall idea and I can use this as a reference. What's really neat with the new version of Procreate is that you can bring a reference image into your artwork. We can do that as well by going to Canvas, Reference, and click this, and instead of that, I choose an image, import image. I'm going to go through my images and see what I have saved. Now, I can have a little image of this so I can get an idea of how I drew the other ones so they have the same feel and aesthetic. The background, I think it would be nice with the pink or the yellow, but we can test it out. The sketch is covering everything but if you press the "N", which is for normal, you bring it up to multiply, you can make the white of the paper see-through. You can also adjust how dark your sketch is as well if you wanted to. Right now, I'll just leave it like that, and make sure you're on your next layer. I'm going to start blocking in the colors of all the different things. I'm going to start with the stems, and then I'm going to move on to leaves so let's just get started. One of my favorite pens to use, I like the studio pen if I really want a crisp edge, but I also really like the dry ink pen or brush. I have manipulated the original to make it slightly smoother. You can go in, and there's tons of different things that you can adjust here. I don't remember what I did to adjust it, unfortunately, but I'm not sure. I just made it smoother than the original, which is quite scratchy, but I still like the pen, so that's what I've done, but there's plenty of different pens and brushes, so just play around with it and see which one you prefer. For my stems, for the other version, I have saved tons of palettes. This is my signature, and my [inaudible] palette that I used. These are my pinks and some greens, and then more blues and greens. This is my stem colors. I know that because I saved it. I'm just going to double-check. Yes, I'm on that, and I'm on the right layer. Now, I'm just going to start blocking in all my colors for the stem. If all of your shapes are closed, you are able to fill it. Sometimes with these textured brushes, the edges can be a little bit ugly, so it's a good idea to go in, fill in some areas if it looks a little bit too textured around the edge, doesn't fill completely when I use these textured edge brushes. It's more noticeable when you're using darker colors, but something to think about. That's all my stems color blocked in, so now I'm going to move on to the leaves with the main big dahlia leaves. I want to create a new layer, and I'm going to use a slightly darker green, this one, so that they pop out a little bit more. Again, I'm just blocking in the color first, and then I like to go back and add texture at the end once everything's blocked in. There's also lots of leaves that are outside of the edge, and that can get a little confusing when placing them together. It's easier almost to use one of these leaves, and place them in Photoshop later. So I'm going to ignore those leaves, and I'm going to put those in later with Photoshop. Same with the leaves on this side. So those are the main dahlia leaves that I have, and then I'm going to have these tiny extra leaves, and I'm going to do a greenness in between the stem, and the green main dahlia leaf color. Again, another layer. I'm going to just lighten this a little bit like that. I also want to mention that depending on the size of your paper and the canvas that you're using in Procreate, also the size and the memory of your iPad is going to be different amount of layers that you have. If we go into Canvas, Canvas Information, Layers, you can see how many layers that you are allowed to have or when you're also building your custom canvas, you would have seen how many layers you're allowed. I'm allowed 26 layers, and this is why Procreate is an ideal because this is quite a big illustration, so I'm going to possibly have to combine some layers, and not have everything completely editable, it's okay. But it's one of the drawbacks of Procreate. I just wanted to mention that just so that you have something that you have to have in mind all the time. How many layers are you on? I'm going to add in all these extra leaves. All right. That is the external leaves we got going and then I add some little tweaks that I'm going to add in now to another layer. Maybe I'll use this super dark green. To conserve the layer system around. I'm going to also put a little detail on these as well, instead of keeping this separate. Make a little bud on these with the bright pink. We can turn off the sketch just to see how the actual colors are looking. Because the sketch layer does have a little bit of grayness to it. That's how that's looking. I can also check to see what it would look like with my yellow. This yellow is very bright, so it could be nicer if it was slightly less bright. But I think I prefer the pink. That's all the color blocked stems and leaves, and little twig things. Now it's time to move onto the flower like dahlias. This one I sketched out a little bit more, but this one I didn't sketch out so much. So maybe I'm going to take the time to sketch those a little bit more. So I have a little bit more to reference. I'm going to make a group of these stems. I'll rename that to be good. Let's call them stems and leaves. Then we're going to start a new layer on top of there. I'm going to use the 6B pencil with this red color will be fine. I'm going to turn off the stems and leaves layer so I can just concentrate on making these nice flowers. Maybe you had drawn on your paper a little bit more like I have here on this one, when this one is a little bit more empty. I just want to make that look a little bit better. I'm going to take the time to sketch these out a little bit better. While I'm sketching, I can talk a little bit about the choice of flowers. I love dahlias because they look so wild but still contained. I love creating the petals and you just vary how the different directions and the thickness, and how long and pointy and some go to the slightly straighter and some curve. That can make your flower look really organic and realistic, you don't have to really look at a reference. You can see I also have these books hanging around here. Mainly for looks. But they are something that I reference a lot and I think it's a great way to come up with new things to draw. Because sometimes if you just go to Google, Pinterest, you only know a few names of a couple of flowers. It's good to have a book of some sort. Or I can also link to an incredible resource on Flicker that has tons of these vintage botanical illustrations of flowers. You can just scroll through and find different flowers to draw that you wouldn't have thought of Googling or coming up with the names yourself. A great way to flip through and find new different leaf shapes. So you don't draw the same thing over and over. That's the tip from me. All right. Now I have the sketches of my dahlias, a little bit more detailed. I'm going to remove the other sketch so that I have a really clean image to work from. On top of this layer, I'm going to create a new layer and I'm going to put the main color block of this one. I was thinking it would be beautiful with cream-colored dahlias for this. Again, I'm going to go back to my drawing smooth pen and I'm going to just block in the colors for these on two different layers. I'm going to keep the flowers on separate groups. Let's start with bun. Well that and then on another layer I'm going to create the other one. Here we go. Now I have my two dahlias color-blocked in. I'm going to add details to these. So I'm going to bring my sketch layer on top so you can see that. I'm also going to reduce it a little bit so it's no that prominent, so we just get an idea. Then I put in my lines, I can see that. Let's see this one. I'm going to do that one first, the top one. Using a cream that's slightly darker to create my lines, I'm going to see what my thicknesses is here. Now I'm going to create the detail lines of my dahlias. All right main outlines are finished. I'm going to turn off the sketch layer so I can see that and I'm going to create the inner detailed lines. I know I like to do that by adding little squiggles like this, and some are open, some of them are straight, and some have a little bit less and just try to make it look not all the same. Vary how you're creating them. That makes your flower look a lot more natural and organic and interesting. I'm just going to keep going through and adding all these little details to this flower and then I'll work on the next one. Now I have finished the details of my two dahlias. I'm going to bring back the stems and leaves so we can take a look of our first stage with just the color blocking. Now we're going to move on to the fun part that is adding all the fun textures and really bring those to life because now it's looking really, really flat. I really want it to match the same texture, beautiful look as my first print. So we'll do that next. 6. Adding Texture in Procreate: Welcome back. Now, I'm going to just do some upkeep. We don't need this sketch anymore. We will have this sketch to the side when we're creating the Photoshop first so that we can remember to put in some leaves and move things around if necessary, but we don't need this now. Especially now that we want to conserve layers, because I'm going to have 26 layers. Also this sketch for my dahlias, I do not need so I'm going to remove that. I'm going to rename my bio, so I'll say Top Dahlia. Then this group, I'm going to rename that to the bottom, Dahlia. Just so I can easily go back and forth there. I'm going to refer to my reference here. So I can remember what precious and things that I used and how I created this, because I'd like to have them have the same feel and mimic one another. I realized now that I used different green, for that I used more turquoise green, and that could be beautiful to have the same one rather than this one. Maybe I should change that. To do that easily, since we drew those in a different layer, it's very easy just to click on that layer, you swipe the layer to the right, and now it becomes alpha lock. You can also do alpha lock here you see this checked, uncheck it and uncheck it. Then here we go to our new color and this is that like more turquoise color. Go into the layer and you press "Fill Layer." Stack gave me that same turquoise green. We will do the same thing to those other layers. I just swipe to that side. I'm going to choose a color that slightly lighter for those leaves and then press "Fill Layer." Now the problem with this one is I used that other green, that's two green now for those things and I combine those two, so we can't do that. But all hope is not lost. I can alpha lock and then use one of these turquoise green colors, maybe this one. I can go in because it's on alpha lock, I can color over these lines. Let me just make sure I don't color over with a red. There's pretty quick and easy as well to change colors in alpha lock like that. So you don't always have to have absolutely everything on different layers. I guess this is a little bit more time-consuming, but there's not that many. I could potentially have made these on different layers, but it just seems silly when there are so few and we don't have very many layers. We're going to be adding lots of layers now with all the texture. That's much better. So now we know that that's matching more correctly. I like matching matches. Now, we are going to start working on adding texture to this piece. I think that's what's going to really bring it to life and make it more lively and interesting and all that [inaudible]. So I am going to go to my stems first and I'm going to create a layer on top of that, and I'm going to create a clipping mask on top of that. So everything that I'm drawing on this layer is going to just be drawn on the stems. Rather, it's not going to go up the edge, you don't want to worry about staying clean to the edge. So I'm going to choose this turquoise green color, and I can see that I used my favorite crumple brush. This is a free brush that I got via the [inaudible] newsletter, and I unfortunately don't know what pack it comes from, but if you go through her newsletter resources, she has all these amazing free brushes that she gives away each week. There's also all kinds of different texture brushes online and on Procreate itself. So just find one that you like. I really like this one because it adds, pick randomly interests there. As you can see, it only drew on the stems. Rather than I can show you if I add clipping mask, then it's all over the place, but that's really neat, and because on a different layer, I can easily change colors and things like that so that it's very easily editable. On the leaves, we want to add some texture. On those, I can see that I also used the crumple brush and I also did a speckle. So we're going to do two layers on this one, and one clipping mask we're going to do these speckles. I'm going to choose darker. It crumbles like this. If that seems a little bit dark, which I feel like that looked a little bit to dark, you can just easily adjust it with the opacity. Make it a little bit more subtle at 50 percent, I'm going to do in a second clipping mask on top of this. I'm going to use the very light like color, and I'm going to use one of fellow top teacher, Maya forebears brushes. She has a green pack which I really like, and I like this number one for just like a tiny little splatter texture here, it gives the leaves a little bit more interest. For the other smaller leaves, I'm not going into the crumple texture, but I will add this spectrally texture. So I'm including clipping mask on top of those leaves. I will use the same speckle on those, continuity, and I also think it looks fine. I will make sure to link Maya's brush pack and also [inaudible] free brush resource so that you can check those out because who doesn't love more brushes for Procreate? Yeah, once I've done that, now we can see that I had just like simple little lines. To do those, I'm going to create a layer on top of everything in my stems and leaves group. I'm going to choose a gray color, and then I'm going to make sure that my layer is on blending mode multiply, and I usually bring it down a little bit, 70 is good. I have to make sure I'm on a different brush. I'm going to go back to my favorites with my drawing smooth brush. Yes. There we go. Now, I can add in my little line details. What's cool about having this on a grayish color and then on multiply is that it doesn't matter which area that I'm going to draw and it's going to just make a slightly darker version of that color so we don't have to worry about having different layers and changing the brush color. This will always match. If I do end up changing the colors, I don't have to worry about changing the line colors. I think that that's really handy and neat. The little tip that I like to do when I am creating work. I like to work with lines that are in multiply. I'm just going to go and define all of these little stems easily and all of my leaves, just so that they pop out a little bit now, but it is very simple. Now, I brought in some definition to all of my leaves and stems. I can even add a shadow to these little buds just to bring those out a little bit more worked, I could add in here too, just to make them look a little more 3D, the little stems here. Let me just do that quickly. I almost forgot about them. There we go. Now, all of my stems and leaves have some nice yummy texture and have been defined a little bit more so they pop out. They also match my original main design that I created. I can think about maybe adding some texture to the background now because the other one I did quite textured, I'm not sure if I kept it in the original, but I think this one would look really nice. Since it's a lot less detailed, I'm going to add a new layer here, I'm going to put it underneath the stems. I'm going to use this light pink and I'm going to look at maybe one of my Maya's brushes again. Maybe this one or this one maybe. Let's just test them out. That one or this one. Just makes the whole thing a little bit more painterly. This is a little bit too much, so I'm going to make sure to bring this down quite a bit so it's just very subtle. I think 30 looks good. It just adds a little bit of something. I love those crumpled thing, so let's add those with the green color. Here we go. That is just adding a little bit more. That could also be reduced, so it's a little bit more subtle. I don't want it to be solely dirty and speckle-y all over the place, but maybe 50 for those. There we go. That just add a little something. Now, we have to bring this dahlias to life so that they pop out a little bit more because now they're quite flat. In each of those, I'm going to go in and, add a new layer, and I'm going to use white, white. I like the shell brush. It's also one of Procreate's regular brushes. I'm just going to paint in all the outer leaves here to get them some definition there. You can see that the white really makes these petals pop out a little bit more. The shell brush is really soft, it has a soft edge so it looks kind of pastel-y. I think that matches with that background color. It's really pretty. I'm going to go in and just add in all of these details to bring out the dahlias. I forgot, it has to be a clipping mask here too so we can have nice edges. To define these flowers and bring in the yellow from the other, I thought the centers could be the nice yellow color. I just want to try something will really look like a loosely yellow details. Not sure if I like that. Let's turn it on and off. It comes a little bit more dynamic. But for now, I'll keep it and we can check it out afterwards when we're done, see what we like best. I'm going to define this one now. Just make sure that I'm on the top dahlia. I'm going to layer underneath the outlines. I'm going to use my white and on my shell brush, now start defining this one too. Here's our final swatch that we've created together. You've seen the whole process of me bringing this watch to life. Now, I just have to do the same thing for the other swatch because we didn't upload them together as we wanted to keep a biggest size as we possibly can and to make it easier on ourselves. I'm going to do the same process to the other swatch and we'll then meet up in Photoshop to put this all together. That's going to be so fun to see. 7. Procreate Timelapses: Get out. It's time to try to take tau. Yeah. 8. A Look at Building a Half Drop Pattern in Photoshop: Welcome to Adobe Photoshop. I have the 2021 version and we're going to get started. But before we get started, I thought that we could quickly just take a look at the previous dahlias and butterflies pattern that I've shown you. The first one that I've created for this little series or collection or whatever. I'm going to show you that so we can get a handle of what this is going to be looking like and how we're creating this watch in Photoshop. Just so you get an idea of how this is going to be made before we go ahead and make them the new one. Let me just get this to open, it's quite a big file. I have to say that these files are quite large and it's little fiddly, but we can do it as long as my computer can handle this. Here we go. Here is a look at the gigantic swatch that we've got going on here. The actual swatch is only this portion in the center. We can see these two lines here. Then the third in the middle, that's the middle of the swatch. The swatch that I drew was this two pieces of paper stacked on top of each other that's here. Then to make the swatch actually work, we then flip it so that the bottom paper is at the top and the other one is down at the bottom if you understand. We can see that. It's hard to see, there's a lot of stuff going on here, but this is how the pattern is going to be made up and it seems super complicated. But I'm going to try to do my best to help this process be as smooth and seamless as possible. But this is how yours is going to be looking. This is then the pattern here. The pattern swatch in this rectangle right here, if that makes sense. Here again highlight it for you by doing this. This is the swatch area. We don't need that obviously. Before heading into creating our swatch, I just wanted to quickly show you what is going to be looking like so that when you follow along, you can get an idea of how it's going to be built out. I can also show you the final pattern swatch test. Here's a look at the final pattern, how that looks when it is repeated. It's really complex with all the different vines and flowers and butterflies all over the place. This is how it turned out. Now we can move on to building our new pattern from the one that you saw me draw at beginning of class. 9. Build Your Swatch in Photoshop 1: Now that I've gone over what we are going to be doing, let's actually jump in and start creating our file. You have to remember what the size of your paper was, and we're going to create our swatch. If we're stacking the paper on top of each other, what does that turn into? "Create New". Mine was in millimeters, so I'm going to choose that, but depends on if you had inches or centimeters, whatever. Then we're going to make sure the width, my paper was 297. Then the height of my paper is 420, so 420 times 2 is 840. That's my paper size with the two pieces of paper stacked on top of each other, like a long swatch. RGB color, I'm going to do white, all that. It's good. Here's my two pieces of paper stacked on top of each other. I'm going to create a box that is the exact same size. It's good to note the pixel size here, so 3508 by 9898 pixels. That's good just to note. Now we have this, and we are going to pull out our workspace so we have more space to work to press this image here, the cropping tool, but we're going to pull it out to the left a little bit, and then a lot more to the right, and a little bit on the top, and a little bit on the bottom. Now we're going to bring out some guides. Run the rulers. If you don't have those, it's Command R, I believe are view rulers. Command R here. You pull from the edge, and it's going to snap to those lines there on your box, and we're going to do all around. I'm going to move this rectangle over to the other side. We need one more. There we go. You don't need this rectangle anymore. But here's our swatch. The two long swatches. There's two of them. I hope you're hanging with me already. Now we're going to place our images that we created in Procreate here. Let me just start by saving this. It's in my Dahlias Secondary Pattern, and I'm going to call this working-pattern, so it's my working file. Save. Now I bring in my files. These one we're going to open. I brought back the rectangle just to make a guide in the center as well. I'm just going to keep this just in case we need it again. Now this is all set up and I'm going to put my pieces of paper into these little sections, and then we're going to tweak, and change, and fix this until it works. We're going to keep all these nice layers and things like that, because this pattern is so much more complex, we want to keep all these layers. If we do need to adjust it, then we have all those layers to adjust things in. See what is this. Those little background things. I'm just going to grab the stems, the leaves, and the dahlias, and bring those in. My pattern, and I'm going to group those. Group 1, I'm going to rename that. Let's see. We'll call this swatch 1. It doesn't matter which of your swatches you put where first. We're going to move this group. Make sure that up here the Auto-Select is on group, you can also have it on layers. But at the moment we're going to use group, and we're going to place that in here. Just simply. You can already see that it's bigger. I'm already confused, like why? Then we're going to go get the other one. Is swatch 2. Same thing. We're going to just bring in the flowers and the stems layers. Copy. I'm going to group this one as well. We're going to call that swatch 2. We're going to place that underneath. It looks like my center guide isn't actually centerized. See, it was off, or quite off. But this is the part where we're going to be fixing this. Swatch 2, going to make sure that, there, it's aligned with my guides. Swatch 1, we're going to align with my guides as well. Here we go. Now that we aligned everything, it wasn't actually off that bad, which is really great. We are now just going to adjust these little layers, so that they are smoother transitions and they look better. We're going to zoom in a lot. Like this edge is perfect. We just need to fix this edge a little bit. To do that, we're going to move instead into layer, auto select layer. We're going to press on the layer that we are going to be changing, and it's automatically going to select this. I'm going to select that color. I'm going to get the brush, and I'm just going to simply paint in little section. There. This brush was very hard to brush. I want a harder brush like that. I want it much smaller. A bit smaller. Something like that. Then I'm going to select this gray outline, and I'm just going to erase that a little bit. Something like that. That whole section is complete. I think that looks nice. Now we're going to go and do the same thing on the other side. I'm going to select this background. I have that color already selected. I'm going to go into my brush and just clean this up. This side may be I will erase. I'm going to select this one and use the erasing instead to erase this section. That looks smoother. I also have to remember to erase this line as well, so I'm going to erase that a little bit. Just so it doesn't look so cutoff here, no, I'm going to leave that, because I do have sections like that throughout. I think they will look fine. That was all we had to adjust on that side. Let's save this just to make sure that we're always saving. Now we're going to adjust the top and the bottom on these swatches as well. I'm going to make a copy of swatch 1 to place underneath swatch 2, which is going to pull that down to this new layer swatch copy. I'm going to re-group. I'm going to place that underneath. To make this a little bit less heavy for the computer, I'm going to merge all the layers of this copy, so you do command E. It's going to be a flattened image. We're just going to be using this as a reference point, and we're only going to do all the changes on the original swatches that are here in the middle. Let me realign that there to the sides. Now it's aligned like that. Now I'm going to adjust only on the swatch 2, make all my changes there. This one we're going to lock just in case, so we don't make any changes on that one. We're going to zoom in, and we're going to do the same thing. We're going to clean up this little stem and this stem, we're going to do all the stems. You can see this one was really off. Again, we're going to go back to auto select layer, we're going to select this stem. In this case, we're going to erase and then paint it back in. You also have to remember to select this gray line again, and we can erase that as well because it's now off-center. Here we go. There's one done. This stem, there's only a slight adjustment to do, which is great. We again click this stem, brush tool and painting edges. Because you have all these other layers with clipping masks, if you do paint the textures and things that you lay on top, are going to be laid on top there as well. Here I'm going to erase. Again, this gray line, I'm just going to erase it a little bit, like that, and this one we have to do quite a bit of adjusting. This one needs a lot of adjusting. You have to make it look like it's naturally going up to this part as well, so it doesn't look cut off behind the leaf. Again, I'm just simply going to remove this gray outline, and we're going to see how that works. Because this should be all lined up with what's happening up here, we hope that we did a good job and that it is actually going to be repeated there. Let's at this moment test out what we've done so far and see if it's repeating on the vertical nicely. I'd like to mention at this time that I learned setting up patterns like this from Dylan Mierzwinski's latest class, Photoshop for patterns. Previously, I've been struggling a lot with the offset tool and it wasn't making sense to me, and I was putting off actually making this class because I didn't feel comfortable in Photoshop creating patterns and with the offset tool, but with Dylan's help, I've learned this technique of just defining a pattern using guides like this, and it is so smart. I would love for you guys to check out her class because she goes, of course, way more into depth in how to create three different kinds of patterns using that technique. I highly, highly recommend her classes in general, but definitely that class for Photoshop pattern making. Let's see, let's define the pattern now. We're going to select using this select tool, or the regular rectangular marquee tool. Because you have guides, it's really smart, so it's going to automatically snap to those. We're going to highlight our entire swatch. Even though we don't have anything on the right side yet, it doesn't matter, we're just going to be checking the verticals. We go to edit, define pattern, and we're going to open up a new document. It doesn't matter what size. I'm going to create one of those overlays with a pattern, and we're going to place my newest one here. We need to zoom out quite a bit so we can see how it's repeating. Now, we're going to zoom in and see where edges are. Here we see that it's not connecting there, so now we have to figure out what we did. What did I do wrong? Is it connecting on the other edge? Here it seems to be fine, this one. This edge is connecting, but we need to work on what's happening with the other one. Maybe it was just simply that I hadn't pushed this up high enough. Let's see. De-select. I'm going to go up and see. I hadn't aligned this. Simply, I'm just going to move up everything a couple of pixels until that is aligned up there at the top. Let me just organize my swatches here. These ones, I'm going to just click it. I'm going to unlock this one. So complicated. I'm just clicking up. Now, we have it up to the edge. Now, let's double-check it again. I'm going to zoom out. I'm going to use this. I'm going to select my swatch again. That doesn't matter. Edit, define pattern, and this one we double-tap here, we go in and we choose the latest one. Here we can see that it is matching up. Those aren't matching up, so now I need to figure out why that's happening. It's all has to do with me not aligning everything correctly and that's my fault. I should have taken the time to align things exactly. It's very important that this one is aligned exactly in the same spot that this one is aligned. This swatch, let's double-check this now. As we can see here, this is poking off in that edge, and this isn't aligned. This is why I should have zoomed in and aligned everything perfectly before starting. I think this is good to show you troubleshooting and to show you that I'm not perfect. I was just a little bit too excited about getting this all fixed. Let's see, are these good aligned? Yes. Swatch 2, I aligned nicely. Auto select the group and I am going to nudge it, swatch 1 selected, and I'm just going to nudge it over by pressing the right arrow key until it aligns. My guides. That looks good. Now it's aligned here, and here. That means that I have to go in and redo all the things that I had just done, because I was sloppy from the beginning. But this just goes to show you that, yeah, this takes some time, but if you did actually set it up properly from beginning, then this would have been great. I want to just double-check these changes now because this looks still good, and if moving this section is going to help that. I'm going to zoom out and I'm going to select my swatch again. Here we go. Edit, define pattern, and then we're going to go here, double-click there, select a new pattern. Now, we're going to see if it switched. Yes, look. Now it is aligned on the bottom. We just have to fix the other section that I now have tweaked a little bit and then it will be fine. Let's go into our swatch. This top and the bottom is good now, we just have to redo the middle part a bit because I hadn't aligned it properly. Zoom out, save that. Now we're going to find this pattern again. We're going to take a look to see if I have now done this part correctly. Double-tap, choose the new one. Now again, see that these sections line up and the other sections at the bottom, which part was that? Let's find. Those are lining up, so now on the vertical we are all set. That's half the battle, it's won. We have the verticals now repeating beautifully on this side. In the next section, I'm going to now do the other half of the swatch. 10. Build Your Swatch in Photoshop 2: Now it's time to do the second half of our swatch and up until this point there's pretty much been no math. We have done some numbers and we recorded some numbers, but pretty math free. But now we're going to make sure that all the hard work that we did here to align these by hand is going to transfer over here. We're going to have to use some numbers and make sure that it's transferring correctly, so we don't have to do even more fiddling and mess up. I'm going to remove this watch copy because we don't need that anymore and I'm going to move swatch, a copy of swatch, one down to this side, and a copy of swatch two to the top on here. To do that, we're going to make some copies of these. I'm just going to close them so we can see. We need one copy of swatch 1 and we need a copy of swatch 2. Let's start with swatch 1. Auto select. Let's make sure we're on the group again. We're going to command T to transform that and we are going to move it across and down half. What does that mean? What does that entail? Up here where there's lots of crazy stop. We have no idea what's happening. Press this arrow and we're at 0.0 pixels. Remember at the beginning when I was talking about the size of that blue rectangle we created, did you record those numbers? That would have been good. If not, you can go back to your rectangle that we created and double-check the size of that pixels. You can double-check what your rectangle size was in here. Let me do that again. We're on swatch 1, command T, and we have this zero. I always forget which way is which x, but I believe x is right and left and y is up and down. Let's double-check that. Every single time seriously, when I do this. Then there's also minus or plus and I always forget which way it goes. But let's just put in. My swatch was 35.08. Perfect. It went over exactly. We know that that moved over that transform and I'm going to do the y-axis now half down, and my swatch was 98.98 pixels tall. I'm going to do on the y, it's going to be 49.49. Now mine is placed where it's supposed to be. Now it's gone from here down to here, and we're going to do the same thing with swatch number 2. Computer just figure out what it's doing. These patterns are quite heavy because there's a lot of details and they're quite large. So your computer could be a little bogged down. Mine is especially bogged down because I'm also recording my screen. It's a lot for my little computer to handle. Time for an upgrade. Definitely. See we can already see this one lined up nicely, but this one we're going to have to adjust later, but we'll move the second swatch, swatch 2. We're on swatch 2, command T to transform that. Again, we're going to on the x-axis. We're going to move it over the width of your swatch, which mine was 35.08 and then we're going to go up this time. On the y, it's going to be minus, which doesn't make sense to me to go up, but it is minus 49.49. Now those should be aligned nicely. Now we can see that you have some slight adjustments to make here. This one looks good and that one looks good from here, but let's zoom in and see what it actually looks like. Yeah. It's off. Again, we're going to switch to layer. We're going to click on this and we're going to paint in and adjust this until it looks nice. Sometimes the guides can play a little bit weird. So you can turn those off. We're going to show and turn off guides. So you can adjust this without your brush being manipulated by and snapping to the guides. There we go. That's this branch. We're going to move down and do the next one. This one was really off. I think I'm going to adjust this side because I think it will look better. I'm going to make sure to click on this side. I'm going to erase. I would also like to mention that I'm just doing these edits with my track pad and I don't have a white Wacom tablet anymore. It's not as smooth as if you have a tablet connected to your computer, which is always ideal. But this works when it's just small edits like this. This one was pretty good. Let's just erase this tail tale there. I remember when I was creating my swatches, there's a lot of empty space here, but that's because I had left out quite a few leaves. I'm going to soon add in those leaves again to fill this out and make it look less like an obvious line here, and that's really important in your patterns to make sure that the repeat and how you built it isn't shown. But before we do that, we have to make sure that this section is repeating nicely and then we have to adjust on the other side as well. Let's bring back our guides again. There we go. We're going to define the pattern by selecting this swatch area. Edit. Define pattern. Now we're going to go and see what's happening there. See that that's not matching up because we haven't adjusted the other side. Well, let's see the middle part of the swatch. Here it is. Here's where we were adjusting it. So we can see that that is matching up nicely here in the pattern as well. Everything's looking good there. Now I just have to adjust the other side. What's happening here? We have to figure out what's happening there too. But now we are starting get a feel of how our pattern is coming together with all my big fluffy dahlias all over randomized. I think that part is at least looking good. I have to fix these gutters which look horrible, but that's going to happen soon. The reason why those sections are cutting off is because these little pieces up here need to be repeated down here. To do that, we're going to make a copy of this and bring it down here. Let's see which one's that. Is that swatch 2? Double check, yes. I'm going to make another copy of the copy and I'm going to make another of that. This one I'm going to flatten, so command E. Now we're going to command T and I'm going to move this section down. We're keeping the X at zero, the y, we're going to go down to half of my swatch size, which was 4949. Now I have to go with the full swatch, pardon me. My brain is not working. So 9898. There we go. See? That section's going to fill out that other section there. If that makes sense. Because I don't want to bog down my computer with a very detailed section here, I'm going to cut out everything except for those little details, so just that portion is there. That should be fixed, that little area. Now we have to work on the edges on this side and this side. I'm going to have to make another swatch copy. I need to duplicate this side of the swatch, the left side of the swatch and we're going to move it over here. We have to make another copy. I'm going to make sure that this auto select is on group. I'm going to select these two, create a new copy with those, and I'm going to command E flatten that. I have a flat extra copy of this swatch on top of the other swatches, and I'm going to transform that, and I'm going to move it over here. What's that? That's going to be double the amount of what my swatch is, so it's X. Let's see, my swatch was 3508 times 2, that's 7,016. Again, like we did with the other side if you remember, we're going to lock this because we're not going to do any of the adjustments on this extra swatch guide. We're only going to make the adjustments on this main swatch area. I'm going to make sure to lock this, we're going to go up to auto select layer again, and we're going to make the adjustments on this section, these swatches. Hopefully, this is all making sense and I'm being really clear. I want this process to be seamless for you, guys. Again, we're going to select this stem. I'm going to erase a lot of this. Now we hope that all of this has been aligned perfectly and everything's working out, so let's do a little double check by selecting our big main swatch here. Defining our pattern again. Go into this swatch test. I'm going to select the new. Here we go. Let's zoom in and see if everything is aligning up. Everything looks good on this edge. Here I see there's a little gap of pixels, so we need to color in just because something has been cut off a little bit too much. Let's see, this is the other edge and this is looking good as well. This is the only little thing that I see, otherwise, it is looking perfect. All of the stems are finally aligned and it's repeating perfectly. I just need to fix this one little thing. Let's go see what that is. It's right here. I just need to fill that in and it will be perfect, this first part. Let's select this. Again, just to help my computer out and just remove anything that we don't need, I'm going to select a part of this swatch, just leaving anything in case. Cut that off. Here we have our main swatch complete. We made sure that it's aligning up properly on all the different edges, at the top, at the bottom, in the center, and on the edges. That was the hard part. This is the hardest part of making this complex pattern come together, but we did it and it wasn't that bad now, was it? No. As you saw at the beginning, there was some troubleshooting, so I'm sure that you will do better than me. I was trying to show off and say that I was so good at this or whatever, and I did it a little bit quickly, but make sure that you're aligning everything perfectly, and it will work out even better for you. In the next section, we are going to be adding in the background. We're going to be adding in extra leaves and any other extra details that you wanted to bring into your piece and then this will be done. 11. Build your Swatch in Photoshop 3: You throw the finishing touches on this beautiful patterns so we can make it look good. Let's start out by bringing in the background color. I'm going to go in and select that. Just going to select this pink color. I'm going to paint the background with that. We don't need this rectangle anymore so I'm going to delete that just to clean up my space here. We have a little speckle that I created. A little speckle background. I'm going to bring in and just place that over swatch 1. Because this is such an organic texture, you don't have to worry about these lining up and it shouldn't be a big deal. But we're going to double check that of course so there is no weird lines and anything like that. I'm going to duplicate that one and bring it over to this swatch. Just going to the other print and bring the texture from there just so we have some different textures. Place this over swatch 2. My swatch 2 background texture. Like that. Then I'm going to make another copy of that and bring it up here to the other swatch 2. Let's define our pattern again and just see how that simply looks. I had a second texture when I was drawing but I think I'm going to skip that for this print and keep it more simple. Here let's define this pattern swatch. This is really exciting because now it's going to look a little bit more put together. We'll go into our testing swatch. I'll zoom out a little bit and then we're going to select the newest version with the pink. Let's zoom in to just see how that texture is looking so there's no weird stripe or anything. It is an empty space here, but I don't think it will be noticeable at all because it's quite an airy texture. We're going to be filling this area with more leaves so I don't think it's going to be noticeable whatsoever. I'm really pleased with how that is looking. Now what's all that's left to do is add in my extra leaves. To help my computer out, let's close out these two original dahlia swatches that we have open. I'm going to keep this one and I'm going to use these leaves in order to fill out my pattern, just to keep it simple and make sure that I don't manipulate anything in my working swatch. I don't want to mess up. I'm going to a keep this one open. I'm going to take away the dahlias for right now so we don't need to see those. I'm going to go into my stems and leaves right here. I'm going to hide the stems because we don't need those. There we go. Then I'm going to go into my main print here and we're going to figure out where we needed some more leaves. To figure that out, we're going to look at our sketch on paper. I have my sketch in front of me. I know you can't see this part but just take a look at your sketch and we're going to figure out where the areas are that we need to add in some leaves to fill this out. If I'm looking at the first swatch, let's see. This area, that square is nice. Here you are. I need to fill out this area with some leaves, one or two depending on what's going to look nice there. I also want to add in leaves to this area as well. I am going to be bad now and I'm going to merge all of these so that I don't have to think about different layers and groups and things like that at this moment with just these extra leaves. I'm going to select all of these and merge those so I can easily just take leaves like that. I'm going to take the lasso tool and I'm going to take this leaf is nice. Let's zoom in so we can actually see what we're doing. Copy. I'm going to bring him in here. Let's see. Anything that we do here in the middle is just a part of our middle swatch and you don't have to worry about it being repeated but if we're going to be adding anything to any of these edges, we have to make sure that it's going to be repeated properly on the opposite side. But anything here in the middle is completely free to just place however you want. We're going to do the middle part first. I'm going to place my leaf. I'm just going to place that there for right now. This is swatch 2 copy so I'm going to close some stuff. We would like to place this leaf in between here. Let's see. Here is layer 42. I'm going to bring it up in between here, between the left and the stems right there. See. Now I have that placed underneath this dahlia but covering up those stems right there. Then we don't have to worry about erasing or fixing that. That looks much better. I'm going to go in. In my sketch I had another leaf going across to this dahlia on the other side of the swatch. We could try that. Just because I thought it looked quite nice. This also looks nice but it could be a weird gap here. Let's try adding a leaf there. We go in. We can grab this one then. Use my lasso and I'm going to take this one, copy and now that we know the right place, I can put it right above this other leaf. I'm going to pull him up here. Something like that. That looks quite full and lush and beautiful. Maybe we can keep that. You have to remember if we want it to look cohesive and the same, we're going to be taking these leaves and this swatch. We need these leaves to repeat over here on this edge. To do that, we can highlight these, make a copy and then we're going to transform those. These ones, we're going to have to move across, remember our swatch size. If we're going to the left, it is minus. So minus 3508. Then we have to go down half of our swatch size. That's on the y axis is for me, 4949. There they're. But now we're on the wrong layer here. These ones are going to have to be moved to the back should be fine. We are going to place them on top of the background area. Now it's not covering that stem so we should actually remember to pull it sit like we did in the other one. This is swatch start over. Let's put them in the proper area. I always try to have ask things and I catch myself, no, you actually should be doing this properly, Christina. We're going to put them in swatch 2, in that folder and then we're going to bring them down. Let's see, underneath that, all the flowers. Here we go. In between, no. There. Now I've placed those correctly and that area has been filled out. We have that repeating over here because we need to make sure that it is repeating correctly. Now that this has been sticking out on this side, we have to repeat it to this side. That's just the way that pattern making goes. Again, copy, move this to this. There we go. Now we have a copy, transform and this time we're going to be moving it across the page. That was double the swatch width. On the x axis, we're going to use, what was that now again? Mass 7016. That placement is fine because this one isn't going to be in the swatch area and this is overlapping there, so that looks excellent. So that little leaf section is complete. We've done those three. Now we have to figure out which other areas we wanted to fill out, and I believe that is in this area. We want to at least add one more leaf here. I'm going to look at my swatch. I want a nice leaf sticking out on this area. So I'm going to go in here and pick a leaf to use. Maybe I'll use this one. I'm going to use the lasso for zooming. Copy. This time from the beginning, think about where we're actually placing this properly, and we want it underneath swatch 2, underneath that leaf. So if we are in here, swatch. Let's see. Let's swatch two copies, so that's up here. We want to be here in swatch 2. That's here. We want to have this on top of this one. So place that layer 44, we're on. We're going to transform this. I want to flip this leaf, so I'm going to right-click and flip horizontally. Then I'm going to adjust that. Let's bring it down here so we can see what we're doing. I'm going to spin it a little bit so it fits nicely in this area. Let's zoom in to see what that looks like. I think it's sticking out a little bit too much. So I just want to adjust that a little bit. Something like that. Looks good. Again, we're going to move this to the other areas where this is being repeated. So we're going to figure out where that is. So it's going to be up here, and then across to the other side here. We will start by bringing it over to this dahlia. So we're going to make a copy of that leaf. Copy. We're going to transform it. We're going to move it up half of the swatch height. So that's on the x. No, y is up and down, vertical. Minus is up, 4949. Then we're going to go to the right. So that's just plus and it's the 3508 number. So that is perfectly placed there, place that there. We're going to do a third copy of that, and we're going to transform, and this one we're going to move across so the double the width and it is going to be minus this time, and it was 7016. There we go. See. Those leaves are done. We did three of those. Now we have to figure out the last areas, and this area is looking quite naked. So we want to add in some leaves to this area. So let me see in my sketch how that looked? I believe I just want one leaf or something right here. Maybe two. In the sketch I just had one. So let's go find another nice leaf again. I haven't used this one, so I'll do that. Or I like the shape. We use this one. Too zoomed in. Lasso. Copy. Now we have to figure out where we should place this, and we're going to put that in the swatch 1 behind the flowers, and we'll close out swatch 2. We want to go into swatch 1 here, and we're going to put it in between here, between stems and leaves in the bottom, dahlia. I'm going to highlight here and in place him their, transform. You're going to move you over here, and then I'm going to twist you around. Let's zoom in and place it nicely. Move it slightly more angled. I think that looks really nice and I like that these are on top of that, so that looks gray. So we're going to have to duplicate this leaf. I don't think we'll add anymore leaves. I like this 1, 2, 3 here. So going to zoom out, and I'm going to make a copy of this one. Remember where this is going to be duplicated with. This one has to go over here, and then it's going to have to be on the top as well. So this one, we're going to duplicate that. We're going to transform, we'll bring it down to the bottom first. So it's going to go cross the width. That mine was 3508, and it's going to go down half. That is for me, half of my width, 4949. Whoops, what's happening here? 4949, that worked out well. We're going to do one more copy and bring it to the top since we need to duplicate it, since it went off the edge here has to be on the edge up at the top. So it's always three of them. Here I'm going to duplicate that again. Transform. This one we're bringing up the complete width of our swatch. That is the y-axis, the vertical, and mine has to go up and it's 9898. There. That one was behind this one as well, so that is perfect. That's what I have so far. I wonder what's going to happen in this space if this is a dead space that needs some leaves, but, well, let's check how the pattern is repeating with all these extra leaves to see if there's any other holes that we need to think about. Like we've done before many times, we're going to take this. I made it a circle. The rectangular marquee tool, you're going to make sure that it's mapping to our guides here. We're going to Edit, Define pattern. Going into our test swatch. Now, we're going to double-click this again and choose our latest pattern. Now, we're going to see how this is turning out. I can see that this is quite an open space and I don't like that. I think I want to add in a leaf up here at the top to fill this area out. But other than that, I really like how the leaves are turning out. But I think once we fix this, it's going to look really put together more full and finished. Let's go back and quickly put in one more leaf on that area and we're done. Isn't this exciting? This is the best part. Let's pick another leaf. Should we use the same one? This one's quite cute, and we didn't use it on the other side. Deselect here. I'm going to use this same leaf that we've been using and I'm going to add it to this area right here. We are in swatch 1 still because of this one. I can easily just make a copy here. I'm just going to transform this, and I'm going to move it over here. Turn it. This one I think I want to flip, so I'm going to flip horizontally so it's the other way around. There we go. I'm going to turn it again. Let's zoom in so we can see what's happening. Just going to place this nicely in between this and this area. I think something like that looks good. Zoom out again. Here we are. That looks nice. It fills up this space a lot more. Again, I'm going to make sure that this is repeated over here on swatch 1 copy, and then it has to be duplicated to the other side. Again, we're going to create a duplicate of that. We're going to transform and we're going to bring it over here. So it needs to go across by, my width was 3508, and going down is by a-half 4949, there. Then we need to make a second copy and going over to the other side, transform. This one we're going to go across double size of the swatch, so it is minus 7016. There we go. I'm going to save that again. Again, we're going to use the marquee tool to select our swatch. Going into our test swatch, we're going to double-click here and select the new one. That looks a lot nicer. I think that we're finished. It's slightly airy with the spaces. Of course, depends on your pattern, how you want it to look. But you could go in and add more leaves, more details. I could put in butterflies in the spaces or I can leave it airy like this. I think I wanted to be slightly airy like this because I think it doesn't look like there's any weird gutters, at least. Straight lines in between these is especially something you want to look out for. That in-between where your patterns swatches were fitting together, that it doesn't look so obvious that there's a line here, but I don't think it does. I think it doesn't look obvious at all. I think it just looks airy and our Dhalias look so fluffy and I really like how this turned out. Let's zoom in just to check out what we did here. That was a little bit of fiddling around to get it to aligning perfectly. But we're rewarded with this beautiful and super elaborate pattern. It's not at all as complex as if you were to create all these motifs separately and try to build it yourself. I really love this technique for using the two pieces of paper to sketch this design out so that you can create a really intricate pattern like this relatively easily. I hope that you enjoyed the process of watching me create this swatch. Here we are left with our swatch. If you want to figure out what your swatch is, we can use this selection to make a cut of this. Use the cropping tool and it crops automatically to the selection. Now, we have a cropped version of our swatch. Will make sure to save this as a separate file because we want to have that working file as well. So I'm going to save this as the final swatch. This is cropped. It's important that we had the other version saved with the working file, with the different pieces that we can easily move around. With this final swatch, we can then fix it to different sizes. Depends on what is going to be used for, if you're sending this off to the client, this is a great file that you can send off, an editable PSD that has different layers. But always talk to your client. Obviously, there's different ways that different companies, like their are things just ask what kind of formats they would like and definitely ask that upfront when you're making something too. I want to make sure to close out this Dhalias print that we used with the leaves. I'm not going to save this version because I had what's it called? Flattened everything, so I'm going to make sure when I close this out to not save it. Don't save, I already have it saved before, so it's not a big deal. This is still saving. Just wanted to mention that so you don't mess up your own files if you were following along with what I was doing as well. Here's our final swatch, it still has all the layers, so it is possible to go in and change colors and all that, which is excellent. We can quickly touch on the image size of this swatch because is going to be quite large. We can look at what the size is. It's 23 by 32 inches. Now, we understand why our computer is quite sad. That's a very large swatch, that's going to look gorgeous for home textiles, for curtains, for bedding, things like that, when you want a really large swatch, the flowers really big. But if you did want to reduce the size, this is where you would do it in the image size, and using a ruler just think about what size you would like the Dhalias or whatever flower that you drew, what size would you like that preferably, and you can reduce the size of your swatch so it makes sense with what you're planning on using the pattern for. Such as if it was for a notebook, you would most likely want to reduce it quite small, so maybe the swatch instead of 23 inches, you'd want it only to be 12 inches or eight inches wide so that it really shows. This is where you would change that. All different manufacturers have different specs for what sizes and things like that, so just check that out for spoon flower for example, they usually like tif files at 150 dpi. You can adjust this afterwards and flatten it to becomes a much smaller file because this is very large huge working PSD file. That's it. We finally created our beautiful swatch. I'm so happy with how it turned out. I hope that your elaborate hand-drawn half drop patterns turn out just as beautifully. I can't wait to see them in the project gallery. 12. Why You Shouldn't Repeat Motifs in Your Pattern Collections: Before we get started creating the coordinate patterns, I would love to talk to you about the reasons why you shouldn't be repeating your motifs in your pattern collections. To visualize this, I created this very simple pattern collection using three different kinds of motifs. I did different moons, I have this daisy pink flower, and I have some stars. I created four unique prints with those. But are they very unique? Not really because they look pretty much the same, because they are the exact same things. The main reason why I think that you shouldn't be repeating your motifs within a collection is that, that doesn't bring much value to your end customer. What I mean by that is, if they look at your portfolio and they see a collection and you've built up the entire collection with the exact same motif just repeated over in different ways. Maybe you've even made it less subtle or made a little bit more subtle than this very obvious example. Maybe you changed the colors of the stars or the colors of the flowers but it's still the same motifs, so it doesn't really show that you have spent a lot of time on this collection. They're not most likely going to be interested in purchasing all of these different prints for a high price tag, because they see that it is pretty much the same thing. They might just buy the main pattern themselves, and they could potentially pull these items out to create the coordinates themselves. That is one way of looking at it. When I think about creating patterns, I want it to wow my clients. I want them to look and be like, "There's so much content here All of these patterns work so well together, but they're all different and unique. I can show couple of examples from my own portfolio to give you an idea how I go about creating collections that are cohesive and they have the same color palette, but they don't repeat the same motif. They repeat similar motifs, but they're different. Such as this mini collection I created with one, a vintage inspired, or a very retro inspired text and color palette. Very hippie in 1970s/'60s. flower power. I used the same color palette throughout the whole little mini collection. I used the same kinds of daisies and things, but there's not the exact same motif repeated over and over. There is this white daisy I have here, I have similar white daisies over here, but it's not the exact same. It's not drawn in the same way either, I've changed the center a little bit. Had you have these little minor flowers throughout the collection, but they're not the standout pieces. Those are of course, small details that are allowed to be re-used, but it's the main things that you shouldn't be reusing. That's one example. I also did another retro collection like this with mushrooms. This is completely unique in that they're all quite different pieces. Here's a repeat pattern, here's a hand-lettering piece, and here's an illustration. That really shows that they really go together as a collection because they have the same style and color palette, but they're different and unique. Again, here's another mini collection I did with little sheep. It's a farm fresh collection for babies. That was what I had in mind with little landscapes, and then sheep, and a little vase of flowers. Hopefully that gives you a quick idea of what I mean about not repeating motifs. The other big route; the reason why you shouldn't be repeating your motifs throughout your portfolio and definitely not in your collections, is because of copyright issues as well. If you were to sell this print to Target and this print to Walmart, and they have the exact same very recognizable prints, people are going to wonder if one of the companies plagiarized the other and you don't want to be in the middle of that legal battle. Now, this example is of course most likely not going to happen, but we don't want it to happen. The easiest way is just to create unique motifs for all of your patterns, so you don't come across copyright issues within your own work. Even though it's your own work, you don't want to cause any problems obviously, and you also want incredible value for your customer. You want to sell it in a complete collection and you want them to purchase the whole thing for big bucks. I'm I right? Those are the two reasons why you shouldn't repeat motifs in your pattern collections. Now I think that we can move on to actually creating the motifs and bringing them into Photoshop. 13. Coordinate Patterns Motifs in Procreate: Moving on to coordinate patterns, I want to talk about creating coordinates for your pattern collections or more secondary patterns or coordinate patterns, just something a little bit more simplistic. These main hand-drawn half drop repeat patterns are most likely going to be quite full-on and elaborate, like my first main one that I created that I can show you again here. It's a lot of details, there's different elements and butterflies and bugs and different flowers in this drawing in different ways and then my next pattern, which is also like a secondary here or a secondary print that we will be finishing up soon. It also is quite detailed and bold in your face, but sometimes we want some patterns that are a little bit more simple and that's when nice coordinates and secondary prints come in handy. I wanted to show you what I've been working on, and here I created some dahlias to go with my little pattern collection, my little dahlia or big dahlia collection here. How do you know if you have enough motifs? But you just have to play around with it, but I definitely think you should create more, at least three main things. If you're doing a flower, I would do at least three. Here, I've done five because I want a lot of variation. They, of course, look very similar, but they're all different, withdrawn and I have two color variations so I think this can be beautiful. I'm going to make a very busy, pretty much just dahlias all over the pages and leaves. I've created some leaves as well. The same thing goes for other kinds of coordinates. I can show you about securing another version with penis, that could be a nice complement. Here, same thing. Same thing here, I've drawn different penis in different shapes and sizes and two different colors, and then I have a lot more leaves with this one so there we have more variation with the leaves. I think this would be a nice complement to the dahlias as well because in the main print I did have some pink penis in that main prints so it's a way of bringing that in. So here we go, we have these that I'd like to turn it into a pattern. I can also show you some other things from my portfolio to give you an idea of how I set up motifs in Procreate before moving them into Photoshop to finish. Again, here's another very simple floral pattern, and I've created two of the main flowers that are slightly different and those all repeat to now flip them. So they will feel like there's more but they're similar and then I did three of these simple daisies and then some complementary like twiggy leaves and some dots. With this, I feel like I know that there's enough information here to make it an interesting pattern. I didn't just create one daisy, one twig, and one main flower. I made sure to make variations of those [inaudible] so it can make a very dynamic print. Same thing with this one, I created two bouquets of these, like penis and two little buds and then several of these daisies. With this print, I created two clusters of larger prints that I would then flip and rotate and things with a couple of daisies is to fill in the space in between. I thought that that was enough information for this print, it all depends on what you have envisioned, of course. I think creating two of the main elements is really good idea, at least if not three I think is great. Here's four, the citrus print, so I created several clusters of lemons and then extra leaves and flowers, selected a range. So there are three main elements that can be flipped and resized and moved around. That's definitely enough to make a dynamic secondary print or even a coordinate. Here, this is a quite detailed prints, so there's quite a lot of different flowers from tiny flowers to fill in space to main like daisies, to other flowers here, the three of those. Then I make sure I had three of each. So three pinks, three oranges, three yellow, and three sections of white. I think uneven numbers is a really good rule to make something look a little bit more dynamic and interesting. So yeah, I hope that gives you a little idea of how I go about cleaning out my motifs in Procreate. We can go back to these motifs that I created here and I can show you a little bit how they are broken down, but I drew them in the exact same way than I did the dahlias before. So I thought it was repetitious to show this process again. Again, I have the blocked out the colors first and then I have a layer of all the outlines and then I have the layer of the extra details, they're the little yellow centers, and here's all to give them definition. As you can see, sometimes I did the white, lighter background or darker background with lighter details. I switched them upside so this gives enough information there, and I think it would be fun to play with. I noticed that these ones don't have that same green color that I use this way. So maybe I will change that. So I swipe to the right like I told you before. I'm going to choose that more turquoise-y color and fill that same thing with this, I need to make that a little bit a darker tone will be that one, like that. I think that would look nice and the background color, something like that, that's going to match a little bit more. So I'm going to bring this also into Photoshop. Again, like I said, you can create patterns in Procreate, but I find it fiddly. You can't see what you're doing and you can't work very big, so I think for Procreate, very simple patterns are good. If you're going to be using complex motifs like this and building out complex patterns, it is much better and much easier on you to create a professional working file in Photoshop, and I much prefer that and that's what we're going to be working on. In the next section, I will show you how I go about creating my secondary patterns. So yeah, that's that, now we'll move into the computer to finish these coordinates. 14. How to use Photoshop Pattern Preview: Let's make a coordinate pattern for our beautiful main Dahlia patterns. We can have a little mini collection here, or a bigger collection of future, who knows? Here we are in Photoshop again, we're going to open up a new document. Let's open up our motifs first and take a look at those, they are in here, Dahlias Coord pattern. I have two versions; I have one that's slightly greener, and one with the same turquoise color, so I'm going to use that one. We're going to open that up. There's quite a few layers here. I'm really happy with how this turned out. I am going to make life easier on myself, and I am going to just flatten everything. I know, scary. I don't work in smart objects, to be honest. I still haven't gotten a handle of how that all works. I should probably learn that soon. But I have this original file saved, if I want to go back and tweak anything later. But let's just flatten everything, so you can get an idea of how to create a pattern, and worry less about editing later. That is the worst advice, Kristina. Here we go. Everything's flattened and I want to make everything separate. I'm going to use the Lasso tool over here, it's L on your keyboard, and I'm going to marquee everything, all of the different items, and I'm going to put them around a new layer. You do that by pressing "Command J", and it creates a new layer with that. Go to the old layer with everything on it, and do the next object. We're just going to do this for all the different objects. The fan on my computer is going now already, but let's continue on. We have all of our different motifs now separated into each its own layer. I'm going to "Save" this as a motifs file, separated motifs. There we go, and we are going to open up a new document where we are going to be creating the swatch. You can create a swatch at any size that you would like. There is no industry standard, there depends. There can be some standards if you're going to be using traditional techniques, but I often advise to worry about that later. You can always tweak and change things. For the most part, swatches are very flexible and you can work in any size, especially since most things are digitally printed these days. I can't speak. But there are some industry standards within wallpaper. There's certain sizes depending on how it's printed and in fabric. Sometimes there are still some industry sizes, but usually that's very easy to change, because it's usually just the width that needs to be a certain size. It's usually a divisible of eight, I believe, or six. It's two inches, four inches, six inches, eight inches, 12, 24, something like maybe it's 24, a divisible of 24, and that is a standard in the United States. There's all kinds of things. Again, just worry about that after, it's easy to tweak sizes and things like that. My only tip is to work quite large. I have come accustomed to creating swatches in 11 by 14, just because I've started to do that for my portfolio. But you can work at much larger or slightly smaller, but I would advise to work quite big. Let's see. New, I am going to do my 11 by 14, 300 dpi canvas. I have it on this one, CMYK. Let's see. I'll do RGB color for this one,11 by 14, 300 dpi, so it's a good resolution. If you think, the motifs that I drew, I drew them on 11 by 14, so it's going to be quite a large print. "Create". Here's my white background, I color pick the beautiful light greeny color from this one, and I'm going to just fill that in the background. Then I'm going to bring over all of our motifs by just selecting them up, "Copy" and "Paste" them into my new document. Here they are. You could be good and name them all, but I am going to be bad and not do that. Photoshop in the 2021 version finally have gifted us a pattern making tool. It's only able to create grid motifs at the moment, but it's better than nothing. We can make this work, and it's a great addition and help for creating patterns really easily and I actually really like it. To use it, you just go into Pattern Preview. Everything is going to be repeated that you move within this box. There are a couple of troubleshooting things that you need to know when using this tool because it's not perfect. But it is a good help. I'm going to just start moving things. You can see how this works. Every time you move an object, it's going to repeat and show you how it is moving. If you need to adjust anything, turn anything, you just press "Command T", this little box comes up and you can turn items. This is very easy to use. When you have such large items like this that repeat so obviously, I like to reuse them several times just to trick your eye into thinking the pattern is a lot more complicated than it is. You can make a fake half-drop almost. I'm just going to move things out of the way. I'm going to copy this main big Dahlia, just so that it's not repeated so often or just so obviously. If we have two of them, I'm going to put this one in the middle, as if it's a fake half-drop here, put this in the middle, in between. You see that it's bouncing now like a beautiful half dropped peak. We can transform it a little bit so we can make it look slightly different, but it's still the same flower. By doing that, we now have a fake half-drop because we put that in the middle. It's a little bit too far down, so we can adjust that. We want it to be more symmetrical. But I quite like when it's slightly wonky and off, it doesn't have to be perfect. I like that it's down there. Now I'm going to continue to just move things around, so that it looks pleasing. I want this pattern to be quite crammed. My computer is not loving doing a screen recording and pattern-making at the same time. But hopefully it can pull through. So what's great about these pattern view function is that I can see how it's coming to life. Here we see that it's like stripes at the moment, and that's not really what I was going for. I want it to be quite full and lush this pattern. I'm going to fill this out by repeating all of these little tips. I'm going to repeat this smaller purple dahlia again, and one of these bigger fluffier ones. One thing that I've noticed is that if you're going to be, let me zoom in so you can see. As you can see, this dahlia is now poking out off the edge here. If I go to Transform, it's going to be transforming like this and it gets cut off and weird when you start transforming things like that off the edge. Let me try to move it again. You see that it cuts off and becomes weird when you do that. If you're going to be transforming anything, it is important that you have it inside of your box, inside of the swatch ground. Then you can transform and turn it, and then you can move it off to the edges. That's the only thing that you need to know about this tool so far, is that when transforming things that are off of the edge, it's going to go wonky. We also need to get some more leaves in here. I'm going to duplicate some of those. Press the Option and hold down and pull it away and you'll get a second copy. To make this look a little bit different, we can transform, Command T, and then we can right-click and flip it. It flips horizontally, so it's going the other way. Now it looks like a completely different leaf, even though it's exact same one. Again, if we're going to be manipulating it, we make sure to have it inside the swatch bounds, and then I can freely move it around. I'll do another copy of this one and bring it down here as well. Again, I will transform and flip it horizontally just to make this leaf also a different version of that. Zoom out to make sure that it's looking good. I think I want one more leaf over here, and possibly, notice the same area. I'll do another leaf over there. I brought that underneath, so here we go. We have a very complex, but very simply built coordinate pattern to go with our dahlia print. As we can see, it has a nice flow because I repeated these large dahlias across, but also made it like the half-drop. I've reused the motif several times. I've also drawn the dahlias. Even though they're similar, they're slightly different, and they're drawn slightly different, colored slightly different, it becomes just more interesting. I love this tool to be able to see how your pattern is coming to life as you're creating it. By using these tools like this is really great way to make better patterns as you're creating them and you're not just doing them by chance like with the old offset tool in Photoshop that drove me nuts because you couldn't really see what you're doing. Then you just had to redo and test and trial and error. This is very intentional. What you're doing is what you're seeing and you're seeing it come to life as you're creating it. You can tweak and adjust as you're going and that's really helpful. Yeah, I think this is a great secondary pattern or coordinate, depends on what your definition is, and I think it's beautiful. How do we actually make it a pattern? We can get out of the pattern preview or we can stay here, it doesn't matter. I'll jump out just to give my computer a little rest. Here is our swatch. We can go to Edit, Define Pattern, and it's going to use the art board bounds to create a pattern. You can name this if you want to, I won't. In there we have a pattern. We can open up a new file. We'll just open up another 11 by 14 document. We go down to here, adjustment layer. We're going down here to Photoshop in the adjustment layer panel thing. We click there, we press "Pattern", and we're going to select our latest pattern, which is this one. To zoom out and see the actual pattern, we can zoom out like this. The scale, I reduced it to 34 instead of 100 percent. There we can see how it turned out, even though we already saw in the pattern preview mode what it was looking like. But this is a great way to see it and adjust it and use it in your work. I also like to mention, this is your final swatch. So you can just file and save this as the final swatch. We'll call it final swatch, and you just review different on-demand sites for what their upload requirements are, what file size, etc., that you should be doing, and then you can save it in those recommendations and upload to Spoonflower or something like that. That's good to go. If you think about it, this is 11 by 14 swatch. These flowers are approximately five inches. That's quite large print, and of course, reduce the size of this in your swatch. If you wanted a smaller print that would work better on maybe like smaller products like a little pouch, and these larger prints would look beautiful on fabric for home textiles and things like that. I just wanted to mention that just so you get more ideas of how you can use this. But of course, it's always exciting to think about the end gold while you're creating the piece. If you had wanted these to be incredibly elaborate, we could have doubled or tripled the swatch size, repeated these dahlias even more times than we did here. I only repeated them about twice. But if we had doubled the size of the swatch and we had doubled the amount of content, then the pattern becomes even more complex and interesting. Yeah, that is a look at the new Photoshop pattern preview mode. Hopefully in the future, they will come out with more selections so that we can do half-drop or brick repeats with some help from Photoshop magic. Then we can take over the world with our beautiful Photoshop patterns. 15. How to Simply Make Your Patterns More Complex: Let me show you what I mean by that. Let's create a new document again, in the 11 by 14 size just to keep it consistent. I have that background color, so I'm just going to fill my background with that. I'm going to bring in my separated motifs here, copy and paste them, and then I am going to save my computer because it's getting tired of doing the recordings and things. I will reduce these motifs. But in an ideal world, I would create a much larger swatch but I don't want my computer to hate me, so we're going to reduce them. Here we go, we're going to go to the pattern preview and again, I'm going to build out a pattern to show you what it would look like if you increase the swatch size and use the same amount of motifs, but you repeat them even more often. So start repeating them. I love starting off with the biggest motifs just so that you can see what is going to be standing out in the pattern the most. If we zoom out we can see how these big dahlias are going to be bouncing and now I see that this one's too much in line there, so I'm going to move that one a little bit more centered. I think that's better. It becomes more of like a triangle with those that are repeating over and over again. Now I've built out another version of the pattern, just making the swatch a little bit larger and repeating the motifs even more so that I can show you what it looks like to really hide the repeat even more. Let me just get out of this pattern, preview it again. We will define the pattern. Here's my pattern where I've done the film. Here we can go back and forth between how the different patterns look. They look slightly different because they built them out obviously in different way, but if we look at the original pattern, it's really noticeable how this large flower, the dahlia is repeated across and I also repeated it in the middle to make it look like a half drop but it isn't. But yeah, so it bounces like this. It bounces down, up, down, up, down, up, down throughout the pattern. When we look at the new print that I created, there's a slightly more variation with these big dahlias. It goes still up, down pattern but it goes up, down, slightly up, up. It's a little bit larger, it's a little bit more thought through, a little bit more complex. I could have of course, taken a lot more time to make it more lush and less background showing, but I just wanted to quickly show you what that would look like. So yes, this is an example of creating your swatch even larger, reusing the same motifs and making sure that your swatch is not easily found. In this one I find it quite difficult to find. That's one of the fun things about being a pattern maker. It's like a puzzle and you're putting it together and you're making it look visually pleasing and beautiful, but also making it look not so, you want the people who see your patterns to think and wonder how did they make that and that is one of the things that I really, really love about pattern-making and tweaking different motifs and moving them around until it looks really, really lovely. 16. An Implied Repeat Pattern & Setting up a Sell Sheet: I want to share with you another little trick and that is to create implied repeats. You're not actually building out a seamless pattern, you're just implying that it is a pattern, and this is a great way to save some time to when you're creating work for your portfolio. You can easily just create an implied repeat, send it off to client, see if there's any interest, rather than spending the time sometimes hours it takes to create a really good repeat pattern. Once you have it sold, you can either sell it as a replied repeat, and they will fix it themselves, or you can quickly put together a pattern and send it off. This is what I do. Let's create a new document again. We'll use the same 11 by 14 size. I will again fill the background with that beautiful color to see if my motifs are still there. Yes. Now I'm just going move these around until they look like a repeat. I'm holding them all. Again, I'll repeat my big flower a couple of times just so it looks natural, like it's repeating. Again, this is just a great way to show off some new work quickly from your portfolio. Add in some leaves quickly. There are actually quite a few companies that like to do the work in-house and tweak and change things, so it's not uncommon, so it's something that you don't always have to worry about creating repeat patterns for each client. But it is, of course, a really good skill to know how to do from the ground up so that you can offer that service for companies that don't want to do it themselves. Here's a quick example of an implied repeat. It just looks like it's repeated but it hasn't, and then, if I were to want to add this to a sell sheet, I would go and open up one of my sell sheet. It's File, Open. Lets see where that is. What's great about creating the patterns, as I said, is that these aren't actually cut off these motifs. So when we bring in this entire thing from the background, and all of the motifs, I'm going to copy and paste this into my sell sheet, Paste. There we go. As you can see, all the motifs are outside of and they are separated. I'm going to create a group with that, those things. So command G to group that. I'm going to transform and I'm going to move it to the background box, is going to be where my template box is, if you understand what I'm talking about, probably not. I can really see, a little bit more, I guess. Something like that. Then make these motifs cutoff. Here I'm going to go into my group. I'm going to go down to my background layer. I'm going to hover between each layer, press the "Option" key and you get this little symbol, and I'm going to click that for each layer on top of the background. As you see, it's going to make a little clipping mask onto the background. But these clipping mask can later be removed and the client can then freely use the motifs as they would like. This is one of the reasons why I really love Photoshop, that it's so easy for me to send a professional file that is very editable. Even better would be if these individual motifs were also groups so that they could be manipulated and colors changed. But I didn't want to bog down my computer when creating this class. I missed one. No, I didn't. Then I have the path, those outline right there, I can just remove that so that's clean. This is how I would professionally present my work to potential clients. I would show the pieces individually like this, either as an implied print or as a finished seamless repeat pattern, but I would paste it in here as the repeat. I would also most likely show this as a collection, and as well as individually. I can quickly show you also how to bring in your repeat swatch here instead if you wanted to do that rather than the implied repeat. I'm going bring back my paths here. I'm going to close out. I'm going to hide this group. On top of my path here with this outline where the artwork is supposed to be placed, I'm going to open up another adjustment layer pattern. I'm going to choose the pattern that I like to have here, take the first peonies pattern that I created, press "Okay," and I'm going to bring this down to on top of my paths layer, and then again, I'm going to create a clipping mask, [inaudible] hover in between the layers and press "Option" and I was going to clip like that. If this is a slightly too large-scale for you, you can slightly reduce it by double-clicking the little pattern in here and going to the Scale option here and reducing it slightly. I think it's a good idea not to reduce it too much so that you see too much repeat, but maybe this is good enough to get a feel for what this pattern looks like. If you show too much, it becomes a little bit too, I don't know, boring patterning. But if you zoom in slightly, it becomes a little bit more, you can really see the details rather than so far out. That's just something to think about. I think this is a good happy medium. You see that it's repeating, but you also see all the beautiful details of your work. That's what I wanted to show you, how you can professionally present your artwork in a beautiful sell sheet like this. It's perfect to have as your portfolio. You don't have to have a specific gorgeous look book. You can have series of sell sheets like this. You can save this as a JPEG, as a low-risk JPEG to send off on emails too when you're pitching your work to different companies, and you can also include these sell sheets on a password-protected page on your website that you can send links and passwords too so that people can view your entire portfolio. If you do send off your work in a sell sheet like this in an email and that company maybe prints it out to show their team, your name and contact information will always be connected to your artwork and it won't be misplaced. That's why sell sheet is awesome like this, and it's really professional, industry standard way of presenting your work. Just wanted to show that. There's a little bonus of how to present your work. 17. A Final Look at Our Mini Dahlias Collection: Now we thought it would be fun to take a look at what we've done, our little mini collections. Let's just create a new file. Doesn't matter what size. We'll take an 11 by 14. Here I'll flip it, actually. Now we're going to make some rectangles here, clicking the Option key and dragging it. I'm going to pull this over. I'll make three, since we have three pattern designs to look at. I will bring this out. Now we're going to fill these squares with our patterns, and to do that on top of each of them, we're going to put one of these. What was this called again? Adjustment layer pattern. The first one we will fill with my main Dahlia print. Now I'm going to have to figure out which one was that. Most likely this last one, I assume. Hovering in between those two layers and then press the Option to get the clipping mask. Here we go. I will adjust that in a little bit. Let me just set up the other ones. Here's the middle rectangle, and I'm going to add a pattern on top of that one. We're going to choose this main Dahlia print that we did here. The secondary print that I created. Again, I'm going to make a clipping mask for that one, as well. Then on top of the last one, as well, with my Dahlia coordinate pattern. I'm going to make a clipping mask for that one, as well. Now again, double-click on there and change the scale, so we can see what's going on a little bit better. I'm going to make something like that looks good. For this one. Let's see. No, I want it a little bit smaller. Type in 28 maybe. That looks good. The big one, as well. Let's try with 28 there, too. Maybe this one's overwhelming. I want a little bit smaller scale, 23 maybe. So here's our final little pattern mini collection with these Dahlia prints. They're all very different, they're all very dynamic, and they've been created to have been great in the same way. I showed you the coordinate way of using the new Photoshop pattern view function. I think they look quite nice together. There's always things that you can tweak like this background pink color might be nicer if it was the lighter pink. I think that could look really nice. It could be nice if we found that yellow color. That could be really dynamic to bring the yellow into this piece. So there's things that you can continue to tweak and change. Background colors are especially easy to change. I just wanted to show you the final thing for the three different patterns that I've created for this little collection of Dahlias. I think they turned out really well. 18. Next Steps & Thanks for Watching!: That's it, we're at the end of the class. Thanks so much for taking this class and completing your class project, I hope in sharing it with me in the class project section, I can't wait to see what you come up with, your gorgeous patterns that you create in Procreate and Photoshop, and your secondary patterns, if you want to share those as well, mainly you just have to create your one main hero. Print your elaborate hand-drawn half drop repeat pattern. I would love to see your process, your sketches, your process in Procreate. Then, of course, the final pattern that came from Photoshop. As far as your next steps, I would love to invite you to create your class project. Design a hand-drawn half drop repeat pattern of your own, using all of the constructions and tips and tricks that we have gone over in his class. If you'd like a little extra credit, feel free to consider creating a mini collection by adding two coordinating patterns to this main hand-drawn half drop pattern. I would also like for you to check out Dylan's Photoshop for Patterns class as she went way more in depth into her process of creating patterns in Photoshop. I would love for you to check that out. Then I would also recommend checking out my class design collections for art licensing, if you would like more inspiration and information for how to create successful, commercial pattern collections and illustration collection for art licensing, or just in general for your portfolio. Then of course, as always, feel free to reach out in discussions, bring me your questions or comments or if you're having trouble putting the patterns, I am here to help. See you in discussion. If you would like to hang out with me outside of Skillshare, there's a couple of places that you can find me. You could, of course, find more information about me and my work on EMMAKISSTINA.com. Another great place to find me is on Instagram @emmakisstina as well. I would also love to invite you to sign up for my resources list. I send out weekly emails with tips and tricks of different things that I think you need to know if you want to be working as a full-time creative illustrator, surface pattern designer, and we have a Facebook group too. Now, I'm just doing major promo. But anyways, I hope to see you in future classes. Thanks so much for watching again. Bye.