Make Ikat Patterns in Adobe Photoshop - A Graphic Design for Lunch™ Class | Helen Bradley | Skillshare

Make Ikat Patterns in Adobe Photoshop - A Graphic Design for Lunch™ Class

Helen Bradley, Graphic Design for Lunch™

Make Ikat Patterns in Adobe Photoshop - A Graphic Design for Lunch™ Class

Helen Bradley, Graphic Design for Lunch™

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11 Lessons (59m)
    • 1. Introduction to making Ikat patterns in Photoshop - A Graphic Design for Lunch™ course

    • 2. Pt 1 What is Ikat?

    • 3. Pt 2 The Basics of the Wind Filter

    • 4. Pt 3 More issues with the Wind filter

    • 5. Pt 4 Create the basic pattern shape

    • 6. Pt 5 Make the pattern element the right size

    • 7. Pt 6 Make the pattern swatch

    • 8. Pt 7 Use and Recolor the pattern

    • 9. Pt 8 Saving Patterns for Various Purposes

    • 10. Pt 9 Chevron Ikat Pattern

    • 11. Project and Wrapup

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About This Class

Learn to make Ikat seamless repeating patterns step by step in Photoshop. In this class you will learn what Ikat is and how to render designs that mimic Ikat weaving in Photoshop. You will learn to use the Wind filter to create the edges for your shapes and how to create a design that can be easily recolored. You will see how to use the pattern you have created to fill a document for use as, for example, scrapbook paper. You will also see how to create a pattern swatch you can use on a site like Spoonflower to make fabric.

By the end of this class you will know how to reliably create shapes that can be used for Ikat patterns and how to create those patterns in Photoshop.
If you're interested in learning how to create marketing materials for your scrapbook paper designs, this class will be of help: Make & Sell Scrapbook Paper Designs in Adobe Photoshop - A Graphic Design for Lunch™ Class

More in the Graphic Design for Lunch™ series:

Photoshop for Lunch™ - Create a Reusable Wreath Design

Photoshop for Lunch™ - Create a Color Scheme Graphic

Photoshop for Lunch™ - More Patterns - Diagonal Stripes, Chevrons, Plaid, Colorful Polkadots 

Photoshop for Lunch™ - Create Text on a Path - Paths, Type, Pen tool

Photoshop for Lunch™ - Create an Award Badge and Ribbon - Shapes, Warp, Rotate  

Photoshop for Lunch™ - Color a Sketch with a Texture - Masks, Dodge/Burn, Hue/Saturation 

Photoshop for Lunch™ - Create Mockups to Use and Sell - Blends, Smart Objects, Effects

Photoshop for Lunch™ - Create the Droste Effect with Photoshop and an Online Tool 

Photoshop for Lunch™ - Layered Paper Collage Effect - Layers, Layer Styles, Gradients,

Photoshop for Lunch™ - Cutout & Frame Photos - Clipping Mask, Layer Mask, Rotation, Shapes

Photoshop for Lunch™ - Get Your File Size Right Every Time - Size Images for Web & Print 

Photoshop for Lunch™ - Seamlessly Blend Two Images - Masks, Content Aware Fill

Photoshop for Lunch™ - Set up Colors, Tints and Shades for Working Smarter in Photoshop

Photoshop for Lunch™ - Folded Photo Effect - Gradients, Guides, Stroke, Drop Shadow 

Photoshop for Lunch™ - Surreal Collage Effect - Paths, Cloning, Warp, Blend 

Photoshop for Lunch™ - Make Custom Shapes - Combine, Exclude, Intersect & Subtract

Photoshop for Lunch™ - Pattern Bombing Effect - Patterns, Selections, Mask, Warp, Vanishing Point

Photoshop for Lunch™ - 10 in 10 - 10 Brush Tips in 10 Minutes or Less 

Photoshop for Lunch™ - 10 Blend Tips in 10 minutes 

Photoshop for Lunch™ - Patterns as Photo Overlays for Social Media 

Photoshop for Lunch™ - Whimsical Rotated Patterns 

Photoshop for Lunch™ - From Ho Hum to WOW - Everyday Photo-editing Made Easy

Photoshop for Lunch™ - Pattern Making - Seamless Repeating Patterns

Photoshop for Lunch™ - Draw a Fantasy Map - Brushes, Patterns, Strokes & Masks

Photoshop for Lunch™ - Clean & Color Scanned Line Art

Photoshop for Lunch™ - Create HiTech HUD Rings - Repeat transform, Filters & Textures

Photoshop for Lunch™ - Text Over Image Effects - Type, Glyphs & Layers

Photoshop for Lunch™ - Hi-tech Mosaic Effect - Brushes, Patterns & Pixelization 

Photoshop for Lunch™ - Make a Photo Collage for Social Media - Masks, Selections & Patterns

Photoshop for Lunch™ - Making Kaleidoscopes - Rotation, Reflection & Smart Objects

Photoshop for Lunch™ - B&W, Tints & Isolated Color Effects - Adjustment Layers, Masks & Opacity

Photoshop for Lunch™ - Pattern Bombing Effect - Patterns, Selections, Mask, Warp, Vanishing Point

Photoshop for Lunch™ - Photo Texture Collage - Gradient Map, Blending & Textures

Photoshop for Lunch™ - Grid Collage for Social Media - Clipping masks, Shapes & Layer Styles

Photoshop for Lunch™ - Vintage Image Cutout Effect - Selections, Drop Shadows, Transparency

Photoshop for Lunch™ - Snapshot to Art - 3 Photo Effects - Faux Orton, Gradient Map, Tritone

Photoshop for Lunch™ - Paint a Photo in Photoshop - Art History, Color, Texture

Photoshop for Lunch™ - 4 Most Important File Formats - Choose & Save As: jpg, png, pdf, psd

Photoshop for Lunch™ - Turn a Photo into a Pattern - Selection, Filter, Pattern Swatch

Photoshop for Lunch™ - 3 Exotic Patterns - Shapes, Paths, Patterns

Photoshop for Lunch™ - Complex Pattern Swatches

Photoshop for Lunch™ - Using Illustrator Objects in Photoshop - Files, Smart Objects, Shapes

Photoshop for Lunch™ - Make & Use Photo Brushes - Brushes, Masks, Watercolors

Photoshop for Lunch™ - Make and Sell Geometric Overlays for Social Media - Shape, Transform, Fills

Photoshop for Lunch™ - Create Backgrounds for Projects - Halftones, Sunburst, Patterns

Photoshop for Lunch™ - Upside Down Image Effect - Masks, Selections, Flip Images

Photoshop for Lunch™ - Color a Scanned Sketch - Blends, Brushes, Layer Styles

Photoshop for Lunch™ - Curly Bracket Frames - Shapes, Paths, Strokes

Photoshop for Lunch™ - Grab Bag of Fun Text Effects - Fonts, Clipping Masks, Actions & More

Photoshop for Lunch™ - Double Exposure Effect - Masks, Blends, Styles

Photoshop for Lunch™ - Glitter Text, Shapes and Scrapbook Papers

Photoshop for Lunch™ - Make & Sell Photoshop Brushes - Brushes, Templates, Preset

Photoshop for Lunch™ - Recolor Objects without Making Selections - Master Color Change Tools

Photoshop for Lunch™ - 10 in 10 - 10 Brush Tips in 10 Minutes or Less

Photoshop for Lunch™ - Create a Mandala - Template, Rotation, Texture, Gradients, Pen, and Shapes

Photoshop for Lunch™ - Create Organic Patterns - Pen, Offset Filter, Free Transform and More

Photoshop for Lunch™ - Reusable Video Glitch Effect - Use Channels, Shear, Displacement Map & Noise

Photoshop for Lunch™ - Overlapping and Random Circles Patterns

Photoshop for Lunch™ - Metaball Patterns - Structured and Organic

Photoshop for Lunch™ - Isometric Cube Patterns - Shapes, Repeat patterns, Smart Objects

Photoshop for Lunch™ - Create Plaid (Tartan) Repeat Patterns

Photoshop for Lunch™ - Recolor Pattern Techniques

Photoshop for Lunch™ - Intro to Photoshop Actions

Photoshop for Lunch™ - Photoshop Inking Techniques

Photoshop for Lunch™ - Valentine's Day Inspired Hearts

Photoshop for Lunch™ - Layers and Layer Masks 101 for photographs and photographers

Photoshop for Lunch™ - Abstract Glowing Backgrounds

Photoshop for Lunch™ - Whimsical Textures for Drawings

Photoshop for Lunch™ - Sketches & Brushes to Whimsical Patterns

Photoshop for Lunch™ - Critters with Character - Pen Free, One Color Designs

Photoshop for Lunch™ - Create a Custom Character Font

Photoshop for Lunch™ - 10 Selection tips in 10 minutes (or less)

Photoshop for Lunch™ - Complex Selections Made Easy - Master Refine Edge & Select and Mask

Photoshop for Lunch™ - Demystifying the Histogram - Understand & Correct images with it

Photoshop for Lunch™ - Bend Objects with Puppet Warp

Photoshop for Lunch™ - Emboss and Deboss Text and Shapes

Photoshop for Lunch™ - Remove Unwanted Objects & Tourists from Photos

Photoshop for Lunch™ - Using the Scripted Patterns Tool in Photoshop

Photoshop for Lunch™ - In the Footsteps of Warhol - Create Awesome Animal Images

Photoshop for Lunch™ - Make & Sell a Shapes Collection

Photoshop for Lunch™ - Whimsical Scrapbook Paper Designs using Displacement Maps

Meet Your Teacher

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Helen Bradley

Graphic Design for Lunch™

Top Teacher

Helen teaches the popular Graphic Design for Lunch™ courses which focus on teaching Adobe® Photoshop®, Adobe® Illustrator®, Procreate®, and other graphic design and photo editing applications. Each course is short enough to take over a lunch break and is packed with useful and fun techniques. Class projects reinforce what is taught so they too can be easily completed over a lunch hour or two.

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1. Introduction to making Ikat patterns in Photoshop - A Graphic Design for Lunch™ course: Hello and welcome to this course on creating Ikat Patterns in Photoshop. My name's Helen Bradley and I'm a Skillshare Top Teacher. I have over 250 courses here on Skillshare and over 105,000 student enrollments. In this course, I'll show you how to create an Ikat repeating pattern in Photoshop. For this design will be taking advantage of the wind filter to create the fabric effect and learn some techniques for using this filter to get the effect that we're looking for, and also some techniques for creating a layered pattern that can be easily recolored in Photoshop. When we're done, you'll have a lovely Ikat pattern to add to your Photoshop pattern collection. You'll have some pattern-making tips to add to your skill set and a better understanding of how to use the wind filter to achieve an interesting edge effect. Enough from me, if you're ready, let's get started creating an Ikat pattern in Photoshop. 2. Pt 1 What is Ikat?: Before we get into creating and ICAD design in Photoshop, let's have a look and see what ICAD is. ICAD is a dyeing process where the fibers are dyed and woven and the result is that the shapes here are not perfect shapes. They've got fluffy edges on them. That fluffy edge effect is really typical of ICAD designs. Now what we're going to be doing in this class is a design somewhat like this one here. But you can see that there are lots of other ways that you can apply this basic ICAD principles to scrapbook papers or to fabric designs and obviously you can do it in Photoshop as we're about to do. You can also do it in Illustrator. [inaudible] have a quick look at my illustrator for lunch class on creating ICAD patterns because one of my students in that class [inaudible] created this scrapbook paper collection using the ICAD designs that she created in Illustrator from my illustrator class. This is the sort of design that we covered in that class but Anna's gone one step further. She's used it for her marketing materials. She's also created a really interesting Chevron pattern that has an ICAD look to it and she's done it for polka dots. Now I'm showing you her work because I think it's absolutely wonderful. But also because this ICAD principle can be applied to other shapes and other designs. Though we're going to be doing a diamond design, the techniques you'll be learning can be equally applicable to other designs as well. 3. Pt 2 The Basics of the Wind Filter: Before we get started on the ikat pattern, we're going to have a look at the wind filter because it's got a few interesting behaviors that it will help us to know about before we actually go and use it for our pattern. I'm going to create a new document. I'll choose File and New, and mine is going to be 1200 by 1200 pixels in size. I would suggest that you make your document around that size simply because of one of the behaviors of the wind tool that you need to be aware of. I'll click "Create." I'm going to create a square inside this art boards. I'm going to create a new layer. You will want to put this on a brand new layer because you need to move this content around the content we're about to create. I'll go to the rectangular marquee tool, and holding the Shift key down, I'm going to drag out a square which takes up about two-thirds of the size of the art board. Again, that's for a really good reason. You don't want it anywhere near the exact size of the art board because that's going to be too big. We now need to fill this square with something. So I'm going to choose a color for this. I'll choose a darkish blue color. There are a number of ways you can fill this selection, I'm going to look at two. One is to select the paint bucket tool and just click inside this shape. Now, I'm just going to undo that because the other method uses a shortcut set of keys which I find really handy to use. The shortcut set of keys helps you fill a shape with the foreground color. To do that, you'll just press "Alt" and then "Backspace" on a PC. On a Mac, it would be Option and Delayed. Now I don't want these marching ants around here any longer, so I'll go to Select and Deselect which of course, is Control or Command D if you're using shortcut keys. I'll go to the Move tool up here, I've got my layer selected. I'm going to rotate this shape and to do that, I'll hold the Shift key down because I want to rotate it to exactly 90 degrees. This is why we made the shape a bit smaller than the original art board because it's now much taller than it was. You can see it's taking up nearly the whole of this document. If we've made our square to much bigger, it would have been over the edges. I'll click the "Checkmark" to commit that transformation. Next, we want to make this square into a diamond shape. Now in Photoshop CC 2019-2020 and course, all subsequent versions of Photoshop, the behavior of the shift key when you're adjusting the shape has changed. So with this shape selected, the Move tool selected, if you're using Photoshop CC 2019-2020 or later, you're going to hold the Shift key as you drag in from the edge, because that's the behavior that's going to give you this shape. Now, if you're using Photoshop CC 2018 or any of the other CC versions, or say a CS5 and so on, you won't be using the Shift Key. You'll just dragging from the sides. Just be aware that the behavior in Photoshop changed recently, and you just need to choose the right behavior for the version of Photoshop you're using. I'll click the "Checkmark." Now we have the diamond shape and we're ready to apply our wind filter. But I want to show you a couple of shapes done this way. So we're going to take a duplicate of this layer, I'll drag it onto the new icon. At this point, you don't need to follow along with me because I'm just going to be showing you some behaviors that we need to be aware of. I'm going to color this one a different color. I've got my color to use, I'm going to click here on "Lock" to lock the transparent pixels. When I do that, it gets a little lock icon here. I'm just going to fill that shape. I'll just turn the top version off so that we can focus on this blue version. The wind filter is found by choosing Filter and then Stylize and Wind. You get to choose the direction of your wind and the method. Now, it says here, From the left. That means that the wind is going to be coming in from the left. So it'll be destroying the left-hand side of the shape, but it won't actually have any effect on the right-hand side of the shape. Let me just squeeze this shape down a little bit in this preview window. You can see that the wind's blowing from the left so it's destroying this edge but having no effect on the other edge. Just be aware of that. Put this back to 100 percent so that we can have a look at what we're getting. When we're asked for wind, this is the destruction we're getting. If we're ask for a blast, we're getting a whole lot more of a destruction. This is stagger. It's not what we want. We're going to be using blast and wind. For this size document which is 1200 pixels tall, I'm going to be using blast first of all. I'll just click "Okay." You can see that that something like what we would need for an icecap effect. But the problem is, it's that coming from this direction whereas most of the ikat designs we saw was vertical. Well, we won't be able to do that with this shape looking the way it is. I'm just going to undo that for a minute. Let's go back and get this shape and let's rotate it. We're going to rotate it now that we've created it as a diamond, all the way around to this direction. Now let's go and reapply the wind filter. I'll go to Filter, now I could come down to Stylize and Wind, but you see at the very top of the Filter list here is wind. In other words, the last filter that we just applied to this shape is available for us to apply again. Well, let's just click "Wind." That's the exact same filter we use previously, we didn't have to make another selection of the options because it's just been applied automatically to our shapes. I think that's halfway there, but I would like to make a slightly more detailed edge. Lets go and reapply the wind filter but this time, I'm going to go down and reapply using the dialogue. The reason for this is that, sometimes you might find that adding a second blast is just too much of an effect, but you may find that adding a wind effect just gives you a better result. I've found that with these documents. What I'm going to do is go and apply this time using Wind and I'm going to do that twice. In this case, I'll just go back to here and reapply it. I'm getting a nice fluffy, almost fabric look to this design. But of course, it's coming in from one direction only. Now we have to go back and apply to this direction. Again, Filter, stylize, Wind. We're going to use blast again because we use that the first time on this side. This time it's going to come from the right. So we'll just apply a blast. Then, because you can see the difference now between the results, let's just get in there for you, you can see that this is a little bit heavy handed but this effect is really quite nice and almost mimicking that ikat fabric. We're going to come back here and apply the wind filter on wind twice more. With that layer selected, Filter, Stylize, Wind. We're going to go back to Wind this time, a bit of a softer effect, and then we'll go and repeat that. We can repeat it by just clicking here because that will give us the exact filter that we just applied back on the subject. Now we've got a really nice edge effect for our design. But of course, if we want to use it for our ikat pattern, we're going to have to put it back vertically once we've finished. 4. Pt 3 More issues with the Wind filter: This is the shape that we created in the previous video, and I've created another shape of slightly different blue color. It's much smaller. There are some things about the wind filter that I still want to cover at this stage before we go ahead and create our icecap design. I'm just going to rotate this shape around and it's now ready for me to apply the wind filter to it. You'll see that I've still got the marching ants selected here, and you don't want that to be the case, let me just show you why. I'll choose Filter, Stylize and then Wind and let's go and apply the blast to it coming from the left. I'll click okay. If we zoom in and have a look at the edges of this shape, when I turn that those marching and soft by choosing Select, Deselect, you'll see that we've got at the edge around that shape and you don't want that to be the case. You'll get that result if you have the marching ants around your shape before you select the filter, and you don't want that to be the case. Let me just go back here and my marching ants, I'm going to turn them off before I start that filter, so I don't get that same result that I just had. Let's go back to our filter. Here we've got the filter coming in from this side on blast, that's exactly what we want. Then we'll go back and apply it with the wind option and we'll do that twice so that this one's going to match the effect that we created for this one here. Then we could of course do this side, but I'm not going to bother with that right now because that's not exactly what I wanted to show you. You might think that there's no point in creating another shape and doing all the wind effects to it when you could just make a copy of this shape and just scale it down. Well, let's have a look and say what that result will be. I've just made a duplicate of it. I'm going to hold the Alt or Option Case, scale it down, and then let's just move it to compare it with the shape that we just created. It should be pretty apparent what has happened is that when we take a larger scrape and scale it down, the edges become a whole lot less detail. We're not seeing this big fabric look detail in the edges that's all been smoothed out. This shape and this shape aren't going to look very good together at all. But this one is smaller shape with the exact same size filter applied to it. It's going to work just perfectly. We're not going to be scaling shapes down to make the inner bits. We're going to be recreating our shapes each time. Of course, that means that we're going to be doing multiples for every single one of these shapes. I'm going to show you a way of streamlining that as we go along. But for that, we are going to do it on the final shapes that we'll be using. In the next video, we'll get started with our eye cap pattern. 5. Pt 4 Create the basic pattern shape: We're ready now to go ahead and create our IKAT pattern, and so we are going back to our 1200 by 1200 pixel documents or file and then new 1200 pixels by 1200 pixels. I think it's a pretty good size so I would suggest that you go with me on this size and click Create. Now we want a new layer because we want the first of our diamond shapes. We're going to drag out a square, again, no bigger than two thirds of the size of this document, and we'll fill it with a color. I'm going to use the blue color. I'll go to the move tool because I need to rotate this holding the Shift key as I do so I can constrain it to a rotation of 90 degrees. I'll click the check mark and let's just move the rectangle into the document. We're going back to the Move tool and we're going to drag in on the side with or without the shift key, depending on what version of Photoshop you're using. I'm using Photoshop CC 2019 because I find it a bit more stable than 20-20, so I am using the Shift key. I'm just looking at the proportions for my diamond, so I want to get that right before I go any further and I'll click the check mark. You're just looking for something that is pleasing to your eye. Going to scale this in just a little bit. I won't need to hold the Shift key because that will constrain it, and let's just go with this as being our first shape. Of course, it's got the marching ants so I would choose, select and deselect. Next I want the other shapes. I'm going to make a duplicate of there's just drag that layer onto the new icon. It's going to be easier for me to see size-wise how these are, if I change the color of this shape, I'll go to the foreground color. I'm going to choose a different color for this. From there, choose a sort of dark green here. I want to fill this shape with the dark green. I'm going here to click on lock transparent pixels. That means that all the transparent pixels in this layer are locked so I can't fill them. The only thing I can fill is the non-transparent pixels, in other words, this big blue shape. I can now go with the paint bucket tool or I could press Alt backspace option delete on the Mac and just fill this shape with migraine color. Now I'm going to size this down. I'll go to the Move tool and just size that down. If I add the option key as I start scaling it, I'll be able to scale it from the middle so I can say the sort of rough proportions of these diamonds. That's the look that I want here, maybe about that sizing and I'm going to do the exact same thing again. Make a duplicate of this shape, fill it with a different color. In this case, once I've locked down my pixels, I'll use Alt backspace or option delete on the Mac. Click here to unlock those pixels, and again, I'm going to re-size it again, looking to get the right proportion between these shapes, I want them to be nice and even here, I'll click the check mark. Now we're ready to use the wind filter on the shapes. First of all, I'm going to select all of these so I'll click on each layer holding the shift key down so that I'm selecting all of them and I'm going to rotate them all around, because we know the way the wind filter works is that it blows in from the side so we need to rotate the shape before we actually use it. Now last time we discovered that we were having to apply the wind filter to each shape individually. Well, I'm going to show you a way that you can speed this process up. Let's go to this blue one first of all. I'm going to right-click this layer and choose Convert to Smart objects. That creates that shape as a smart object, and now to this one shape, I'm going to apply that wind filter effects. That's six runs of the wind filter, filter stylize wind. We're going to come in from the right and we're going to start with a blast and then we're going to again come in from the right, but we're going to just use the wind option this time. Then we'll repeat that, but we already know we can choose filter and then wind to repeat the last instance of the wind filter only it's going to work a little bit differently this time. When I click wind, we get the dialogue back, but all the settings are intact, so we just need to click Okay, so there is one extra step there. Now we have to do it through the other side. Filter, stylize. Wind, come back with blast, come back from a different direction. Click Okay. Now we already know that when we go to Filter and wind, we're going to see that dialogue. We could speed this up a little bit by just choosing this option and then make the changes that we need, and then do it once more. We don't need any changes this time we'll just click Okay. We've applied our fixed filters to this shape now to speed up the process, what we're going to do is create this shape, this green one as a Smart Object too, right-click convert to smart object. We're going to do that to the yellow one too, right-click, convert it to a smart object, but we can now copy this smart filters onto this layer. You're going to hold down the Shift key and the Alt key that would be shift and option on a Mac, you're going to grab this Smart Filter and drag and drop it. Notice what the mouse pointer looks like. It's got a black arrow and a white arrow telling us that we're making a copy, and those two little circles tells us that we're taking our smart filters with us. Let go of the left mouse button and the smart filters jump in place. Now you can't see them, and the reason is this, we've got them hidden here, but they're there. Again, let's go back to this set of smart filters. Hold down Shift, hold down Alt on a PC, it will be Shift Option on the Mac, you have to have both keys pressed down before you start picking up the smart filters. Then take it with you. Check that your mouse pointers reading correctly that you've got the right double set of arrows and the double circles, let go of your left mouse button, and then you can take your finger off your Shift and Alt or Shift and option keys. Again, we can say the filters, they're all there. That was a nice, easy way of applying those filters to each of those shapes. We've got the same sort of edge, the same roughness on each of these edges, so this is a really good result for us. It's about to come spectacularly unhinged, but let's see what the problem is and how we're going to solve it. Let's go to this blue one. What I want to do is rotate it around. Let's go and get it. I'm told that the smart filters are going to be hidden while I'm transforming this object, that's fine. There they've gone. Let's just transform the object. Let's click the Commit button and you can see what's happened. What's happened is that the wind filters haven't been baked into this shape. They're still behaving as the wind filter does. It blows from the left or it blows from the right. The fact that we've rotated the shape hasn't changed the way that the filter is being applied, it's just not what we want, so let's undo that. What we're going to do before we start rotating these shapes is we're going to turn this from a smart object, which we only made it as a Smart Object because that was an easy way of getting our filters in place. We're going to turn it back to rasterize shapes. I'm going to right-click and Rasterize Layer, and that makes this scene so there's no more filters. It's just bake that effect into the layer and we're going to do that for each of these, right-click Rasterize Layer, right-click Rasterize Layer. Now we can pick up all three layers and do what we like with them because the wind filter is baked in, and it's not going to have an unexpected effect on our shape. Now we've got the shapes that we need to create our IKAT pattern. In the next video, we're going to do just that. 6. Pt 5 Make the pattern element the right size: We're now ready to make this shape into the pattern and the first step of making the pattern is to make sure that this shape is actually an even number of pixels wide and tall, or else it's going to be really difficult to place it correctly. I'm going to "Window" and then "Properties". If your version of Photoshop doesn't have a Properties panel, hang on, I'm going to deal with that in just a minute, but for now, I do have a Properties panel and you'll see that the width and the height are both uneven numbers. I'm going to disable this little option here, it's enabled. I'm going to make sure it's disabled so I can separately adjust these values. I'm going to go to the next nearest number. So from 657, I'm going to go to 658 because that's an even number. Over here, I'm going from 1091 to 1090 because that's an even number. Now if I click away and reselect these shapes, you'll see that I now have a size, an overall size that is an even number, perfect exactly what we want. But that Properties panel is only in recent versions of Photoshop. So if yours doesn't have a Properties panel, we're going to have a look at it. If you do have a Properties panel, you've just dealt with that, do yourself a favor, go to the next video because this next step is a bit of a nightmare and you really don't need to know about it, but if you don't have a Properties panel, you will need to know about it. So this is what we're going to do. We're going to select those three shapes. We're going to put this up in the top corner of the document because we need to guesstimate how big this is, because Photoshop will not give us a read on that. The document is 1200 by 1200 so this is taking up about half the width of the document. Let's call it 600 and because it's 1200 tall and this bit missing at the bottom, let's call it say about 1000 tall. If we made this 600 by 1000, we would have even numbers. With it selected, we're going to "Edit" and then "Free transform". The reason why we did that calculation is this, Photoshop is working in percentages, for whatever reason, it's not easy to get a read on the actual physical dimensions. So what we're going to do is unclick this so that we can individually change these values. We said that the width was going to be 600, so we're going to select this 100 percent and we're going to type 600, but we're going to type px after it. We think the Photoshop 600 but not percent, we want to work in pixels because that's a much easier value to get to round numbers. I'm going to come over here and we're going select that and we're going to make it 1000 pixels, 1000 px. Now, this is the super confusing part about this. As soon as I did that, you'll see that Photoshop decided that, no, I didn't really know what I was talking about and it would rather make this 600.03 and it's just dropped the 1000 that I did and added an extra 97 on the end. I don't know why it does that, but you're just going to click the check mark here, and then you're going go back and get the Free transform dialogue again, "Edit", "Free transform". When we go here, you'll see that it's actually given us pretty near the values we wanted. I've got 600 pixels. Right now, I've got 1001 but I'm just going to make that 1000 pixels and click the check mark again and then go and retest it. This time, I've got exactly what I want. I've got 600 by 1000. It only took two goes with this dialogue to get what I wanted, but I have got what I wanted. Now we're in a position in earlier versions of Photoshop to go ahead with this shape to make our pattern. I'm sorry about that. It's a real nightmare, but we've got what we wanted. Let's head to the next video and we'll rough out the pattern. 7. Pt 6 Make the pattern swatch: I'm assuming that at this point you have a shape that is an even number of pixels wide and tall. What we'll do next is grab all these three layers and put them in a group. With them selected, we are going to click here on The New Group icon and that just puts them in a group. So they all jammed in together. So we're going to take this group and we're going to make a duplicate of it. So you're going to drop it on this second icon which is Create New. You'll get two groups, the topmost group you're going to just drag and place approximately where you think the patent elements should be. So you're looking at how big do you want this gap to be? Do you want a little bit of a gap, or do you want a big bit of a gap? I want a bit big of a gap. So I'm going to look at something like this. If that looked roughly like that, I'd be happy. Let's go and get this group and drop it on to the new icon and let's go and position it down here, just looking at roughing out this pattern. You don't have to worry about accuracy right now, you just need to get a rough idea. I'm going to grab these topmost groups here, which are these here, and I'm going to drop those on the New icon. I'm going to move them over here. So again, just roughing out what I want this pattern to look like. I've got my five groups of five elements and this is the basis of a pattern. The next thing I'm going to do is to draw a mark K using this mark K tool over here. Going to approximate where I think the middle of this shape is across to the middle of this shapes and see where it's starting to go round the bend. So the middle has got to be in here somewhere and in here somewhere. Down here, in here somewhere, and in here somewhere. So let's go to the Mark K tool. I'm going to start roughly where I think the middle of this shape is. I'm going to draw a cross to the middle of this shape and then come down to the middle of the shapes. So I'm just eyeballing this right now. I've still got my finger on the left mouse button because what I'm concerned about is that little tool tips that's appearing that is telling me how big this mark K is. So my mark K is 668 and 1068. So I've just written 668 and 1068 down on a sheet of paper because I just want a rough idea as to how big this is going to be. Having done that, I'm going to just get rid of the mark K. I'll choose select and then deselect. Of course we could press Control or Command D. Now if you're having problems when you're drawing out this mark K actually seeing that tool tips and that might be the case if you're using an older version of Photoshop, or if the tool tips are not enabled for your version, this is what you can do. You can go to Window and then Info, and as you drag out that mark K, it's going to show up here in the info panel. So let me just do that again. I'll drag out my mark K shape in the position I want it to be, and over here in the info panel is going to be the dimensions. So you can read those off there and then continue on with this process. So now we know from our sheet of paper that's how big our document's going to be. So let's go and make the document that size, image, canvas size. We're going to turn relative off and we're going to make this 668, and we're going to make the height 1068 because that was what our mark K rough selection said we should be making at. I'll just click Okay. We'll get a warning that the canvas size is smaller than the current canvas size. Yes, that's fine, we're going to get some clipping. That's fine too. Click proceed. So this is what our patent needs to be in terms of sides. Of course it's not right for our pattern yet, but that's just fine. We're going to turn off everything but this middle elements. So select this group here, and now we're going to place them correctly. So we're go to Edit and then Free Transform. This time we're going to select the middle one of these little selectors cause we need to position the middle part of this shape. Our document was 668 pixels wide, so half of that is going to be 334. So I'm going to make sure that my x value is 334. Let me just type 334 pixels. Then we'll come across here and for the y-value my document with 1068, so half of that is 534. Thought I'm going to type in here 534 pixels. Now I'll click the check mark. So this shape here is ripe plum in the middle of the document. We're on our way. Let's now go to this next group. So the middle of this shape here needs to be at the top corner of this document. We know that the document is 668 pixels wide, so the x value needs to be 668 and the y value needs to be zero because it's going in the very top here. So we'll select it and we'll go back to Edit and Free Transform, noting that we could press Control or Command T to get there quicker in future. Now if you're not a 100 percent sure which is the x and which is the y, just read it off here. You can see that we're at 634 well, that's nearly 668. So obviously that's a value that needs to be in here, 668. Then over here we're at minus 13 pixels. Well that's nearly the zero. So let's just type in zero and hit the check mark and we're in a good position. So let's turn the next one on. We'll select it and press Control or Command T. Now we'll enter our values is going to be 668 pixels, make sure you add the Px if you lose it. Then this y value is going to be 1068 Px. Makes sure that the shape is in the right position. Looks pretty good to me, I'll click the check mark. Let's go to the next one. Again, select it Control or Command T. The position of the center of this shape is obviously in the top corner of the document, which is zero-zero and click the check mark. Then we've got one more to do and we're going to push this into the bottom. So let's select it Control or Command T and obviously its x value is going to be zero pixels and its y value the height of the document, 1068 pixels. Now we've got our pattern pace so we can go and select everything was selected and then all, and we can make our pattern by choosing Edit, define pattern. We're going to call this ikat one and click Okay. 8. Pt 7 Use and Recolor the pattern: Having made our pattern paste, we can now go and test our pattern. For this we'll need a new document. I'll choose File and then New. I'm going to use a document the size of scrapbook paper, 3600 by 3600 pixels in size, and for scrap paper, 300 pixels per inch. I'll click Create. Let's fill our document with our pattern. I'll choose Layer, New fill layer, and then choose Pattern. The last pattern that we created is the one that's used to fill a document. I'm just going to leave it at a 100 percent, right now, I'll click Okay. Let's zoom in to our document. You can say that we've now got this icecap pattern with all this wonderful texture that comes with that icecap pattern courtesy of the wind filter. Now, if you like this, but you'd like to change the colors in it, let's go back to the original pattern document and let's see how we could work to make this a little bit easier to recolor. Firstly, I suggest that you save this document. I've already saved it so I'm just going to save the changes that I just made to it. You will want to keep a copy of this. Now I'm going to open up all of these groups. I'm going to select all of these groups, Click on the first and then shift click on the others, right-click, and I'm going to choose ungroup layers because I want all the little beads back again. What I'm going to do is merge all the blue beads into one, but I'm going to leave this middle one out because this will give us a few more options for re-coloring later on. Let's just go and put the blue bits, there's going to be four of them that are the corner paces that are all blue, I'm going to put them all close to each other in the last pallets, so here are all four of them, I'll select them right-click and choose merge layers. Now I have the blue shapes as a single layer. They're covering up another corner paste, don't worry about that for now. Let's go and put the green ones, there's going to be four of those, let's put them altogether. Select all four of them, right-click and choose merge layers, and we'll do the same with the yellow. This is the middle yellow one, I don't want to include that in the group simply because of giving us more coloring options, so let's merge those. Then just make sure that the ordering is correct so that we can see everything. Now we can re-color things. For example, if we wanted to re-color all the yellows, this is what we would do, we go and get a color to use. For this, I'm going to choose a more orangey color. I'm going to click here on Lock, and this is locking transparent pixels. I'll press Alt Backspace that would be option delayed on a Mac. Now if I wanted to re-color every time we had the yellow, then I would also do it to this middle pace, but I can get an even more interesting pattern right now if I only colored the outside edges. Let's just see how that's going to be done. I'm going to Unlock that, having done that, now let's recolor these greens. We'll go and get a color to use, I'm thinking that I'll make this a orange and brown paste. I'm going to lock this and I'm going to alt backspace options delayed on the Mac. Now let's go to the blues and this is the blues that I'm talking about here, not the one in the very middle. Let's go and lock this layer and let's go and get a color for this. Alt backspace option delayed. Let's just see what this gives us. I'm going to select everything I can use Control or Command A to select everything. I'll go and create my pattern with edit define pattern, I'm going to call this kat two. Let's go to our document, Double-click on the pattern selector here, go to the very last pattern in the box which is the one we just created, and click okay. By re-coloring just the corner elements here, just these four corners, I'm able to make a pattern that has alternating elements. You could make it so that it was more homogenous like the first one we did, in which case all the blues would be recolored to one color, all greens and all yellows. But if you just color the corners, then you get this other effect here. Now let's just return to the original pattern that we made, which is this one, and let me show you another coloring option. Here we could just add a hue saturation adjustment layer to this document. We choose Layer, New Adjustment layer and then hue saturation. Click Okay. What we'll do at this point is to drag around this hue slider. As we drag the hue slider around, we're able to change the colors in this pattern. It doesn't give us quite the same results as we got with coloring the elements individually, but it might be a way, for example, to experiment with some color. You might look at a set of colors and say, you know what, I really like that. Let's go and look at these colors in our pattern and see if we can re-color the entire pattern to it. I don't think that this is working as well as it does, for example, for other designs because we're getting this darkening of the edge, but you could at least experiment with color options this way. Of course, because it's a hue saturation adjustment layer, you can always just remove it. You just click to remove it, you can drag it into the trash can, it's not baked into the image, it's not baked into the pattern. There are some options for re-coloring your ikat designs so I encourage you to, once you've created your pattern, actually go and recolor elements in it just to see what you can achieve in terms of color ways. 9. Pt 8 Saving Patterns for Various Purposes: In most instances, when you're creating patterns like this ikat pattern, you will also be creating your final product. In this instance, it's a sheet of scrapbook paper. This document is 3,600 by 3,600 pixels in size at 300 dots per inch or PPI. We can double check this by going to image and then image size here will read off the document dimensions in pixels and the resolution, telling us that this document is exactly right for distribution as scrapbook paper. I'll click "Cancel." To save it, we will choose File and then Save As, because we want to save this as a JPEG image so I'm just going to select JPEG. I already have saved this, but let's just give it a different name, I'll call it ikat paper 2 make sure to select ICC profile, sRGB for scrapbook paper. That's typically how scrapbook paper is delivered and I'll click "Save." Because it's a JPEG, we get to select the image quality, that is how good a quality is inside this image it's got nothing to do with the actual physical file dimensions it's all about the quality of the image. Typically for scrapbook paper, you'll want a very high-quality size, set it to 12, which is the maximum, click "Okay." In some instances, however, you will need to be using the actual pattern element. Now, I made this pattern a few days ago with that last video and I closed and destroyed my pattern file. Now I'm faced with the issue of, I want to put this up on Spoonflower. When I take it to Spoonflower, I have to send up the original pattern itself, not something that's filled with a pattern, these are two very different things. I'm using Photoshop CC 2020, and that's really importan because things changed recently in Photoshop. In the past, you would get to the patterns options by going to Edit and then you'll go to presets and preset manager and there would be a pattern option here in the preset type, it no longer exists in that location. If you don't find your pattern options there, this is where you're going to find them. You'll choose window and then patterns. This is a new patterns dialogue in Photoshop. At the very end of the patterns dialogue you're going to be the patterns that you have created recently. This is one of my color versions and this is another one. Now this is the one that I want to send to Spoonflower. But before I can use it on Spoonflower, I'm going to have to remake the document that had that pattern in it, but we can shortcut the process and this is how we're going to do it, will hover over this pattern element here. In the Tooltip, we can read off the size of the pattern, so saying it's 668 by 1,068. Armed with that information, let's go and create a brand new document that size File New and we'll make it 668 by 1,068. I'm going to set it to 300 DPI or pixels per inch for this purpose, these are interchangeable. I'll click "Create." Now we've got a document that is the exact size of the pattern element, and we want to fill it with a single pattern element. To do this, we're going to use a different tool in Photoshop, this is really important. We'll choose Edit and then fill, and then go and locate the pattern we want to use or go to a pattern and go to the very last pattern, click on it and click "Okay" and this is one instance of the pattern, this is a seamless repeat so if you don't have the original file, you can always get your repeat element back. We're going to save this with File and then Save As. Now I need this for Spoonflower so Spoonflower will take JPEG or PNG. In this case, I'll use JPEG. I'm going to call this ikat swatch. Again, I'm going to choose sRGB and I'll click "Save. " Again, I'm going to save it as maximum quality because I want to send it up in a good high-quality file. I'll click "Okay." Now we'll go to Spoonflower. I've logged into Spoonflower I'll click "Add design." I'll choose my file. Here's my swatch I'll click "Open." I'm going to confirm that I own the rights to this and click "Upload." It's really important when you use a site like Spoonflower that you send up to Spoonflower, the original patterns swatch because Spoonflower is going to take care of doing the repeat for you. As soon as the image is uploaded, you can select the repeat that you want. In this case, and in all cases, when you are extracting a pattern swatch from Photoshop and uploading it to Spoonflower you'll just want a basic repaid. This is how you will get a pattern to a site like Spoonflower that just wants the swatch because it's going to take care of the repeats for you. Of course, if you're creating scrapbook paper, then you're going to be responsible for creating the paper yourself. Now that's how it all works in Photoshop CC 2020. Let's switch very quickly to an earlier versions of Photoshop so we can see where we're going to find the patterns there. I've just switched from Photoshop CC 2020 back to Photoshop CC 2019. Version 2019 behaved exactly the same way as all prior versions of Photoshop with the preset manager. You can get to your patterns by choosing edit and then presets and preset manager go to the drop-down list here and choose patterns. Here are the patterns that we've created and you can hover over any of them to read their size from that tool tip menu. Again, 668 by 1,068 for this pattern element, I'm going to click to say done, and I'll choose to create my new file. We'll make a 668 by 1,068. I'm going to set this to 300 pixels per inch. I'm working in RGB color, I'll click "Create." To fill this document with my pattern. Again, I'll go to Edit and then fill. I'll choose the pattern option here and then I'll choose the pattern to fill it with. Going back down to the very end to find this pattern element hover over it. Just double-check your file size is correct, which mine is our click to fill it with that pattern. This then is the element that I can send to Spoonflower. Again, I would save it as a high-quality JPEG image and upload it to Spoonflower exactly as I did in the previous video. Just be aware that the pattern tools are still in Photoshop CC 2020, but they have moved. 10. Pt 9 Chevron Ikat Pattern: Before we finish up, we're going to create a chevron pattern using this Ikat technique for a couple of reasons. Firstly, the chevron design is a really cool design, and secondly, because of some behaviors of the Wind filter which are less than satisfactory. I want to show you my solution for those. I'm going to create a document that is my screen size. For me, that's 1920 by 1080 pixels. It doesn't really matter how big it is because we're going to be cropping this anyway. I'm going to add a new layer to the document because I'm going to be using the Marquee Tool and we want a shape to go on a separate layer. I'm just going to drag out a shape that's a fairly thick rectangle. I'm going to use a blue color, so let me just get a darker blue color, and I'm going to fill this shape with that color. One way of doing that is just dumping the paint bucket tool into it. I'll go to the "Move Tool" and I'm going to rotate this around 45 degrees. If you hold the Shift key, that'll be three clicks because that Shift key constraints the rotation to 15 degrees, and you can read the 45 degrees from the tool tip as well. Now, I've got the first bit of my shape. I need the other half of the chevrons. I'm going to duplicate that layer, and now I'm going to rotate this shapes. I'm just going to grab it. If we rotate it 90 degrees, it's going to be perfectly aligned for the next part of this chevron, which is placing these two shapes over the top of each other. Now I'm just using the smart guides to line this up. Having gotten it pretty near to where it needs to be, I can just zoom in and then just move it just using a pixel adjustment, which is using the arrow keys. I just wanted to be pretty much in the right place. Let's just test that. It's pretty good. I'm just going to press "Control" or "Command D" to deselect my selection. These two shapes can now be put together. I'm going to select both of them. Click on the first layer, Shift click on the second, and I'll choose "Right Click" and "Merge Layers." That merges it into a single shape. Now, we're going to rotate it because we know that the Wind filter works ideally for us if the shape is rotated before we apply the Wind filter to it. Now, we know that we're going to apply the Wind filter six times, and at some point this is going to become really tedious. The best solution to that is to create an action to do the work for us. We'll choose "Window" and then "Actions." I have a group of actions called Helen's actions which I can add my action to, but you could just add yours to the current collection. All you're going to do is click on the "New Icon" here. But before we do that, let's just grab the Marquee Tool and let's just target this layer. I don't like using the Move tool if I can help it, but the Marquee Tool is a way of being able to select a layer, but without having marching ends, which we already know is going to really affect our Wind filter results. With the layer selected, we're going to the new icon here. I'm going to call this Ikat because it's going to be my Ikat action. I'll click ''Record''. Now, everything we do from now on is going to be recorded, so you want to be careful that the only things that you do are those things related to applying this Wind filter. ''Filter'', ''Stylize'', ''Wind''. I'm going to start coming in from the left and I'm going to hit it with a Blast. I'll click "Okay." Then I'll do ''Filter'', ''Stylize'', ''Wind'' and we'll hit it with Wind, and we'll do that twice. This is being recorded in our action and then we'll go back and do it the other way. When we're done, we'll just click the icon here which is "Stop playing/Recording" and that just stops the recording of that action. Now, it's Murphy's Law that the shape that I chose to create here worked really well with the Wind filter. It hasn't been working so well for me, and I just want to go over that with you and show you a way of getting perhaps a slightly different and somewhat better result with the Wind filter. I'm going to go back with this shape. I'm just going to undo the filters that we've applied to it, so I can just get the shape back, and let's make a duplicate of it. This one, I can apply my Wind filter by just running my actions. I'm just going to select "Ikat" and let's just run the action on it. There's the one that we already had, but let me show you this shape. What I'm going to do is lock all the pixels on this layer, the transparent pixels so I can only fill a nontransparent pixels. Let me go and get a light color. I want something that's almost white but not quite, and I'm going to fill it by clicking on it with the Paint Bucket Tool. Now, let's unlock those pixels and let's run the Wind filter on this. Now, I found that the result when you've got a light color is that you get a much more uneven edge than you were getting on this green one. You can see that this green one is really quite tight around the edge and this lighter one is really fluffy. It seems that the lighter the color, the better the result that you're getting. I actually had some colors that I was doing earlier where I was getting practically no Wind filter destruction on this edge of the shape and it was uneven. It was all right down here. It wasn't working here and it wasn't working along this edge at all. If you have those results, the better option is to go ahead and use a light color. First of all, apply the Wind filter to your objects and bingo and make it the color you wanted after you've applied the Wind filter towards. Of course, because we went and created an action to apply the Wind filter, you can practice this. You can experiment with all sorts of different colors to see what results you get because applying six versions of the Wind filter is just clicking a single icon. I think that's a really good result and something that is worth understanding that the Wind filter is going to work differently according to the colors that you're using. You can see here. This was the exact same shape that I used and the result is extremely different. In fact, I'm going to have to drag the blue one above the white one because the result is so extraordinarily different. I've ended up with the white one with a much larger shape and much more fluffier edge, and quite frankly, something that looks even a bit more Ikat than the blue one. Let's go [inaudible] and trash the blue one. I don't want that. Of course, with this white and gray one, I don't want that color, but we already know what to do. We're going to lock the transparent pixels on that layer, we're going to go and find a color to use, and then we're going to fill this layer with the color. I'm going to use all backspace option "Delete" on the Mac because I want to get all these fluffy edges and that's going to be more reliable than using the Paint Bucket Tool. Now, we've got the shape. I'm just going to unlock those transparent pixels. We've got this shape that is the basis of our chevron, so we need to crop it. We're going to go to the Crop tool here. I've got Delete Cropped Pixels disabled, and I suggest that you do that right now. We're going to bring this crop rectangle over so it's just over the bottom pointy end of this shape, and then we're going to do the same thing on the other side. Now because this shapes got this fluffy edges, it's pretty resilient. If you miss it by a pixel or two, it's just fine. You're not going to a larger set. We're going to bring this top edge down to intersect with the topmost pixel of this shape and the bottom one, well, we're just going to get it about here would be good. I'll click the check mark. This is a chevron pattern. We'll choose "Select All" and that's only selecting the visible pixels. Even though the other pixels are still around the edge, it's only selecting the visible ones. We'll choose "Edit" and then "Define Pattern." We're going to call this chevron 1. To test it, we'll create a new document file, New. We're going to create a document 3600 by 3600. This is our scrapbook paper size, but of course, it needs to be 300 pixels per inch. I'll click "Create." To fill it, we're going to choose ''Layer'', ''New Fill Layer'', ''Pattern'', click "Okay." Our last pattern, the one that we just created is the one that's used to fill up the document. There is our chevron pattern, but you've noticed that we've got a really big whitespace in here. What if we wanted it to be tighter? Well, let's have a look and see how we can do that. We'll go back to our original pattern pairs and I'm going make sure that I select the Crop tool. I'm going to drag down to add a little bit of extra room to this pattern so that we can get a second one of these chevrons into the pattern. As I'm dragging down, I'm looking at the tooltip because I want to make sure that I've got an even number of pixels for the height of this documents. I'm looking here and at the moment, it's 706. I'll just click the check mark here. The document is 706 pixels high. If you need to check that, choose "Image" and then "Image size", and you'll be able to read the height of here. The width doesn't matter. That's not going to be affected by this, but the height is critical, so it's 706. I'm going to make sure that I know what half of that is and it's 353, I need that measurement. I'm going to take this layer here and make a duplicate of it. I'm just dragging it onto the new icon, and what I'm going to do is I'm going to move this shape down 353 pixels. In other words, half the depth of this document. I'll choose "Edit" and then "Free Transform." I've got the middle of these options here selected, that's just fine. As long as you've got one of them selected, that's all you need. We want to move this shape in a downwards direction, which is the y-axis. We're going to this y-value. At the moment, it's 271.50. Well, we want to add 353 to that and I don't want to have to do the math. I'm just going to go between the number and the px and hit the plus sign and type out 353, and you'll see that it's moved down automatically. Now, if your version of Photoshop doesn't have that feature, you will need to get a calculator out to do that. I'll just click the check mark. Now, I need to put the design up in this area. I'm going back to this original pace. I'm going to drag it onto the new icon again. I'm going to choose "Edit" and "Free Transform", and this time, I need to move it up 353 pixels. I'm going to its y value here, and I'm going to subtract 353 pixels and click the check mark. This now should be a seamless repeating pattern. We can see that we've got a whole blue shape which is going to fit in down here. I'm going to select everything with Select All, Edit, Define Pattern. This is going to be chevron 2. We'll go back to our document that we're working in, double-click this icon here, click the drop-down list because we want the very last pattern, which is the one we just created, and I'll click "Okay." There we have a chevron pattern where we've got more of the green color than we have of the white. In the earlier version, we had more of the white than we had of the green. If we look into this pattern, you can say that it's got that classic Ikat look. Everything is nice and fluffy. I suggest that you do make yourself an Ikat action, and you may want to experiment with different combinations. For example, you may want an Ikat action that has two Blasts and just one Wind in it. You get even more destruction of the edge of a shape. Just experiment with the Wind filter, and if you're creating them as actions, it's very easy to apply them to a shape by just running the action. 11. Project and Wrapup: We've now finished the video content for this course, so it's over to you. Your project for this class will be to create your own Ikat pattern, and then fill a document with your pattern and post a copy of your filled document as your class project. As you were watching these videos, you will have seen a prompt asking if you would recommend this class to others, please, if you enjoyed the class, would you do two things for me? Firstly, answer yes, that you do recommend the class and secondly, write even just a few words about why you enjoyed the class. These recommendations help other students to say that this is a class that they too might enjoy and learn from. If you see the follow link on the screen click it to keep up to date with my new classes as they're released. If you'd like to leave me a comment or a question, please do so. I'll read and respond to all of your comments and your questions, and I'll look out and respond to all of your class projects. My name's Helen Bradley. Thank you so much for joining me here for this episode of Photoshop for lunch, create Ikat patterns, and I look forward to seeing you in an upcoming class soon.