Photoshop: Create Awesome Polygonal Patterns Using Shape Layers, Brushes, Gradients and Masks | Benjamin Halsall | Skillshare

Photoshop: Create Awesome Polygonal Patterns Using Shape Layers, Brushes, Gradients and Masks

Benjamin Halsall, Final Cut Pro X & Adobe Courses

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5 Lessons (33m)
    • 1. Class Introduction

      0:46
    • 2. Creatine Your Polygonal Pattern

      14:45
    • 3. Changing Your Polygon Colors with Adjustment Layers

      3:37
    • 4. Painting Your Polygons with Brushes and Gradient Fills

      6:58
    • 5. Using Layer Masks to Complete Your Design

      7:16

About This Class

In this class you will run through some great techniques using a range of toools in Adobe Photoshop that includes creating custom shapes with the Polygon Tool, customising color fills using brushes and gradient fills as well as making smart use of masks to allow independent color control of different areas of your image. 

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Transcripts

1. Class Introduction: Hi there. My name is Ben Household. I'm gonna be teaching it. It's less in their very first shop covering how to create call polygonal patterns. And as you can see here, we're gonna be working with different shape players on some different color effects and shading using the brush tool using Grady INTs on, then looking at how we can manipulate and adjust our polygonal patterns into a background design or design that we can use a number of different scenarios. We're also gonna have a look at how we manipulate color using adjustment layers on. Also, how we had to noise adds a nice texture that will work well when you're looking toe print out these types of radiant patterns in the polygonal design that you'll be creating a 40 signing up and look for to seeing some of your project work on the course sport in the near future. 2. Creatine Your Polygonal Pattern: Okay, so we're here first up today, and we're gonna have a look how we create a polygonal background such as the one you can see here from scratch. So we're gonna have a look at how we create the polygon layers and then also how we use the paintbrush to fill each of these polygon. So the nice thing about working with a paint brush in this way is you can get some real nice customized great. It feels more pattern fills within the polygonal shapes they're working with. Now, we're going to work in the triangles, but there's no reason why I shouldn't use a more complex Holly Gagne. Heck's going on something like that, but we're gonna go ahead. What? Triangles? Just because it's a good place to start. Okay, so we're gonna go ahead and create new fire here. Now you can click the new file button here, or if you don't see that you can go to file new Can You'll see that in older versions of Photoshopped as well on, we're gonna go ahead and create a customized document. We're gonna be working pixel size. Okay, now, as I'm saying, this happens to be a good size for HD video for a background for a Facebook come head up or a Twitter header. Awesome like that. So I'm gonna make this 1920 by 10. 80 which is a full HD project. Okay, for video, we're gonna leave the Resolution 72 DP. I wouldn't worry about the resolution here. We're just worried about the pixel dimensions that we have here, and we're gonna leave as a white background, but we're gonna leave it as a generic RGB profile on the pixel aspect ratio square pixels. So we're gonna click. OK, we've got our brand new project set up on just to make sure that we're all looking at the same screen layout. We're gonna go to window workspace on reset essentials and that's going to reset the essentials Layups in whichever version of photo shop you're working. So we should see a lot of tools that we need in the same spot. So that means we got our layers panel across here on the right hand side. We've got libraries are colors and swatches up here on the top. Right. Okay, so let's go ahead and we're gonna create our first polygon. We're gonna come to our tool bar on the left hand side here and come down to the rectangle tool. Okay? And we're gonna switched back to the polygon stool. But the polygon tool here allows to create a number of different shapes. OK, so we can create pulling off the six sides eight sides. We can also create stars. We can adjust how this is working by either coming up to our options toolbar at the top here on adjusting the settings. Okay, so you can see under here the settings. If we check star, then we're gonna have some star settings that inventing the points of the star on. We can also change the number of sides from 53 for a triangle. OK, on now, if we go ahead and drag us out, it's gonna create triangle. OK, now they're trying at the moment when we have it selected has a white Phil. That's why it's not showing up here Very well. Now we're gonna change the field color to a different color. We could choose from our swatches here, or we can change to the color picker to pick out a customized color. Okay, so if we click. OK, there. Change the color feel of our shape. We can also, if we come across the layers panel of the bottom right, Double click on that sports icon for this layer. And we can also change the kind of their we can see it live change. And we're gonna be changing this a little bit as we go on for our different layers. Okay, so now let's go ahead and have a look. That kind of one of the latest steps of that we're gonna be using within this tutoring, which is how to fill this struggle with a custom color from a paintbrush. Okay, so if we come to our paint brush tool on the left hand side here, Okay, but it's creating new layer to use the paintbrush, so we're gonna correct brandy later on. Once we have our layer created, we can now go ahead and paint on that new layer. So we compared with color we have, which is currently set, black is not just gonna go to edit and undo that. You know we're gonna do is actually paint just within this triangle, so I'm gonna grab I color here. We'll grab a nice. Uh, green. Okay, I'm gonna increase my brush. Nice. Now you can increase your brush size in a couple different ways. We can write flick, contract the slider to increase the brush lies, Or if we're using the brush here, we can use the right or left square bracket to increase or decrease the brush size. Okay, It's gonna take a step back there to remove that grain. Now, the other thing we want to do is decrease the hardness of operation. I'm gonna drive my hardness down to somewhere between zero and 20%. So have a nice, soft edged brush. Okay, Now I'm gonna increase the size of my brush. That's almost filling or filling the pull that triangle. And I'm just gonna Russian some green on a few sides of that. And then I will come down to my color picker. Here. We'll switch that grain. Teoh. A nice orange. Now, here in the color picker on you're not sure how toe pick different colors. There's a few different ways of working with it. So the moment I'm adjusting the red value, okay, here in my slider. And then I could pick colors related to that in the color picker across here on the left. But it won't change the human that's liner, that I can switch to you. And now I can drive through and change the here. So we're gonna pick this nice blue here. Okay, click. OK. And we can come in and brush that in to decrease the size of my brush a little bit. Okay, Nobody really worried about what's inside this triangle, okay? And we'll leave it at that. Now what I want to do, I've got a big mess. It is. I'm gonna come to my layer right click on the layer itself and changes to create clicking musk. Okay, so now you can see the blue and green. I painted a constrained within that triangle. Okay, so I can pick other colors here, So let's go for a little bit of a lighter purple. Now, when I paint, it's just gonna gradually allow me toe edge in some other colors around the edge of that triangle. OK, so by painting on this layer as a clipping mask that can really control nicely toe the way that color is fall, it's so if I come back to the left here go to my color picker Della thing. I could do if I want to keep the same tint of color to the same Hugh is. I could go to the saturation or brightness Onda. Just those the slightest I can reduce the saturation which will lighten the car a little. OK, but keeping the same you like and Brighton it. And I can use that to kind of adds nice color tints around the edge Cancer. We get those same hues of that purple mixed him a little bit brilliant blue. And for a nice effect there. Okay, so we're gonna go ahead and say this fast. I'm just gonna go to file savers and I'll say this as what I got backrub. Okay. This option here is basically about maximizing the compatibility with older versions of Photoshopped. So I'm gonna click OK to that. I'm So now as I go on, I could just click file State. So let's take a step back here, so I'm gonna delete this later. I painted on in the first instance, and now just work on the passing of my triangles. Okay, so I'm gonna come back to my move tool, which allows me to move this layer. Okay, on. We're just gonna have a look. A couple of things here. So with the move toward, we could move the lay around. We can use commodity to transform that lay up. Okay, press escape to come out of the transformation. But we can use the path selection for the direct selection tool on below the part selection to make changes to the shape of our triangle again Seiken Now with direct selection tool throughout the corners, that triangle and basically adjust them directly. So this is where we're gonna go ahead and start toe create car kind of polygonal pattern here. So I'm gonna hit enter. Once I've changed that, I want to build up a few different triangles here, So I'm gonna come in to my last pill. Okay? On there's a couple of different ways in which we can duplicate the layer that we have here . The first is to take that layer and drag it down to the new layer. But the bottom my last. Okay, so once I've done that, I've got two layers here. And if I select his top most layer like a drag boots one corner of that triangle and make a second triangle which will match up perfectly in a couple of spots on. Then we're starting to build our trying a polygonal pattern. Okay, Okay. Let's go back in time and edit me. So if I select the first layer, Okay, I can adjust this. I go to my second land and adjust that now, one thing that doesn't happen in photo shop is that when we bring the corners of polygons or these points next to one another, they don't snap like they do in Illustrator. So we're gonna go ahead and bring up the grid, which is gonna help us snapped these into a certain position. So if we go to view and show, you can turn on the grating. And now, if we zoom in a little on our triangles so I use command and plus or control plus on the PC . Now, when I move these points, they'll snap to those individual past the group. So it's important toe get these corners of your triangles matched up so that we don't get any big gaps between our triangles. The mail, local nisman tighter. I'm gonna answer time off that go back to my first polygon and then moves this. Yeah. Okay, so what's it done that we've moved those two points to the same spot? Let's go around here. Move these two points on the grid. Which is just gonna make my life a little bit easier later on as I work through stuff. Okay, so we're slipping between layers here. Now, one of the short cut we're gonna use for moving between layers is too grew up there, move toe when were selecting different polygons. And we've only got two here at the moment when we've got lots up on screen, using the shortcut here is gonna make a big difference. So if I hold down the command or control key, I can select those different layers and you can see as I click on those liars, the polygons is actually flipping between them in my last pound. Okay, so I could move to one layer, I compress a which will jump me back to the direct selection toe. We can move this points press TV, which would jump me back to the move tool like, and then hold down, command or control, select this layer and then jump facts away and then snap those to another point. And then we'll come down here. I will stop this pointing to a point as well. Okay, so these anchor points, the corners of my triangles are now all snapped. Come two points on this grid, which means that they're in exactly the same spot. Which means that things will be nicely alive when I'm working on them later. Okay, so let's go ahead and adjudicated another political. So, in fact, before we do that, I just want a double click on one of these. And I'm just going to adjust the color of it slightly so that we can see these building up . So that's that. Duplicate this leg. So if we can still a little many here, you can see we've got an option to adjudicate the later okay, Actual glass to duplicate it, we can then jump to our direct selection tool and movements. Okay, let's keep on adjusting the colors so that we keep on seeing the difference between each of these colors won't matter once we start to paint with many shapes. But as we build them up, it's just gonna help us to see where the edges of these triangles are. Okay, so let's go ahead and work on this again. So now if I helped on the whole key on the PC automatic and then click on one of my layers and just drag out you can see I get a little double headed arrow within my life. Is that okay inside? Now, that means I've duplicate the layer by holding out hold. I've got my direct selection tool selected already. And so now I could Dr House. So I got another polygon double click here. Change the color of that has changed color for these. Want to kind of usedto how you're working with a lot of guns because you'll see the edges. But how to get it going is a good idea. Just gonna be up to see where your polygons up. Okay, so now I'm gonna start jump between the move towards direct selection tool to make some quick changes it. So I'm gonna press the wiki, okay to grab the move tool. And I miss select this leg. I can still holding down command to select that layer. But now So I'm gonna come to my layers panel and duplicate that layer and then jumped back to the direct selection toe to pull this across the Okay. So you can see we're starting toe. Build these up quite nicely. Okay, let's do one last one here. I'm gonna help down the okay, duplicate this new polygon that I made. Okay, I'm gonna pull this point up in the top right down to here, and it will snap to the grid, and then I'm gonna jump in, double click here, and then go ahead and change this. Okay, so now we've got the kind of basics established here. What you need to do is basically build up your polygonal shape. Okay? So I'm gonna go ahead and grow up the move tool, and then just keep working on these as I build them up. So I'm gonna go from the move tool across the layers, duplicate that layer, press a jump back to the direct selection tool. Move that point where I want it double click to change the color. We can choose a different color as well. Okay. And then do the same again. Press pool to ticketus laugh, which we can do with the move or the direct selection tool and use the direct selection tool to stretch this out. Okay, change the come on. Okay. And then we'll keep going until we've filled up this whole space with polygons. So go ahead, get started with correcting upon a guns. And once you get in a flow, you'll be ableto movies around on and get a nice pattern. 3. Changing Your Polygon Colors with Adjustment Layers: Okay, so it's probably think about 5 10 minutes toe to fill up your design with the Pentagon's. Once you've done that, we can go to view on the show menu on turn off the grid. We could use the shock up, and initially you got a nice pattern grip. Now, one thing that you need to keep an eye on is that in between each of these objects that I'm just gonna change the color of this one. Okay, we get this white line, okay? Now, however perfectly matched the edges of your polygon. Are you always get this white line between those shapes within Photoshopped. Now, what way we can deal with this, He's gonna pull my layers panel out here. We got where? A few more layers now, One for each polygon. Okay on. I'm gonna select their top, most less. I scroll up to the top, Select the top most layer, scroll down, select the bottom, but my slayer, whilst holding now, shift that we could go to a menu here on Jupiter. Eight layers. Okay. It's gonna make a typical of all those layers. Okay, which will be placed above, and then we get a right. Click here and we're gonna go to rest. Arise later. That's gonna rest Arise on all those layers. We were duplicated. I'm never gonna come to my menu up here. We're gonna go to merge layers, so I'm actually do those steps in order that's gonna emerge. Aversion. These layers fall together, and I still have that white band here. So what we're gonna do is I'm gonna zoom to fit. So Commander Zero Okay, I'm gonna go to Filter Blur and Gaussian Blur. Okay? Just blurred by a few pixels. All merge the edges together. And then what we could do We could drag this land. It's merge. Laugh which we can see the thumb out here. Down below. Keep trying down. Okay? Don't lower other layers. Okay, So now with that layer at the back, we zoom to 100%. You can see when we turn this. When we turn this layer on enough, we'll see those lines reappear. So if I turn this layer off, those white lines rip here. If I turn it on, they disappear. So just adding a little bit extra anti. Listen below those layers. One of this, the last minute once we've finished and completed our design. So I'm just gonna drop this layer for the moment. We're gonna go ahead and start to paint some color into our this iron here. Okay? So just wanna get my layers back down to that right side. It's a misdemeanor to window workspace and resets, and Children's gonna dock it back down there and I'm gonna make sure scrolled up to the top here from my top. Most layer is gonna have a look at one thing we can do it. So used the grid that we've got force that's going paint into each individual grid, and that is to add a hue and saturation adjustment layer. Okay, we're gonna turn on color rise here, which is gonna allow us to cull. Arise those different layers. Okay, so now we have, ah, single color that were actually colorizing those legs with We could turn a saturation up or down so we can get a nice kind of effect for a backdrop in this way. But obviously, we have to merge. These layers do that blurred layer behind. I am so that we lose these white lines, but we're gonna go ahead and actually paint into each of these polygons now. So I'm gonna close the properties here on delete this hue saturation adjustment layer. The hue saturation adjustment layer is nice. You could use it a number of different situations for kind of some consistency into the way of designs working. 4. Painting Your Polygons with Brushes and Gradient Fills: So now we're gonna scroll down to the bottom. Most layer that we have here putting on the one, and I'm gonna crack brown. You laugh, Okay? And I'm just gonna make sure I've got this layer visible. So if I turn that layer on and off, I could see which layer is That's where I wanna be painting. Go to my land. One right click. I go to create clipping mask. Okay, so we'll grab my brush tool. Okay. And for the brush to, I still have the same settings. I've got it as a large brush. The hardness is set down somewhere between zero and 20 depending on what you want. Okay? And why my color set here? Okay, basically, now we're going to start toe, Russian toe. Uh, this shut. Okay, so I'm gonna fill it up first. Come then, start to work with the color here. Now what? I want to do extras. I want to get some consistency between the different cause I'm putting into which the shape . So I'm gonna pick a nice orange car here. Andi, I'm gonna save a few swatches, so I'm gonna at some swatches for right? Kind of. Okay, They're of your heart. Swatch for a slightly darker shade. Okay. A very dark orange here. And I'm gonna go back to my brighter color. Just create one very light color. One very light color here for a my life. Okay, that's cancel out there. So no, my brush. I could pick any one of these. I'm gonna go for a bright orange. First start to paint in there, and then I'll pick my highlights and just start toe kind of work in. It's a different edges to the show. Okay, You can see now we're getting some noise colors in that shape. Okay, so let's go ahead to the next point I got up. It should be right next to it. Okay, We're gonna create brandy laughed. Create clipping mask. Okay. I'm really now we could just go through and start toe, work up these different shapes so that we get a nice kind of shaded falling on a pattern that good. So work through these and we can always go back in and adjust the layers that we painted already. So grab another layer and create a new layer, create clipping masks, and then start toe paint into that new layer. One thing you might wanna do as you're painting in here is just drop your pastie of your brush. You're kind of building up that's darker or lighter shade within that. Okay, Another way that we can still are putting on shapes them is by using the greatest tool. So I create a new layer, that clipping mask as we did before. So Okay, so another way that we can fill the shape of cut up is by using the great insult. So we're gonna try a new layer above one of our polygon last year, right click again to create clipping mask, and then we can see which layer we're working on here now with the radiance will, once we have it selected in our tool bar on the left hand side Here, we can jump up to the greatest panel here. And if we click once there, it's going to allow us to add in extra points to our radiant as we go from left to right here. So Okay, So once I had the great until selected across here, I could double click on my graded editor and come up and add some of this watches that I've added here. So if I scroll down on my swatches panel across here on the right, I can select one of these stops. Selective color. I want two years of that. It's like the other end of that select a darker color that I want to use. Okay. And so I'm just gonna have to stops on this Look, okay. And then now, in this shape, where I've created my clipping mask layer above, I could just drag across that, and it will create other great it in there so we can come in and we can adjust this a little bit later on winter brushes. We can also use a radio Grady in here as well, creating new layer at the clipping mask. It's just check which they were working with. And then we could drag out a radio radio as well. You can see it. Get some nice effects with this method to so keep painting or have a go working with the Grady until here to add fills for your different layers. Both these methods world war costs of nice results. Okay, So once we've completely filling our great mass, we could now go through and have a look at kind of refining of where the brighter parts of those layers up looking at how we can kind of make some adjustments. So, for instance, over here, this trying it wasn't quite the rights. And I'm gonna grab the little select that layer, and it will select the painted let because it's above the polygon black and then jumps the brush tool that I could just jump in here and start toe play around a little bit with how great it is falling on that shapes. I could just kind of work work in so new detail into that color. And so I'm happy with it, okay? And we can go through and by jumping between little so they oh, no commode. Select a layer and then jumping back to the brush. Tool B is the short cut for the brush. We can go in and start to make some adjustments, those different layers from where we see fit. So, for instance, up here we might want just can change the way that some of these layers air tinted. So, Presti well, that command tactic and work on this It's like darker laugh grabbed brushstroke on their work head. A few more highlights into some parts of this this later. Okay, 5. Using Layer Masks to Complete Your Design: Okay, So, overall, I'm recently happy with that. We can have a look as well how we could make some adjustments and to use that in the jump back to veto clam here. So if we wanted to have it more color consistency as we looked at before, then weaken scroll up to the top. Most layer when they're not actually select the top mess layer. And then add a new hue saturation adjustment layer where we can then work on tweak the hue until we're happy with it. We can also use the colorized option here as well as you looked at before to colorize on the layers so it can work on pushing the saturation. So once we've got the kind of painted elements within these layers, then we can really flip it to any color that we want to a zoo. We're working with it. One nice thing about this as well is that we can also at Cem effect on to these layers. So by using the hue saturation adjustment layer if we grab, for instance, the brush tool here on grab black is the floor ground cover would increase that. Now we can Moscow areas off that foreground last, So we can start toe, have one hue, saturation adjustment layer for one part of lab. And then if I hold down the fort key and duplicate issue saturation adjustment layer and then what I'm gonna do is select my mask, go to command guy, which will invert that mask. Okay. And then if I go back to the hue and saturation adjustments here, I can. Now it's weak, one part lavage to be one color, one level of lightness. Okay. And then I can go to my other hue saturation adjustment layer, and you can see these are complete opposites, and I can tweet that. So I get some different kind of color effects blending across when you can see how we could get some the effects that once we've finished this and we're happy overall with the look of feel at that point, then we've merged these layers and blow that background so that we lose these white lines between those layers another adjustment layer so that we could use Hera's well check of the make sure I've got the top most layer selected here his the levels adjustment layer and here I can I can adjust how doc the image becomes by restricting the Macrae. And also I just have Brighton image comes by moving these help level slightest as well. So you could get that kind of nice, muted image That's great for overlaying text on top. But also tweak the midpoint here as well. Andi, adjust the contrast of the levels as well. So we get some interesting effects. But always that kind of muted effect that gets that I couldn't Nice, useful layer overlaying graphics on top off. Okay, let's minimize that. And I'm gonna delete that levels layer for the moment. And these two Hugh saturation adjustment layers jump back to my move tool. Okay, so let's go ahead and begin to manage these layers now. So what do you like that is gonna go to file, save, save all the work I've done so far. But keep these polygons intact in case I want to go back and edit them. So now I'm gonna get to file, save us. I'm just gonna pin this with the 01 So version one and click. Okay, Save. And now I'm Nick. Grab all of my last year, so I got my top mostly selected. Go to my What's the most lap? OK, and then click up here. The top, right, My layers panel. Keep that. Hate those letters. Click. OK, come here and then go to merch layers, which is gonna merge all those layers into one laugh. Okay, I want to have merged. There's a lot. That white line has been removed, but they're still if you zoom in a little bit sometimes over a white line between those different layers. So I'm still gonna zoom out, okay? And then drag this layer dance The boat of okay should go to filter, blur Gaussian blur, and then just adjust my blur level here. Okay? So somewhere between find a knife click. OK? And now you can see we've lost those white lines in between those layers. So now we've got to save version with all the polygons intact. We can now come up here to the top right ago to flattered emissions flat on that image right down. And now we could look up adding a little bit of grain of into this image on some other color effects. So one thing you'll notice with the radiance is that you get a little bit of bounding sometimes within the greatest, particularly your printing things out. So I like to add a little bit noise into that. We go to filter noise and that noise. Okay, We're gonna have somewhere between one, two or three percent of noise. Okay? And that just gives it this nice kind of film. It look all right, So we've got a nice noise in there, and now we can go ahead and our levels on our adjustment layers to kind of work on and change their kind of color consistency off off this person that we've created. We could do that within the levels by adjusting the red, green and blue values poor. My foot method is to bring up hue, saturation adjustment layer where I could then come arise it. So I got a nice kind of consistent color across that whole image. Okay. And then we'll use a great of this time, and we could use the brush toe. And with the Grady int set up here, we can come to a hue saturation adjustment, laugh. Just gonna zoom in a little bit. And I could just drag that cross, and it's gonna give me this nice say from one color, the color in the background. I'm to dis adjusted layer so you can see you get some nice effects, like I for that yellow to blue. What a purple have only gets a nice, cool background effects that we can work with Now there's a little techniques you can play around with and work with when you're working with these polygons or with the clipping mask layers. But this should give you a good introduction to how to get on and work with these different sects.