Photoshop for Lunch™ - Pattern Bombing Effect - Patterns, Selections, Mask, Warp, Vanishing Point | Helen Bradley | Skillshare

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

Helen Bradley, Illustrator for Lunch™ & Photoshop for Lunch™

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

Helen Bradley, Illustrator for Lunch™ & Photoshop for Lunch™

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5 Lessons (32m)
    • 1. Photoshop for Lunch™ - Pattern Bombing Effect - Introduction

    • 2. Photoshop for Lunch™ - Pt 1 - Make a Selection

    • 3. Photoshop for Lunch™ - Pt 2 - Pattern Bomb Effect

    • 4. Photoshop for Lunch™ - Pt 3 - Patternbomb a round building

    • 5. Photoshop for Lunch™ - Pt 4 - Patternbombing in Perspective

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About This Class

Photoshop for Lunch™ is a series of short video courses you can study in bite size pieces such as at lunchtime. In this course you'll learn what pattern bombing is and how to do it in Photoshop. You will learn how to make selections; make masks; scale, warp and perspective warp patterns; and blend images seamlessly together and more. All images and patterns are available for free download (see the class project for download links). This is one of the three pattern bombing effects we will create:


More in the Photoshop for Lunch™ series:

10 Photoshop Pattern Tips and Techniques - A Photoshop for Lunch™ Class

Circle Patterns - Step by step seamless repeat patterns - A Photoshop for Lunch™ class

Creative Layer Styles in Photoshop - A Photoshop for Lunch™ Class

Make Patterns from Sketches & Digital Art - A Photoshop for Lunch™ Class

Photoshop for Lunch™ - 10 Blend Tips in 10 minutes 

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

Photoshop for Lunch™ - 10 in 10 - Ten Top Photoshop Tips in 10 minutes (or less)

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

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

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

Photoshop for Lunch™ - Abstract Glowing Backgrounds

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

Photoshop for Lunch™ - Bend Objects with Puppet Warp

Photoshop for Lunch™ - Clean & Color Scanned Line Art

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

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

Photoshop for Lunch™ - Complex Pattern Swatches

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

Photoshop for Lunch™ - Create a Color Scheme Graphic

Photoshop for Lunch™ - Create a Custom Character Font

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

Photoshop for Lunch™ - Create a Reusable Wreath Design

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

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

Photoshop for Lunch™ - Create Complex Half Drop Repeating Patterns

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

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

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

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

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

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

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

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

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

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

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

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

Photoshop for Lunch™ - Emboss and Deboss Text and Shapes

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

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

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

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

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

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

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

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

Photoshop for Lunch™ - Intro to Photoshop Actions

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

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

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

Photoshop for Lunch™ - Make & Sell a Shapes Collection

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

Photoshop for Lunch™ - Make & Sell Scrapbook Designs - Formats, Files, Marketing Materials

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

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

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

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

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

Photoshop for Lunch™ - Metaball Patterns - Structured and Organic

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

Photoshop for Lunch™ - Overlapping and Random Circles Patterns

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

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

Photoshop for Lunch™ - Pattern Making - Seamless Repeating Patterns

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

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

Photoshop for Lunch™ - Photoshop Inking Techniques

Photoshop for Lunch™ - Preparing images for Social Media, Blogs and eBooks

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

Photoshop for Lunch™ - Recolor Pattern Techniques

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

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

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™ - Sketches & Brushes to Whimsical Patterns

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

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

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

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

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

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

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

Photoshop for Lunch™ - Valentine's Day Inspired Hearts

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

Photoshop for Lunch™ - Whimsical Rotated Patterns 

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

Photoshop for Lunch™ - Whimsical Textures for Drawings

Photoshop Type Basics - Tips Tricks and Techniques - a Photoshop for Lunch™ class

Using Textures in Photoshop - A Photoshop for Lunch™ class



Meet Your Teacher

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Helen Bradley

Illustrator for Lunch™ & Photoshop for Lunch™

Top Teacher

Helen teaches the popular Illustrator for Lunch™, Photoshop for Lunch™, Procreate for Lunch™ and ACR & Lightroom for Lunch™ series of courses. Each course is just the right length to take over a lunch break and is packed with useful and fun techniques. The projects are designed to reinforce what is taught so they too can be easily completed over a lunch hour or two.

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1. Photoshop for Lunch™ - Pattern Bombing Effect - Introduction: Hello, I'm Helen Bradley. Welcome to this episode of Photoshop for Lunch Pattern Bombing Effect. Every Photoshop for Lunch class teaches a small number of Photoshop techniques, and you'll get plenty of opportunity to practice your skills when completing your class project. Today, we're going to pattern bomb some buildings now. This is graffiti, but without the risk of being arrested for it. I really think that you're going to enjoy this class. You can use your own patterns or I'm going to give you some patterns that you could use as well. Now, as you're watching these videos, you will see a prompt which lets you recommend this class to others. Please, if you are enjoying the class, do two things for me. Firstly, give it a thumbs up, and secondly, write just a few words about why you're enjoying this class. The reason for this is that recommendations help other students that skill share to see that this is a class that they too might like. Now, if you'd like to leave a comment or a question for me, please do so. I read and respond to all of your comments and questions, and I look at and respond to all of your class projects. If you're ready now let's get started, drawing patterns that buildings in Photoshop. 2. Photoshop for Lunch™ - Pt 1 - Make a Selection: This class has been made as a result of a student asking me if I could teach them how to do pattern bombing. So I went and had a look at pattern bombing on Google and this is what I found. Essentially what you're doing is you're taking patterns in Photoshop and you're going to put them on buildings or basically anything else. You can see somebody here as put it on an elephant and they've covered small toys with patterns and all things. Basically it is putting patterns on things. What it involves is a similar set of techniques as you would use for mocking up designs on anything. It's just that here you are having a bit of creative fun as well in the process. I'm going to show you a few projects that you can do in pattern bombing. I've chosen them specifically because they're each going to show you a set of skills that you're going to need to successfully pattern bomb things. Let's get started in Photoshop. This is the first image I've chosen to pattern bomb in Photoshop because it's basically a face on building. This is like the simpler of the techniques, but there's still a lot to learn in the process. Then we'll look at some more complex buildings and how you might approach those tasks. Now this image is from ones I'm going to give you the download link for it. Let's start by viewing the layers palette. I'm just going to reset my workspace and here is my layers palette. What I want to do is get a duplicate of this background layer. I'm just going to drag and drop it onto the New Layer icon, background layers locked here as a duplicate, I'm going to turn the background off. Generally, when I'm doing things like this, I want to keep a copy of background just in case I need it, and I am going to need it for this process. The next thing is to mark out the areas that we don't want the pattern applied to and that's going to be the roof and the windows. Now, how you make these selections is up to you. I'm thinking I can probably select the roof really easily using a tool such as the magic wand tool. I'm going to select the magic wand tool. I'm going to choose contiguous because this is just one big area and I'm going to beef up my tolerance. I'm going to start with size 75 and just see how that works. Now, that's a big tolerance. You can see just with one click, I've managed to select pretty much all of the roof except to the shadow areas. I'm going to click here on "Add To Selection," I'm going to click on the shadow areas. With two clicks, I've managed to isolate this area. That's a good selection. I'm going to make a mask from this. I'm going to select the layer that I want to add the mask to and just click the add mask icon. Now I've blocked out everything except for the roof. Now, it doesn't matter if I get my mask the wrong way around because it's easy enough to turn it the other way later on. Right now I'm going to turn my mask off. I'm going to hold the Shift key and click on the mask. Now that just turns it off, which lets me focus on the building again. Now, the next areas I want to select are these areas here. I could do it in one of a number of ways. One of them is to go again to the magic wand tool and just select these gray areas. Now, this time my tolerance is way too high, so I'm going to bring it back down to say something like 40. I want to get all of my grays, but I don't want to get a lot of other colors. So let's try 40. That's a pretty good selection. I've got add to still selected so I can click again on a darker areas. Now I'm going to run across the image, picking up these gray areas this way. Now I've picked up a few extra areas that I didn't particularly want, but that's fine right now. I also want to keep these windows. While I've got a selection in place, why don't we add to this selection? I'm going to the rectangular marquee tool and I'm going to click "Add" because I want to add to what I've got here. Now I'm just going to drag my marquee over the windows and I can make a really low selection into the gray areas because we've already selected the gray, so I'm just adding to the already selected areas. This is allowing me a very quick and easy selection for these windows. This is not rocket science at all. Still got a few areas that I may not want. Let's go now to the Quick Mask. I'm just going to click to edit in Quick Mask Mode. I can look and say just how bad the selection was. I'm really thinking I can probably just ignore these problems for now. But if you needed to remove some areas from your mask at this point, you could go to the brush tool. The mask can be painted on in black and white. Let's just test this. If we paint in white, we're just adding to the mask. If we paint in black, we're going to be removing from the mask. If we want to add to the mask we're going to paint in white, if we want to remove from the mask, we're going to paint in black. Now I've got a few areas here that are over mask, so I'm just going to paint in black just to remove these areas. It's always very, very simple to work out what you are supposed to be painting with because you've got a brush here that you can test it with and you've got an undue key with Ctrl or Command Z to just undo things, that's very easy to just tidy up your masked areas. If I'm finished and when I'm finished, I'm going to click here to come out of Quick Mask Mode, I'm going back to the mask that I created earlier. So I clicked on that mask, and you can see that I have these selections across my image. It's not perfect, but it's going to be good enough for this process. Now, what I want to do is I want to add this area to my mask. You can see here when we blocked out the roof here, we have the mask filled with white in that area. So if we block out these windows, then we're going to need white in this exact same area. With the mask selected white as my foreground color, and I'm just going to press Alt or Option Backspace, and here come our windows. Now that we've done that, I'm going to press Ctrl or Command D to de-select the selection, and let's now go and get our pattern. 3. Photoshop for Lunch™ - Pt 2 - Pattern Bomb Effect: For a patent for this, I'm going to use a pattern I made in a previous class. I'm going to give you a download link so you can get the pattern yourself and also a link to the class just in case you're curious about making patterns like this yourself in Photoshop. They're going to be in the class project area. I'm clicking on the background layer and I'm actually going to make that visible now. We're bringing back in, the elements of our building. Now with this last selected, I'm going to choose Layer, New fill layer pattern. There are other ways of putting patterns into images, but I like this way because it allows me to size the pattern. I'm going to click Okay. Now it defaults to the last pattern that you made. I don't want to use that. I want to use a pattern that I have here, a set of little birds here, stat I made, and this is the one I'm going to give you. Now the scale is too big for my liking. These birds are too big, so I'm going to scale it down to 10 percent and see what that looks like. Well, that's too small for me. Now I can just increase the scale until I find something that I like. I am going to settle on about 18 and click Okay. Now this is the pattern applied to our building. It's okay, but we've lost all the detail of the building itself. If we have a look here, the building had planks of wood on it, and it's got some interesting things happening here at the eaves. What I'm going to do is use a blend mode to blend this. I'm going to select this layer on a Mac. I'm going to make sure that I have something like the marquee tool selected, something that is not a brush tool that's critical on a Mac. I'm going to select the first of these blend modes. Then on a PC, I'm going to use the down arrow key. On a Mac, I would use Shift plus to navigate this list of blend modes. I'm looking for a blend mode that's going to work here. Now for this particular image, I'm thinking that multiply is going to be a pretty good choice. One of the reasons why I chose this image, and you'll find it's a whole lot easier was that the building was actually white. That means that you're not going to when you use multiply as a blend mode. You're not going to get a lot of color in from the building underneath. We're going to see in another video, how we would solve that problem for other buildings. But for now, let's just go with multiply. Now there are a few other things that you could do that would help this blend in. One of them is to reduce the opacity on the patent layers. I've got the patent layer selected, bringing the opacity down to about 90 percent. Again, that's going to allow some detail from the underlying building to show through. Again, reinforcing that this is a patent on a building that has timber panels on it. The other thing you might want to do is look at this area here. Because if we actually had applied a pattern to this building, the pattern would be much smaller here because it has to bend around certain areas. Let's see how we would approach that. I'm going to take this pattern layer and I'm going to duplicate it. We'll turn the back one off for now. I'm going to rasterize this one because it's going to be easier to work with Restorize. Rasterizing it is just turning it from a pattern filled layer which is editable. You can see here I can edit this one easily to one that copy edited. Let's turn that off again. Now with this one, I'm going to select the layer. I'm going to Control Click on the layer here. I'm going to choose edit, transform scale, because why I want to do is squeeze the pattern up. Because it would be squeezed up if it was bent around this top area of the house. I'm just going to move it into position and click the check mark. Now what I need to do is quite simply mask it out. I only want this pattern to apply to the top part of the buildings. I'm going to press Control or Command D to de-select the selection. I'm going to select over the whole of the bottom of this building. Now we learnt from masks here that if you want to hide something, you fill it with black. Let's go to this mask. I have black as my background color this time. I'm going to press Control backspace on the piece, say command, Delete on the Mac. That just fills the mac ask with this black color. Now we've got our patent mask. It's squashed up and it's masked into this area alone. Now let's turn our background pattern on. Now, our problem is right now we've got these two patterns over the top of each other in this area only. What I need to do is to invert my selection. I'm going to choose select inverse. Now I have the top of this image selected. I'm going to this pattern fill layer, click on the mask, and I want to fill it with black. Again, control backspace on the PC command Delete on the Mac. Then this gives us the impression that the pattern is actually wrapping around this area here. The other thing that you may want to do, I'm just going to timely as layers off and have a look at this image is that this building has some sort of architrave things around the window. Now, it would look good if those archetypes were actually visible here. What I'm going to do is I'm going to this background layer and I'm going to quickly make a selection of the archetypes now. I'm only going to do this on one window because it's easy enough once you've done it on one to say how you might do it on others. I'm actually going to use the Quick Selection Tool. I'm going to size it down to a small size. I'm going to start selecting over here. If I need to remove something from the selection, I'm going to alt, drag over it and photoshops pretty intelligence at this point. It's going to learn pretty quickly the bits that you want to select and the bits that you don't want to select. I'm actually going to go all the way up. This goes up at an angle here. It's going to be a little bit difficult to get that first angle because the whites are pretty much the same white, but we're going to get over here pretty easily. If I go too far, I'll drag to get it back. Now once I've made the selection, I'm not worried about removing the gray part because I know that the gray part is in this selection up here. I just need to add this extra bit in. I've got my selection. I'm going back to this top layer. I'm going to click on the mask. I'm actually going to Alt or Option click on the mask because that allows me to see the mask itself. What I wanted to do with this area here is fill it with white. So I'm working on the mask alone at this stage. White is my full ground color, so I'm going to go Alt Backspace, Option Delete on the Mac to fill this area with white, and then Control or Command D to deselect the selection. Now this point I can also paint with white. I've got white as my full ground color so I can come in and paint this in. I can switch colors by pressing X or just flipping the colors this way and paint out areas that I know perhaps are not supposed to be in the mask. You can always just come in here and treat your mask as a black and white image. When you're finished working with the mask, you can turn everything back on. I'm going to turn the pattern back on and we're going to look at the mask now. At this point, you might see some additional things that need fixing, target the mask. You've got your paintbrush here. You know what colors to paint with, its going to be black or white. You can come in here and with painting on the image, but we're affecting the mask here. I suggest you learn the keystroke X to switch between full ground and background colors because that's really, really handy when you're working with masks. Another handy case strike will help you paint in a straight line and that is to click once with your brush and then hold down the Shift key and click again. That gives you a straight line there. That's really handy for getting really tight edges. Click, shift, click. Now you can do that with your black and you can obviously do that with your white, so you can use it to add or remove from the mask. We could do it up here just to name this top edge of the window. Click, shift, click. If you go along and do all the windows in this building, you're going to end up with a slightly different result. Now, I went ahead and did that. I'm just going to show you the image that I came up with. I used a different size pattern here, but you can see that it looks a little bit different again, when you bring those wide architrave in, very simple process to do it. There's the first of our pattern bomb effects in Photoshop. 4. Photoshop for Lunch™ - Pt 3 - Patternbomb a round building: This is the second image that we're going to apply a pattern to, I've gone ahead and made a selection on this just to save a bit of time. I've selected over the area that I want to apply the pattern to. I'm going to turn off the topmost layer, I'm going to select my Background layer here, and I'm going to apply my pattern with Layer, New Fill Layer and then Pattern, and I'll click "OK". I'm going to use a Chevron pattern. I think this is a pretty good size so I'm going to click, "OK, " and let's just turn our selection back on so that we have our pattern filled last sandwiched between the original image with a mask on it and the original image untouched. Now, let's just zoom in a little bit here, if we had actually painted this Chevron pattern onto the building, it would bend around the top of the building. The first thing we need to do is to bend this pattern. Before you do bend it, you want to make sure that you've got your pattern at pretty much the size you want it to be because we're going to rasterize this pattern. If you need to change your pattern size double-click on this icon here, and start working on the pattern so you can increase the scale here. Or you could choose a different pattern if you wanted to, but you just want your pattern to be pretty much set in concrete size-wise before you go on to this next step. We're going to right-click this layer and choose Rasterize Layer, that just turns it into a pattern fill layer. We want to get rid of most of this lag because we've got too much pattern here, so I'm going to make a loose and fairly large selection over my building, and it's selected around here I'm going to invert my selection by choosing Select Inverse, and I'm going to press Delete, and that will delete all the pattern except the bit that is underneath the building. Now with it selected, in fact I've got the inverse selection, so I need to choose select inverse to actually select this area. I'm going to choose Edit, Transform, Warp. I'm going to bend the pattern across the top of this building, because if we painted it on there would be a line across here where the exact same pace of the pattern would be all the way across the top of the building. We're just going to make it look like that. We're also going to check that down the side of the building the pattern is running pretty much vertically down the side of the building, so you can make that adjustment yourself. Any adjustment you make to the pattern just double-check to make sure that the top of it is still working correctly, which is boeing at around there, check the other side of the building as well. If there is a slight bow here you want to reinforce it, if it's not you may want to pull it down at this point, and push this end up, and pull this end down. But basically you're warping the pattern to fit the building at this stage, I'll click "OK." Now working towards a believable result, we may want to blend this layer in with the layer below to borrow some of the shading from the original building can see it's light here, dark here. Well, I'm going to select my pattern layer and I'm going to choose a blend mode. Now you can experiment with blend modes but you probably find that Multiply is one of the best. Now if you're happy with your pattern going from white and black to yellow and black, that's fine. But if you really wanted to stick with more of a white pattern we have a problem, and the problem is that we're blending in to an image that's basically yellow underneath. Well we could solve that by converting this building here into black and white, then when we blend it in using Multiply Blend mode, we'll be blending with black and white and not yellow and dark yellow. To make this black and white, select the Background layer, choose Layer, New Adjustment Layer, and I'm going to choose a black and white adjustment because that lets me craft the adjustment. Ignore the effect on the entire image except this area here. I'm Going to lighten the yellows up a bit, I might also get some mileage out of the red. You can work at what shading you want across this building, because it's the shading that you're going to borrow for your pattern. When you're done, just close this up. Now, what we want to do is we want to isolate this black and white adjustment to only the building. Well we've got a selection of our building setting here already, what we need to do is borrow it. I'm going to click on the "Layer Mask" here and I'm going to hold Alt as I drag and drop it on the layer mask right on top of the one on the black and white layer. On a Mac you would choose the Option key of course as you're dragging. Let go, I'm asked if I want to replace Layer Mask? Yes thank you, I do. The layer masks gone in the wrong way, we've got the building in color the rest of the image in black and white, we want it the other way round. Very easily solved, click "Layer Mask," press Control or Command I to invert your mask. Now the building is black and white, the rest of the image is color. Let's put our pattern back, and let's put our mask back. This time we've got a black and white Chevron pattern put over our building instead of a color one. We've still got the shading but we've lost all that yellow color. Now the rest of the image is pretty yellow, so we may not want to lose all the yellow color, we might just want to lose some of it. Let's go back to our black and white adjustment layer and let's just dial down the opacity on it. In other words, give me some of the yellow back but not all of it. I'm dialing mine down to about 70 percent. I've got the shading and I've got a little bit of the color, but I haven't got that full on yellow color that I had previously. You may also want to dial down the opacity of this pattern layer I think the pattern is a bit intense for the general look of this image. I'm going to go to my Pattern Fill Layer, I'm going to dial down the opacity. Again, this is poking a hole virtually through the image to say the underlying layers. It may come down to about a 70 percent opacity here. You may want to readjust your black and white adjustment at that point if you think you're getting too much color through. There's the second of our effects of pattern bombing in Photoshop. 5. Photoshop for Lunch™ - Pt 4 - Patternbombing in Perspective: For our last image, we're going to put a pattern in just the front face pink areas on this building, so I've already made a selection of those areas. I'm going to turn off this top-most layer, select the Background layer, add a pattern layer with New Fill Layer, Pattern. Now I've got a Moroccan tile pattern here that I'm going to use. Again, I made this in a class, so I'm going to give you a link to the class in case you want to make that yourself. I'll also give you a link to download this version of the pattern. You want to have your pattern pretty much the size you want it to be before you go to the next step because we're going to rasterize this, right-click the, Layer Rasterize Layer. Now I'm going to take a piece of this pattern, roughly the size I need to fill in the building over here. I'm going to the Rectangular Marquee Tool and I'm going to go and make a selection about this size here on the pattern layer, press Control or Command C to copy it to the Windows clipboard or the Mac clipboard. I'm going to turn everything off except the Background layer. I'm going to press Control or Command D to deselect my selection. I'm going to add a new layer. We're going to work on a new blank layer. I'm going to choose Filter, Vanishing Point. Now I already have a grid there, so I'm just Alt or option backspace to remove the grid, we're going to add a grid, so I'm just going to click at four points around this side of the building here. Now, you have to click inside the building at this point, even if it's not correct. You want to align your grid so that it is forming lines over the building lines, so everything's lining up really, really well. It's this grid that the pattern is going to be distorted to, so you would spend a bit of time getting a perfect grid. Now, while you can't put a grid point off the edge of the image to start off with, you can drag it off. Once you've got your grid, you're going to stress drag it off to the edge. You wouldn't want to take it too far because this is going to be filled with our pattern but you can't actually get it out there if you need to later on so that you're not going to lose any of your image in the process here. Once we've got agreed looking reasonable, you're going to get a better job than I'm doing here. We're going to paste in our pattern paste. Just one word about grids so before we start doing that, if it's blue or yellow, it's going to work, if it's red, you need to work on it, red it means that it's not a perspective grids, so you just need to adjust the corners to make sure it is in perspective. Press Control or Command V to paste in your pattern paste and then just pull it down over your grid and it's going to jump in. There it is. Now at this point, you may want to resize it, so select the Transform Tool, hold the Shift key as you just drag on the corners to resize it, that's important. You want it to cover the area that you have your selection in, so I've taken it down a bit too small, so I'm going to shift drag on the corner to make it a bit larger, make sure it covers the entire selection here. When I'm done, I'm going to click "OK." Now I have a pace of pattern in my image that has been distorted into the correct perspective, so when I put the building back on, this is actually in perspective. I'm going to do a second one for this part of the building. Turn this off, make a selection here, I need to turn this Layer back on for a minute, make a large selection over this area of the image, copy it to the clipboard Control or Command C. Turn the Layer off, deselect the selection, and add a brand new lags. We need to put each of these on a separate layer. Go back to our Filter with Filter and Vanishing Point. I can get rid of this by pressing Alt backspace. I'm going to lay down my new grid, again, just marking out the corners of the grid. If I can't get it off the edge, I'm going to go as close as I can at this point, and I'm just going to pull it off the edge later on. Lets just adjust this a little bit. Now I can pull it off the edge to use the whole of my image. You're going to make sure that this is all lining up properly with the building itself, so you want to make sure that these lines are going down the edge of the building windows. Again, I'll leave you to perfect that yourself, but that's what you're looking to do with your grid. Again, your grid has to be blue, ideally blue, if it's yellow, it will still work if it's red at won't. With the grid in place, Control or Command V to paste in your pattern, just drag it into the perspective grid, and then you might need to size that. I've actually got to make this one a little bit bigger, so I'm going to Transform Tool, Shift, drag on the corner handles, just place it into position, make sure it's going to fit, it's not quite big enough yet. Shift drag. We want to use the Shift case so that you're scaling it in proportion. Once you've got an imposition, click "OK." Now we can turn back on to our pattern paces. The pattern has been scaled and bent to bend around the building. Now, you can do the same things as you did previously to blend it in. You may want to blend it in with Multiply and you probably at this stage, also want to go and turn that part of the building into black and white. I'm going to Multiply both of these just to get some of the lightness and darkness, the shade and highlights from the building underneath into this area. To make it black and white, were going to this Layer here, let's just turn everything else off. We're going to add an adjustment layer, Layer, New Adjustment Layer, Black & White. It's important that you use an Adjustment Layer because you don't want to make the whole thing black and white, all you want to do is make the pink areas black and white. I'm just going to adjust this up so we get the highlights and shadows. Let's go back down here and we want to borrow this Mosque for this Layer. Alt drag on a Mosque TO standard copy routine that you use in Adobe products is Alt dragging on things, with Mosque is just exactly the same. Put it in place, replace the Maya Mosque. Yes, thank you. It's gone in the wrong way round. It needs to be inverted. Click on the Mosque Control or Command I to invert it. Now this area is black and white. The rest is in color, so we can go and put our paces back on and our Mosque. If you find that you're black and white and adjustment isn't quite intense enough, just double-click on it and go ahead and just lighten those areas. You might find that it's a little bit in the yellow as well, maybe even a bit into the magenta there. In this case, what we've done is we have bent the pattern to fit the angles of a building. There's basically, those are the techniques that you'll want to be able to use to be able to put a pattern on a flat buildings, it's fairly easy. To put it on a round building, you want to be able to warp it. To put it on an angled building, you probably want to use something like the Vanishing Point Filter just to get those angles looking right. Your project for this class is going to be to do just this, go and get a pattern, either one that I've given you or a pattern that you have made and apply it to a building in Photoshop. I'm going to give you the download links for the buildings that I used. If you want to use those, they are all images from an or you can use a building of your choice. Post a picture of your completed project in the class project area. I hope that you've enjoyed this class. You've learned what pattern bombing is and how you can do it in Photoshop and along the way also, learn some cool techniques for creating mockups in Photoshop generally. As you'll have been watching these videos, you will have seen a prompt which lets you recommend this class to others. Please, if you are enjoying the class, do two things for me. Firstly, give it a thumbs up, and secondly, write just a few words about why you are enjoying this class. I ask this because recommendations like this help other students at Skillshare. It helps them to say that this is the class that they too might like. If you'd like to leave a comment or a question for me, please do so, I read and respond to all of your comments and questions, and I look at it and respond to all of your class projects. My name is Helen Bradley. Thank you so much for joining me for this episode of Photoshop for lunch pattern bombing effect. I'll look forward to seeing you in an upcoming episode of Photoshop for lunch soon.