RANDOMIZE Your Surface Designs! | Joseph Francis | Skillshare

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RANDOMIZE Your Surface Designs!

teacher avatar Joseph Francis, Check out my classes!

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

3 Lessons (13m)
    • 1. Randomness adds Variety and Interest

    • 2. How It's Done

    • 3. Some Optional Extra Details

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About This Class


In this class we are going to learn how to take several different but complementary surface designs and shuffle some variety into them.

I think you'll be surprised at just how I do it.

Meet Your Teacher

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Joseph Francis

Check out my classes!


I started in New York at what is now called RGA Digital Studios, but was then called R/Greenberg Associates. I've worked at many of the top motion graphics and title design companies including yU+Co and Imaginary Forces, and with top creative directors including Kyle Cooper (Prologue).

Visit my LinkedIn profile here.

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1. Randomness adds Variety and Interest: today, I'm gonna be showing you a method for random izing surface designs. You could use it to make different birds appear to be on different branches of a pattern or different flowers to be in different parts of a garden. I'm gonna be using it on these geometric designs and I'm going to combine this pattern, this one, this one and this one. And when they all come together and it's gonna be pretty quick, they're gonna make this. Come on, find out how. 2. How It's Done: I'm gonna randomize some surface design patterns and I think you're gonna be surprised and just how fast it happens. Then open up some tiles and these have been prepared in a certain way. One is they all repeat, and the other is they are designed in a particular way, which is to say that they all have a kind of a doorway at the north, the south, the east and the West. And so that means of these trials themselves could be fit together in different ways. And this is the basis on which a particular tiling pattern called a true Shea tile is created. But you can you can, you know, use other kinds of patterns as long as they songs. They repeat in the kind of compliment each other. So this is what we're gonna be random izing. So first of all, I'm gonna take this one, select it, and it define pattern, and then I'm gonna take this one. It it define pattern, and I purposely am doing this on screen just so that you see how fast it is, um, defined pattern. Okay, so these air to 56 by 2 56 And what that means is that if they tile into a four or 96 by 496 square, they will tile 16 times by 16 times. So I'm going to create before or 96 by four or 96 square, and I'm gonna start filling it with layers. And those layers are gonna be those patterns that we just created. So in the first layer and it Phil pattern and the pattern is gonna be the 1st 1 And in the next one at it, Phil pattern and the pattern will be the 2nd 1 Doesn't really matter what order they're done in in the next one. It it Phil pattern pattern will be the 3rd 1 and finally at it, Phil Pattern. And it will be this 4th 1 Now file open. I need a Kia randomize inky, which is also four or 96 by 496 And I'm gonna show you how I made this image in the next video. So stick around, you'll see exactly how I bay this. It's actually quite simple and rapid to make this also. But for the time being, I'm just going to use it control, See control a control. See control V. Now I have it in that image. So the first thing I want to do is I want to turn all of these off, except for the pattern key and the bottom Most layer. So I'm gonna pick of color at random. We're gonna set the magic wand to point sample on the tolerance. Well, it doesn't really matter, because these colors air so distinct. But, um, I'm gonna say tolerance zero and contiguous. No, we don't want contiguous who want TEM colors to be selected no matter where they are. So, um, I'm gonna sample Let's start with red. So there are all the reds. Now, I'm gonna turn this off, and I'm going to turn this layer on, but I'm gonna ask for a layer mask. And when I when I asked for a layer mask, Wallace selection is active. It's gonna punch that layer mask into the It's gonna be born with that selection already in the layer mask like this. So I don't know if you can see, but there's a mixture going on here already of crosses and squiggles, so I'm gonna go to the next one, turn it on. I'm gonna go back to this color key and instead of red, I'll take the next color. Doesn't matter which one. I'm gonna take blue, and I got to make sure that I'm actually on that layer. See, I was on this layer. That's why that funny thing got selected. Like you need to be on that layer. Select blue. Now blue is selected. Turn this off. Come back to here. Ask for a layer mask. Okay, Come back to here and come back to ask one more, cause we did the red. We did the blue. So now we have to either do the green or the yellow. Doesn't really matter which, um, I'm gonna go with green and, um, turn this off. Come back here. Turn that on, and that's finished. That's a fully randomized. All four patterns have been used, and that's ah, randomized version of those other tiles. So you can imagine you could do this. Not just with these kind of, you know, true shea tile pattern sort of things you could do this with. Oh, I don't know. Vines that have birds in some tiles and flowers and other tiles or flowers of different colors. or flowers of different varieties. Um, so I think this is a kind of a useful technique. Hope you enjoyed it. This is basically the end of the course. Um, if you stick around for one more video, you'll see how that color key was made. 3. Some Optional Extra Details: In the last video, I used a an image which had a randomized array of colors red, green, yellow and blue. In this video, I'd like to show you how I made that. I'm going to create a new image and it doesn't really matter how big it is. A moderate sized image. We're going to end up cutting a tiny little 16 by 16 image out of it. So that's why it doesn't really matter how big it is, as long as it's bigger than 16 by 16. Now what we're gonna dio is we're going to put some colors in layers. So let's see, here we go, um, solid color and will make it red. On top of that, get rid of this layer. Actually, I wanted to to be nothing but colors just to make things simple Toe look at ah, and the next layer will make it solid color and will make it blue. Doesn't really matter what order they're in in the next layer. Take another solid color and will make it, um, yellow. But I'm just so that it's not blinding. I'm gonna use ah, yellow that's a little bit toned down. And for the final one, I'll take a solid color of green. Maybe I'll use a somewhat darker green again. It doesn't matter what the colors are. Now what I'm gonna do. What's this? The top most layer is green, as you can see from my layers stack. If I go to opacity and I damn it, you can see that it dims towards yellow because yellow is the one directly underneath. Um, if I, instead of using the normal blend mode, I use dissolve. Then what it does is as I lower the opacity breaks up into little squares. So what I want to do is I won't appeal most of the green away. I want to leave just a little bit of green, so I'm gonna peel it back to I'm gonna have four colors. I want 25 50 75 100%. So I'm gonna peel this upper one back to 25%. Then the next one I'm going to peel back. There's a lot of yellow there. I'm going to get rid of some of it. I'm gonna peel that back to apps. I'm in the wrong blend modem and normal. I want to be in dissolve. Now I'll peel that back to 50%. And there we go. Now, the next one, make sure that that's on dissolve. Also, I'm gonna peel that back to, um, 75%. And now don't accidentally knock the fill off of 100% because that will do the same thing. And if you accidentally do that and at the same time you start messing with the opacity, you'll confuse yourself potentially. So make sure that you leave the Phil. Let's just use well, you're just gonna change one and the one we're changing his opacity. So we're gonna change that to 75%. Type that in 75% now, if we look and see in close up what we're doing and I probably should have done that to begin with, So you get a better look at it. Um, I'm going to get rid of all of these. Show you one more time. So red is the bottom. Most on top of that is blue, and that's got an opacity of 75%. You can see that it you pass it. He has to do with, you know, that's what the dissolved limo does. So we're gonna set it to 75% above that is yellow above that is green, and that's a pretty decent mixing of the colors. Now, what I'm gonna do is hold down Ault on my PC or option on your Mac, and I'm gonna go over here and I'm gonna saying merge, visible. And what that does is it takes, it doesn't flatten the image, it flattens it into it into a layer, and then it puts that layer on top. So I have a flattened version up here, and then I have all the other ones down below. Um, so now, now what I want to do is I want to say, grab it an area and I wanted to be 16 by 16 pixels, so it's quite tiny. I don't know if you can see it there, but, um, what I'm looking for are it's all pretty random. But I'm just looking for areas that seem to be kind of appealingly mixed, like there's a sort of a J shaped yellow region I'm not crazy about. I rather and there's a big, blocky red region right around here that I'm not crazy about either. So I'm gonna look for just this much variety and the colors as I could find that looks, you know, again, it's all gonna be so that there are different ways you can do this. But this method produces this kind of result control. See, file New control V now, Um, command V on a Mac layer Flatten. Now we have a tiny, tiny, tiny little block of pixels there. I'm gonna hide this one for a second. I want this one to be 4096 by four or 96 And if I say image sighs and if I say, um 4096 by 4096 Ah, and I purposely did it the way I did it for 96 Um, I'm gonna say OK, you see the way. It's all blurry. That's not what we want. It's kind of interesting, but it's not gonna help us. What we need are really precise blocks, so I'm gonna undo that controls the Now it's that little tiny 16 by 16 thing again, and I'm gonna say image size and I'm going to continue to say I want four or 96 before 96 But I'm gonna make sure that the re sampling method is set to nearest neighbor hard edges. And when I say OK, I'm gonna get off really high resolution image with very blocky, precise edges. And that is how I produced the sort of the key, the random izing key. Um, you know, you can see here that there's a few areas of yellow and green that or maybe could be broken up. It wouldn't be too difficult to take a you know, something like a three by three block of something here and possibly Oh, that's right. This is a giant 496 things so that they look like pixels. But they're not actually pixels at this at this size. But, you know, we we could break up those areas if we wanted to, But this is a little opportunity for art direction here, but that's the method that I used in order to produce this color. Varied randomize, inky