Repeat Textural Backgrounds for Pattern Design Swatches in Photoshop | Delores Naskrent | Skillshare

Repeat Textural Backgrounds for Pattern Design Swatches in Photoshop

Delores Naskrent, Creative Explorer

Repeat Textural Backgrounds for Pattern Design Swatches in Photoshop

Delores Naskrent, Creative Explorer

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7 Lessons (37m)
    • 1. Introduction to Producing a Background Texture Tile

      1:22
    • 2. Lesson 1 Setting Up and the Offset Filter

      6:58
    • 3. Lesson 2 Rubber Stamping to Hide the Joins

      3:51
    • 4. Lesson 3 Finessing the Outside Join Lines

      4:07
    • 5. Lesson 4 Testing the Pattern with ATD

      8:49
    • 6. Lesson 5 Playing in Illustrator

      3:49
    • 7. Lesson 6 Half Drop Repeat Tile

      7:59
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About This Class

Hey there! Thanks for your interest in Repeat Textural Backgrounds for Pattern Design Swatches. A seamless pattern is an image that can be placed side-by-side with copies of itself. Ideally, there are no visible seams, so you can repeat this image and create a pattern that can go on infinitely to create unique backgrounds, text effects or brand elements. Often, we need a textured background, or a texture to overlay other objects. Most of the time we need a seamless tile so that it can repeat indefinitely. Tiled textures work well with repeating patterns. With a tiled texture, you can create a small image file, then make it repeat several times across the object. It is not necessarily just for use in pattern design. I personally make use of these in my illustrative work as well.

I have geared this class specifically in response to a student who wanted to produce a soft texture behind line art flowers she produced in one of my other classes, Textural Floral Pattern Design with the Photoshop Extension Textile Designer. Please Note: The Adobe Textile Designer Plugin has been de-commisioned by Adobe, so you will be unable to download it for free as earlier stated (by joining the beta program). I am unable to pull this class.

Creating a seamless repeating pattern is relatively easy using the methods in this class, Repeat Textural Backgrounds for Pattern Design Swatches. The easiest way to show you the concept is with quick demonstrations, so I have tried to keep all the lessons short and to the point. I am using Photoshop, but the concept is what is important. This works fine in Gimp and other software that has an offset filter and a rubber stamp or cloning tool with the same functionality.

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It is best to start with an image with a relatively even and continuous tone, but I demonstrate with a watercolour and later with some line art. If your image has an obvious element on one side and is light on the other, it will show and it will be more difficult to work with, but I show you how to make it work. I then demonstrate using that tile in the background of the repeat pattern I made in my class Troubleshooting Adobe Textile Designer Issues.

This is a great course for you to take no matter what your purpose for the end pattern swatch you create. Start straight away, so you can be benefitting from your knowledge immediately in your art practice!

Intro: Introduction to Producing a Background Texture Tile

In this video, I will give you a short and sweet overview of what I will be teaching and some of the new skills you will learn.

Lesson 1: Template, Clipping Mask & Live Transformation

In this lesson, we will use the offset filter to set up the repeat, then I will show you the initial use of the rubber stamp tool to clone areas. We will use this technique to disguise the distinct join lines we want to eliminate.

Lesson 2: Rubber Stamping to Hide the Joins

We will work on trying to hide the seams further. I will discuss with you many of the brush control tips that I know and pitfalls to avoid throughout this lesson, preparing us for the next step.

 Lesson 3: Finessing the Outside Joins

In the last lesson, we completed most of the touchups of the joins, avoiding the very edges of the tile. In this lesson, we address those spots directly. We will work with the navigator panel so that you learn how useful it can be in this type of situation. We even set-up the original test swatch!

Lesson 4: Testing the Pattern with Adobe Textile Designer

Testing the pattern with Adobe Textile Designer is the focus of this lesson, after we finalize the swatch with some additional adjustments. We continue to use the rubber stamp tool and play with a test document as we do the final adjustments. Then, we open a finished pattern design from a previous class, and I add the watercolor background we have just created. Please Note: The Adobe Textile Designer Plugin has been de-commisioned by Adobe, so you will be unable to download it for free as earlier stated (by joining the beta program). I am unable to pull this class.

Lesson 5: Playing in Illustrator

In this quick lesson, I will show you how to export the Photoshop pattern swatch, take it into Illustrator, prepare it, and then add it to your swatches. I proceed to show you a couple of applications of that swatch.

Lesson 6: Half Drop Repeat Tile

To help you sort through the confusion of creating a usable half-drop repeat tile in a grid formation, I demonstrate my solution. I've tried to keep this as short as possible by timelapsing all the Adobe Textile Designer processing.

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Outro:

This last segment will wrap up all we discussed and give you a starting point and encouragement to start today!

Concepts covered:

Concepts covered include but are not limited to Photoshop pattern repeat tile, repeating pattern in Photoshop, offset filter, rubber stamp clone tool, Illustrator pattern, applying imported swatch to typography, align tools, Adobe Textile Designer, export from Adobe Textile Designer, exporting pattern from Illustrator, half drop repeat export from Adobe Textile Designer

You will get the bonus of…

  • 50 minutes of direction from an instructor who has been in the graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge
  • handouts explaining key concepts
  • a list of helpful online sites to further your education into surface pattern design.

Meet Your Teacher

Teacher Profile Image

Delores Naskrent

Creative Explorer

Teacher


Hello, I'm Delores.  I'm so excited to be here, teaching what I love! I was an art educator for 30 years, teaching graphic design, fine art, and theatrical design. My own education took place at college and university, in Manitoba, Canada, and has been honed through decades of graphic design experience and my work as a professional artist, which I have done for over 40 years (eeek!). In the last 15 years I have also been involved in art licensing with contracts from Russ, Artwall, Studio El, Trends, Metaverse and more.

This is where I say something existential or clever about my inspiration: The colours of nature and my intuition guide my art: my most generous muses are light, sunshine, and flora. My work ranges through multiple media: my co... See full profile

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Transcripts

1. Introduction to Producing a Background Texture Tile: Hi, guys. My name is Dolores. NASCAR it. I'm a veteran graphic designer. Just recently at the end of one of my classes, I had a student to request it a little bit more information on how to create a seamless background tile. So that's what I'm here to do today. Now, I know there are lots of tutorials out there that teach this. My take is maybe a little bit different. We'll see. I guess I'm gonna be teaching you how to create a seamless background tile. We're gonna be using a couple things like the offset filter and the rubber stamp tool. You're gonna see me test the pattern in photo shop, and then you're also going to see me using the adobe textile designer to do some really fun kind of finishing. We're also going to export into illustrator and you'll see me do that whole process. So this class has a lot of demonstrations, and you'll see a lot of practical examples of how I do my work. So hopefully you hang in there cause I've got some kind of neat ideas at the end and I'd love to see you stay with me until then By the way, if you are interested in the classes I teach, don't forget to follow me down below. That's how you'll get information on my upcoming classes as soon as they're released. So are you ready to get started? I sure around. Let's get to it. 2. Lesson 1 Setting Up and the Offset Filter: guys, welcome to lesson one. So, in this lesson, what we're going to do is set up the document and I'm gonna show you how to use the offset filter. And you will get a little bit of time to start working with the robbers down. Tool. All right, let's do it. So I had a request last week. Teoh teach you how to create a seamless pattern tile for a background, and I've pulled up a few old ideas here. These were things I actually wanted to create in backgrounds anyways, cause I'm working on a series of illustrations that could use this as a background. I'm really gonna kill two birds with one stone doing this. So this orange temper one that I did, I've already created into a seamless tile. Sure, if you can see the kind of temporal textures here, but I find that this one is also a very useful one When I'm doing my backgrounds for either patterns or four illustrations. What I like about this is I can still change the color of it by going into my human saturation and playing around with the sliders. So I'm gonna be showing you that a little bit later. So really, it's a fairly simple process to take something and create a seamless tile that the ones that are more difficult in comparison to this, which is just a very simple, repeated texture. There's really no visible characteristics like there would be in this one here. This type of repeating background is a little bit more difficult to achieve, and generally what I try to do is create the largest repeating pattern that I can. So in this case, I'm going to set up a document. I'm going to use my usual 10 by 10. What I like about the 10 by tan is, if you are using it to repeat in a document that, say 8.5 by 11 you're repeat will not be really obvious. It will repeat. And if you were to reduce down the scale of the repeat, you would see how the patter is showing up in different spots how the pattern repeats, but it doesn't necessarily show up when you've got smaller sized documents. So I'm gonna go this size. I'm going todo rgb color. This is something you can always switch at the end if you've created your pattern and you find you suddenly need it. And seeing like a for print, you can change it. That's very easily done under image mood. When I create my 10 by 10 documents, I'm going to save it now I'm calling it watercolor pattern. Repeat one keep it is a Photoshopped document and hit save face phenomena. Choose a section of my watercolor background. I try Teoh, make sure that there's some really good interest going on inthe e tile. I'm kind of liking this area here, so I'm gonna choose a square. I'm holding down my shift key to make sure it's a purpose square and I'm gonna copy paste it into my documents and make sure that it fits exactly. So I'm going. Teoh doesn't really matter if you're a little bit over the edge because the next step is going to be to crop it. So I am. I think I'm going Teoh, move it over because I think that this dodge in the repeating pattern would be super super obvious. So I think I will enlarge it a little bit so that that can be eliminated. It's really important to do this step here which is to crop. Make sure you've got nothing written in the squares up here as faras ratio. Anything like that, you just want to do a straight crop. When you go to do the crop, you'll see the area that's now being eliminated, and it's really important that that does get eliminated for the next step. If you go into your image size here, you'll see that your 10 by 10 image resolution is 300. If you don't have that, currently, I would set up a new document, change it to be 310 by 10. And the nice thing about that is it gives us a really easy figure toe work, which is 3000 pixels. We're gonna say OK here and then the very next step is what's going to give us our really clean pad and repeat in the past, What I used to do is reduce this image to five by five, to have it perfectly centered, and then I would repeat the tiles all the way around. But what I'd rather do, and it's a lot faster is to go under filter here, down to other and offset here. You could see that I've got these settings already here. Evidently, I used these exact settings. Last time I made a repeating tile. So you can see here that I've used half of the 3000 So half is 1500 so I'm moving it vertically and horizontally. 1500. And the important thing here is to do this rap around. All right, so if you click OK, here, you're left with these lines that you have to contend with. What we've got here on the edges is exact matches to whatever is on the opposite side. So if you know your pattern making theory, that is exactly what you would need to do. And that's what I was achieving. When I used to do the repeat of the five inch tile, I would take that tile and I would move it all the way around, and eventually I would get that full repeating pattern. But this is way faster. So now what we have to do is try to get rid of thes obvious lines here, right? So what I use is thes rubber stamp tool. So the rubber stamp is basically a cloning stamp. What it does is it will loan, whatever area you specify. So to do that, you use the option key. And I mean, what I do first of all, is look around and see a case like this. I've got this kind of darker edge line and still the very intense teal color. And I kind of feel like this area here might work to help blend into this side of my child . What I do is I option click and you see, when I hit the option key, I get these little crosshairs and I'm gonna option click right here, and I'm gonna come over here to paint. Now I want to check and make sure that I have a really good soft edged brush. And, you know, you've got a soft edge brush if you see this hardness set at zero. So you can pretty much choose any brush type I basically am just going to use right now. This soft round brush is gonna be a couple of other tricks. I show you later with brushes, but for now, this one will work just fine. And I'm gonna go with a little bit larger. So let's try 120. Yeah, 190. Now you know you can adjust the brush size on the fly by using your bracket keys, Right? So can you see in here right now in that circle? That's my brush. And you could see it's showing me. Let's go to an area where you can see it better. It's showing me what is in that original square. So down here is now being repeated over here, so I usually try to kind of line it up a little bit. And then I just start painting so I could move up and I could move down a little bit. I can't really move to the right because it's gonna clone this line. If you see, it's already done a bit of a hard line here, so I don't want that. So I'm gonna undo. But you can see that this area here has blended in beautifully. So now we just gotta keep fooling around with this to get it to work all the way down. So in the next lesson, you're going to see me giving you some pointers on how to do that. I'll see you in the next lesson 3. Lesson 2 Rubber Stamping to Hide the Joins: Hi, guys. Welcome to lessen too. So unless in to hear, what we're gonna do is get rid of those Really obvious Seems okay, So I'm gonna continue with adding in the patches that are going to make these lines disappear. So again, I'm just looking for areas that can work to blend the two together. And right here I've got kind of, ah light ish blue teal color going on right against this gray tile, and that's that's probably gonna be the hardest to disguise that. I think I can work with this area right here because it goes from kind of ah, basically the same idea from the teal to the great. So I'm going to option click here maybe about here, and then I'm just going to start lending. You see how nicely that worked to create that ramp from the teal toothy grayish color. So, really, that's what you're doing is always just trying to create that balance. You see, there I grabbed that hard edge and I was able to pull it a little bit further this way. So I'm just sampling really close in the vicinity here. You see how that has already allowed for that really nice plan to happen here. Now, I think in this area here, what I want to do is try to get rid of this little role of Teal going along the lightest grade. I don't want that line there because I think that will be obvious in my repeat. So I am going to just grab some of this grade. You see what happened there when I went to high, I actually repeated by hard line. So here, I'm gonna go a little bit lower so that my crosshairs don't end up making that hard line. Now, if I were to continue in this direction here and across here's would eventually pick up this outside line. So I want that to be avoided. So now I'm just sampling a little bit more to the left so that when I paint or when I stamp , it's not going to bring me that hard line on the edges. So again here, I want Teoh ramp from the dark grades to the light grade. So I'm gonna do some of this great here, which is kind of a medium grade, and I'm gonna go along and do a little bit of painting there. So, really, at this point, your eye has to be what you use to judge what will work best in any particular area. And what you look for is areas that are the color that you want and that they ramp from that color to the next area of color, or you take that color that you have. Let's say it will take the teal here and you play around a little bit with the opacity and flow here at the top. So I'm gonna try 50% opacity and see how that works were helping me blend. So that's helping a little bit. Can you see that it's softening that line and because it's a little bit transparent, you can see it. You see the other color, that gray color coming through quite nicely and going to just go along and do a little bit more of that. And because it's transparent, you may have to build it up a little bit to get it to fully hide the line. It doesn't hurt to enlarge a little bit to see what's happening. I could see for the most part, it has gotten rid of it right here. I still see the line. So I would go and build it up a little bit more there. So sample and then stamp, I'm gonna go back to full capacity here now because I feel I've done my blend quite nicely , and I'm going to sample some of that gray and pull it up into that area just so it doesn't look too straight. You're basically trying to avoid having anything that looks like a really straight line. Now, it's a little bit tricky down at these edges here, and you can see that I've been avoiding them right at the edges where the quadrants kind of met each other. The reason I've been avoiding them is because that's going to be a part of the next step, which I'm gonna show you in the next lesson right now. I'm just going to quickly finish up here. Now, you see, I sampled right here, and when I started to paint down here, of course I got that same little notch in the long when I see that I definitely try to get rid of it because that's something that would really show up in your repeat. And I do think I'm ready to move on to the next lesson now. So I will see their 4. Lesson 3 Finessing the Outside Join Lines: Hi, guys. Welcome to lessen three. So, in this lesson, we're still gonna have work on that, seem a little bit. We're gonna do some finessing, and then we're going to start with some initial testing. Are you ready to get to it? All right, let's do it. In this lesson, what we're gonna do is address these spots. So you see against the edges. I've still got some very hard lines there. So the way to do that is basically, go back to that same filter under filter, toe other and down to offset. And these settings are actually OK it because we're really just doing the exact same thing . And then what we're gonna do is check those little spots that I was worried about. I'm gonna hit okay here, and I'm gonna check very carefully to find those spots and fix them up. It's a good idea at this point to enlarge your document. And I like using the navigator to move around and do my checking this navigator panel. I almost always have it at the very top here, so they can use it really easily. And, you know, in order to move around your document you need to just move around this large red rectangle . So I'm gonna check all sides, and I'm looking very, very carefully to find any of the spots that I was worried about. So here I see one. Can you see that there's a spot that wasnt perfectly blended. So what I'm gonna do is use my rubber stamp tool again. This time I'm gonna go in quite small. So I'm using the bracket key to reduce the size. Gonna hold my option. And, you know, whenever I say auction on a PC, it would be your all key, And I'm going to get rid of that. The company use a nice light color here, and I'm touching up right to the edge there again using my navigator moving around. Remember that Nacho talked about in the last lesson. That notch is now positioned here. Remember, it was in the middle of the document and now it's here on the edge of the document. So you know that your pattern is exactly as you had it. But now it is just repositioned. So looking everywhere to see if I find any of those hard edges because those are the kind of things that really show up in your final pattern. So here I see something that I don't really like. I'm going Teoh when that one out with a big brush sampling over here. And I'm just going to blend that out a little bit. You can decide whether to get rid of some of these little flaws. When I call flaws, I'm gonna leave it so that you can see what it looks like. Once the pattern is repeated, it will depend now on how the pattern repeats in what size of repeat you have, whether or not things like that are gonna show up and bother you. So I think I have double checked my pattern and not know I can create my patterns Watch. It often happens that at this point I create my swatch. Then I notice flaws, and then I come back. So let's take a look at that. So to create your patterns, watch. Now what you need to do is select all you're gonna go under edit, and you gotta go to define pattern. I create so many patterns that I've got a short cut for it. I took over another shortcut and my short cut his command auction shift piece. So I'm just gonna use that now. This is my name that I'm gonna fine up so you can see it picks up the name of the document . If that was what I wanted to name it, I would just leave it. Sometimes I feel more than one generation, so I'm going to just call it pattern. Repeat one. And I think I'll just add teal at the beginning, so I hit. OK, here. Now, this has been added to my patterns. Yeah, If I create a new document, let's make this one will do the 8.5 by 11 from leaving it at 320 b the hit create. And then I'm gonna do a you feel layer based on pattern, and it's gonna pick up the last pattern that I created. Which, of course, is that one. And you can see that the pattern looks great. It has worked perfectly. If I move it around, there are no seems that show here. Okay, so we finished. Listen, three here and in the next lesson, what we're gonna do is some more testing. And this time we're gonna do some adobe textile designer stuff. All right, hang in there. I'll see you in the next lesson. 5. Lesson 4 Testing the Pattern with ATD: Hi guys. Welcome to lessen for So, yes, this lesson is going to be all about the adobe textile designer. Are you ready to get started? Let's get to it had created this as an actual Phil Layer you can see over here. It doesn't look like a normal layer, but I can double click on this and it will allow me to scale the pattern. So that's kind of neat, cause you can use the slider to work with your repeat so you can see that there really isn't anything visible in the way off joins here. Let's do it at a boat 50% and take a really close look at it again and again. We can use our navigator to move around the document so I can see right here there's a problem. That's one of the problems so right across in this area. So if I go back to my other documents, you can see that that would be on the left of that one big hill. So if you look at there's that hill, it would be down here somewhere. Sometimes it's hard to tell exactly where the problem is. I find that one of the best ways of checking is to go back into your filter down to your offset and offset it again. This time, maybe, let's try just 500. And then we've got a different layout of our repeat. And here it is, right here. So I would go in and address that again with my rubber stamp tool stamp tool is, as you can see, your s. So I'm going to use my rubber stamp to do a little bit of work on this area again. Just sampling where you think you can pick up the colors that you need and let's go back and look at that, see if there's anything else. So sometimes I take a look and I see something like this. I don't know if you can tell, but I find that sometimes when you're using the rubber stamp tool that you get too many little repeats, like right here, which I had noticed right in this area here. So that would be something that I would go in and adjust again sampling from something nearby, and that eliminated that problem. And here I don't like how it's almost got a reflection of itself here. So I'm going, Teoh, get rid of that as well. So having the two documents open or your pattern tile and your documents helps to go in and fix up any of the areas that you don't like. Because, of course, here you could move this layer around to check. All right, Can you see anything else here? That's the spot we've been working on. I actually don't see anything else. So one of the things I do as well is I check it at even a smaller size, and, you know, I can see that this would not be a size that I would use to put on something that shows the repeat this often, unless it was covered by other elements that which helped Teoh reduce the look of that repeating elements. So that's something to keep in mind. If you're designing for, let's say, a pattern, repeat that you might want to keep your background a little bit more subtle. So sometimes for that reason I would go in, and that would create an alternate pattern tile that didn't necessarily have that very dark detail in it. But that's that's something that's up to you. So once I've got all of my corrections done or alterations. I guess we should call them. I would select all back under edit to define the pattern this time I'm going. Teoh. Name it Pattern Repeat to heal pattern. Repeat to hit. Okay. And let's go back to my other document here. Now, here. I'm going to get rid of this pattern feel layer that I had created. And I'm gonna show you an alternate method for applying your pattern. Someone add a new layer. Let's just fill it with white. Doesn't really matter or gray any color at the moment because it's going to be replaced. And I'm gonna go under the effects here at the bottom of the layers palette. Gonna go down to the pattern overlay and you can see that the last pattern I created is here. Here are the choices and I want to do the new pattern tile that I defined. So here it is, Double click on it. And now I contest that O. J again at different sizes. Just double check. And it looks to me like that area was fixed just fine. And now I've got and you usable background pattern tile. That I can use in any designs that I do. So I could use this in one of my backgrounds for a pattern because I know it repeats perfectly. So I'm going to show you that with the last pattern that I created in one of my classes to do with Adobe Textile designer. So I'm gonna hop on over to that document. I'm gonna open it up. This is the document that I had been using in the class where Student asked me how to create that background pattern tile. So I am going to clean up this document a little bit here can get rid of all of these for now, This class waas working with Adobe textile designer and that's what we'll do is test this with Adobe Textile designer in a second. But I just want to get rid of all of the rapping and repeats that I had dealt with in that class. I'm also going to get rid of this background layer cause we're gonna put in a new one and it's still got the color weighs indicators here, but I think we could just ignore those this document I also had created 10 by 10 at 300 pixels per inch. So I'm gonna go back to that repeating pattern that I just created the tile in the full tile in a select all. And I'm gonna bring it in here to this document. I'm gonna click on the background layers. I want peace it just above that. And I think I'm going Teoh mute it slightly. So I'm going to reduce the opacity of it and maybe change some of the blending modes on my original motifs here. Now, I don't know if you guys have this problem here in your layers palette when you are in RGB mode that the layers palette doesn't actually show the item that you're editing is kind of annoying. If I switched right now to see him, y que it would work. I don't know if that's some kind of a glitch with photo shopper. I've got something else set incorrectly. If you know how to fix this, definitely let me know, because I love for these to show up properly. Anyways, right now I've got this one set at hard light. Let me try a couple of other ones, too. Just seeing what I might prefer I think I, which go with dark in here, actually leave my background at full, full capacity so you can see it. But I'll just adjust all of my motifs instead. That's this. Wanna leave that? That's this Over here, this one, I'll bring back to 100% and maybe use levels. Teoh make it a little bit darker so that you can see everything on the screen a little bit more easily is not a lot of contrast with my background and this one I'm just going Teoh that that's normal and colorize it's number to reduce the opacity a little bit. So if you had taken that class with me and you had a 10 by 10 repeating tile, this would be just a fun way for you to experiment on profits. Many more time on this that I need to do. You see that my background tile is there. And now let's use the adobe textile designer just to see how that watercolor powdered worked out for us. I've got the color way here, So I need Teoh go into my extensions here and really, for this purpose is of this course all we need our pattern. Just drag that over here. And the preview Our whole dragged out over here a swell. And let's open that up. Let it take a second to do its calculations. It'll take a sip of my coffee. Now I've got to go in and wrap all of these other layers. But you can see from this pre viewer that my watercolor pattern wrapped beautifully. So I'm gonna go in right now and just wrap these other layers. So once you select the layer, you would just hit wrap this layer. I don't know. If you use this, it'll be textile designer at all. I just love it. I've got a lot of classes on using a set of extensions. And this is why I love it so much Because you can preview your pattern, repeat here on the screen What? I would have to do any calculations at all. So it's super quick. What have I not wrapped here? Let me go through and just make sure everything's wrapped. We're hoping that this is someone This is this one right here. Wasn't rapping then. Right now this is set as agreed. Repeat. You could definitely mess around with this for experimentation. For us, this one would be a grid. Repeat. Make sure you set that. And of course, everything to do with my pattern would have to be adjusted because I had originally created 1/2 drop. Repeat with this refresh, anytime you make changes, just to be sure everything moves where you want it to. But you can see that my watercolor has blended perfectly in the background there. So that's pretty cool. And that just gives you one more set of skills to add to your pattern design pattern making skill set in the next lesson. I'm gonna show you a fun way to use your pattern in Illustrator. I'll see you in the next lesson. 6. Lesson 5 Playing in Illustrator: Hi, guys. Welcome to less than five. So this lesson is all about testing and exporting into Adobe Illustrator where we're going to do some other work with the pattern. So the next thing I want to show you now is how to use this repeat tile that you created in other programs. For example, in Illustrator. So we're just gonna close this all down here. I'm going, Teoh, save and close this pattern. Repeat from my other class and we're gonna go back to that single watercolor pattern. Repeat that I created. So we're gonna save this tile as a J pig. So if you go on your file, you either save as or to export do save as I'm going to choose JPEG. And I'm gonna leave the name as is you'll see that the file extension would say J Peg Dan, we'll click. OK, here. Now we'll hop on over to illustrator. We're gonna create a new document and let's make this a 30 by 30. Document. It doesn't matter what size. What I'm gonna do here is I'm gonna place that J pig on your file. You go under place. I got a shortcut command shift p But you find that a pig that you created get place and then just click once and your tile will be placed. Now that's a 10 by 10 tile. So we're going to grab it and drag it into the swatches. Palette are my swatches. I don't have that open for some reason, which is weird because I always have swatches open. First of all, you have to Rasta rise it. So you go under object to Rast arise here. What that does is creates a file that illustrator can use for the purposes of our demonstration. We can leave it here on CNN like a I'm gonna hit. OK, now that it's Rast arised fully, I could drag it into my swatches palette to see it's been added. Here, move that went off to the side and I'm going to create a new shape. Make sure you're not on the stroke or on the Phil, and I'm going to fill it with my new pattern. We ever have to switch back and forth, Remember, X on your keyboard works quickly to switch you to the Phil, and, uh, there is are perfectly repeating pattern. And remember, I had mentioned I was going to get rid of that little huh Uh, spot that I didn't like. I guess I forgot to do that. But nonetheless, we've got a perfectly repeating pattern which can be used here to do all kinds of really cool effects. One of my favorite things to do with watercolor is to apply it to typography. So let's try that right now. So I'm gonna use a font that I really liked called Magnolia Sky. And let's just do the word watercolor gonna hide my art board and let's go back to our swatches and let's fill that word now, isn't that lovely? So you can see that could be a very useful little skill you just learned making a repeat pattern, child, because it's not just limited to use in 40 shop. You can use it in here as well. I think I would love Teoh, actually. Add the drop shadow on this so you go under effect and you're gonna go to style eyes and you're gonna take the stylized that's in this section of the effect menu. Not this stylized down here. Okay, You know, a stylized drop shadow and your options will come up here. And, of course, you could make any adjustments that you would like a light mind. Teoh. No, maybe 50% or so, And you can change your X and y offset. I just wanted to do this so that you could see the effect that much better. I like it. Just one more little skill that you can add is creating those pattern repeats in photo shot , but making them also usable in your other programs. So let's move on to lesson six. I will see you there. 7. Lesson 6 Half Drop Repeat Tile: guys, welcome to lessen six. So, in this lesson, I want to resolve the issue of creating a repeating tile, but needing to have it in 1/2 drop. Repeat so you can use it with any of your half dropped patterns. So I need to convert the half drop to a grid. The other example that I showed you showed use of this tile inthe e repeat pattern that was already set up a za grid. But if you had a drop powder, as you see here, what would happen is you would have this seam line here, but we need to deal with that in a completely different way. And that's where Adobe Textile designer really comes in handy. So what I'm gonna do is leave this line here. I'm changing nothing here. I've still got it set as half drop and I've got it wrapping. And what I'm gonna do is export this as is, and in order to export it and create a grid that I need. So I need to convert the half drop to a grid and in order to do that, I asked, you have to take one more step and go into the color ways palette, and I need to choose a color reference. So the reason I need to do that is because if I don't when I go to export So let's say here clicked on X. I were not be able to get into this production tab, which is what I need in order to export the tile. A So I'm gonna close this for a second here, and I am going Teoh, go back into my color ways and I'm just going Teoh, choose a color reference. I'm gonna choose one that they have preloaded here. So you know that it will be available for you. I've got something of important. I'll just use this one just so that anybody who's downloaded this would have that particular color guide is that one comes built yet. Okay, so now that I've chosen that color reference, I also need to create the separation. You'll see the list of colors come up here that it's chosen based on my request here of number of inks. I could change this and recreate the separation if I wanted Teoh. I'm just doing this real quick, so I don't want to spend a lot of time on this particular aspect of Adobe textile designer because I've covered this in a lot of my other courses. Just know that you have to do this step in order to be able to get Teoh the production tab here. So now you can see that I can select it here. Then I would export it as an RGB image PST file. Doesn't matter. Really. Which one? I choose here for what we're doing today. We need to convert it to a grid so that we have the repeating tile with this ugly seem in it. So I'm gonna hit it, sport. I'm going. Teoh exported here, let it do its thing in the background here. Sometimes it takes a few moments for that to finish. And I can close off these pallets. And technically, I can close the guest document. I'm just gonna open that repeat and you can see here is the one that has export is RGB. Somebody hit open there. And basically what this is is exactly what I had last time with the grid. Repeat where I need to know get rid of thes lines that are really obvious. I would go through the same process using my rubber stamp tool. Remember X on your keyboard. Gonna do this one real quick because it's just for a demonstration for you and all time lapse a little bit. So you don't have to sit here and watch my whole process whenever necessary. Reduce your brush size to help you deal with the parts that are right jammed up to the edge of the dog. And, of course, use your bracket key. Nothing I'm gonna get rid of that will notch that. I didn't like. It's now You're basically left with a tile that will work as 1/2 drop. Repeat. So let's take a look at the image size. Now. I've been working with multiples of that 10 inch document and this is one of the reasons because it makes this part so much easier. So now we know we've got a pattern. Repeat that will work as 1/2 throttle less. Just tested out using textile designer. So again, I'm going to open up my reviewer Now. This is a much bigger document, so it's gonna work a little bit slower. Sorry about that. And remember, we're gonna have to deal with wrapping this layer, so we muscle just wrap it now. We were okay to be in a grid now, because what we have done is we have created 1/2 drop repeat in a grid pattern. So you can see here that I have a perfectly repeating half drop that I can use as a background in any of my half drop repeats. So that is just something to keep in mind when you need to create something that is not in a perfect grid. We end up with a grid. That was the whole purpose of exporting using adobe textile designer, because you don't have to do all of that figuring for yourself. Adobe textile designer does it for you. Another one of the reasons that I love this extension so much. Let's show you how to use the half drop background that we just created so that repeat and have it in behind this abstract pattern again. So what I've done is created a new documents that is handed by 20 missy here 20 inches wide , 10 inches high, and I have placed in there the at and repeat tile that we created. That is the half drop repeat right, and I'm gonna go back to my abstract pattern, and then you'll see that I haven't wrapped any of layers, so I'm going to quickly go through and wrap them all again. I'll take note you don't have to wrap the layers that are not overlapping any of the edges . So, for example, this one here doesn't have to be wrapped because it doesn't go past the edges. I'm just wrapping the ones that need to be wrapped. And you know what? They are right away because they're the ones that are cut off over here. Right? And this is nothing I really like about. It'll be textile designer is that you still have all this flexibility to work with your layers. Always had. Right now, I'm on my move tool, and I can hold down my command key and move things around. Our lesson is not about the actual design work. So I'm not gonna do a lot of messing around here, because what I need to do is show you how to deal with leering this with this background that I have created. Okay, let's go back to this. I've got this half drop in color ways I've got my number of inks chosen. I have to select a reference book. Let's make it 24 colors. So it's like the other one will create separation. The step is just necessary. In order for us to be able to get to that production tab that's in the export. So we know we've got everything set up correctly here and now when we go to the export tab , which I'm accessing here through the pattern designer. Now I know that I can go into the production tab again. Specify RGB image convert to create. This is going to do the same thing where creates a great out of our half drop. Repeat, I'm gonna export, and I'm gonna close off both of these panels. I'm gonna go back to my original background pattern, select all copy it. And of course you're presuming that I've done all of my corrections and everything is perfect here. I'm gonna paste it into then new design that we created. Like I said in this case, we're not really talking about the design. I just want to show you how to work with the child that's open up these panels again and actually just I know that it's gonna be a lot of computing for photo shop all time laughs a lot of this as it's doing its calculations. I choose Grid as my tile type because, remember, we've converted the drop repeat to be a grid, and my half drop repeat is working perfectly. So that's just another fun thing that you can experiment with with a combination of creating those background tiles. And then, of course, doing your finishing here with Adobe Textile designer. So I hope that's been helpful for you. I'll meet you in the next lesson where we're going to wrap up, I'll see you there.