Secrets of Live Transformations - Create a Mandala in Adobe Illustrator Using Effects | Delores Naskrent | Skillshare

Secrets of Live Transformations - Create a Mandala in Adobe Illustrator Using Effects

Delores Naskrent, Creative Explorer

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
8 Lessons (53m)
    • 1. Intro Secrets of Reflected Patterns

      1:54
    • 2. Template, Clipping Mask & Live Transformation

      7:41
    • 3. Brushes, Guides and Templates

      6:59
    • 4. Expanding and Gradient Fills

      6:36
    • 5. Adjust and Set Up the Template

      6:15
    • 6. Adjust Template and Build Detail

      9:51
    • 7. Brush Stroke and Pattern Repeat Testing

      12:17
    • 8. Outro

      1:48

About This Class

Illustrator has plenty of tools, panels, and commands that make our work much easier. Among them, however, there are several outstanding ones that I personally consider the most important features of this program. They include brushes, the Appearance panel, Effects, and, of course, transformation.

The Transform Effect in Adobe Illustrator lets you move, scale, flip, rotate and repeat the appearance of one or more selected objects, and all of this is editable in the Appearance Panel. Using transformation(s), you can create patterns with paths, brush strokes, text or even imported images, which I will explain in this class. Then you can edit the whole pattern by making adjustments to the original. You’ll be surprised by the power of this indispensable tool!

So, the Transform Effect: what is it? The Transform Effect is a dynamic effect whose main result is to create patterns of content that can be easily manipulated, allowing you to make adjustments to the original object or group of objects. This is incredibly powerful, especially when combined with a clipping mask. Knowing transformation is knowing a lot - it gives you power you may have never even considered. In this class, Secrets of Live Transformations - Create a Mandala, you will learn the amazing power of the Transformation Effect in Illustrator by producing a template. This template can be saved and used over and over to produce radial repeat designs, valuable in pattern design and illustration. I will show you by using a mandala as an example, so you will have a gorgeous motif by the time you are done! We will be using reflect and rotate effects, but what you learn can easily be transferred to other functions.

You will not believe your eyes! Get started now and you could be done today. You won't be able to sleep tonight knowing all of the amazing things you can do with your new-found skill. I even impressed myself, lol.

Intro:

In this intro, I will give you an overview of the contents of this class.

Lesson 1: Template, Clipping Mask & Live Transformation

Set-up of the mandala template is just the beginning. We will discuss the advantages of the transform effect. At the end of this lesson you will have a very usable and re-usable template!

Lesson 2: Brushes, Guides and Templates

In this lesson, you will see my process demonstrated and the power of the transform effect becomes very real! 

Lesson 3: Expanding and Gradient Fills

The simple mandala in the last lesson will be augmented with special brush techniques preparing it for using gradient fills.

Lesson 4: Adjust and Set Up the Template

In this lesson, we finish up the gradient mandala with a few details, then we move into making adjustments on our template and starting the detailed, henna-like mandala.

Lesson 5: Adjust Template and Build Detail

In this lesson, we work on the mandala to achieve plenty of details. I will reveal many techniques for adding interest, including dashing the strokes and layering them. There is plenty of timelapse to make it faster, with a voice-over from me explaining the intricacies and giving you many more tips and tricks.

 Lesson 6: Brush Ideas and Pattern Repeat Testing

In this final lesson, I want to blow your mind with possibilities. Be prepared to be inspired! As I was going along you will see how excited I got just thinking ahead to what I could achieve with this template!

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 transform effects, clipping masks, rotation and refection effects, mockups, expanding shapes and lines, brushes, layering brush strokes, templates in illustrator, live transformations, colouring book motif ideas.

You will get the bonus of…

  • Around an hour 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.

Transcripts

1. Intro Secrets of Reflected Patterns: guys, My name is Dolores NASCAR. And glad to see you here, if you can believe it. It's actually cold and snowing here in Canada in the middle of April and how it's given me a lot of time, along with my isolation, to figure out a new class for you and the class I want to teach right now is to do with using live transformations to help you in creating really cool and unique motifs. My objective, of course, is always to end up with something I can use in my pattern design. But these skills air really transferrable. You'll learn how to make a template that you can use over and over again. I'll show you examples of myself using the template to produce some really cool and very, very different effects. The first thing we're gonna do is create a really simple mandala and fill it with radiance . Then you'll see me adding additional guides to my town plate to use in drawing a super intricate mandala. You'll see me using brushes that I've used in other courses. This class is for you. If you've been using illustrator for a while and really want to dig into some of its hidden features to make you even more efficient. So if you're software has the same capabilities, you should be able to produce it in there. So, like I said, what are the very last things I'm gonna dio is show you the production of a really intricate mandala and then the use of that one in pattern making. If you take the opportunity at some point to click on follow just below That way you'll get all the information about my upcoming classes as they are released. And now that I'm in isolation, there are more about lots of ideas. Are you ready to get started? Okay, let's get Teoh. 2. Template, Clipping Mask & Live Transformation: you guys welcome back in less than one here, I'm going to help you set up your first template. It's a little bit hard to wrap your head around. I suggest that you follow step by step and produce your own template as we're going through the lesson and just pause the video whenever you need to. If you don't like working this way and you'd rather use a worksheet, there is one down below. Just click on the link and you'll be taken to the worksheet that you can print off and follow. I know it's a little bit tricky, so just hang in there. Once you get through this lesson, it's all fun. Let's get started. Okay, so I'm gonna show you a method for producing these That is fairly simple, quite satisfying and really intuitive. Once you have your template made, it's gonna be somewhat like this one. But I'm not sure if we can replicate it exactly. I'm not sure exactly how I did it. So do it as well as we can, and a similar to this is we can. So let's get started. I'm going to use a 10 by 10 document, and I'm going to draw a line vertically. You can definitely go away off your art board used the allying functions to line it up perfectly to the art word. And then we're going to start our transform. It's very important to choose the transform that you find here under the effect menu, not the one over here on the object menu. So I just want to take a sec and explain why you'd want to be using this transformation from the effect menu. The cool thing about it is you can set it and forget it. When you use the effect, you'll see all the edits in real time, and you can save the template to reuse forever. In my opinion, the real advantage is that you save time, you improve your accuracy and you edit way more quickly. So we're gonna go to distort and transform. We're going to dio 15 degrees and we're going to do 12 copies so you can see what that's done here is dividing up our art board into equal sized segments and hit OK, All right, so this is gonna end up being our guy layer, so I'm going to label it. That's guide make a new layer. And this time I'm going to make have been actually hide that guide for a sec. I'm gonna make a horizontal and a vertical line. I'm not being too careful about aligning it, because I know I can use these allying tools which make a lot faster. You're gonna show my guy layer again for a second and making sure that I am in this artwork lier, actually, let's rename it. Making sure I'm in that layer. I'm gonna draw another little line segment. All right? Now, make sure you've got the entire layer selected so targeted by hitting that little circle. If you have this open, you could see that all of the layers were selected. And we're going to go and do another transformation. We're going to do one copy and we're going to reflect it. Hit preview. You can see that it reflects perfectly. So let's hit. Okay, there. So we've got the basis of our Mandala Mandela. I don't even know how to pronounce it. Tickets Mandela was. I've got that basically drawn the way I need it. So now that we've got this reflection working properly in the wedge, the other thing we want to do is repeat this all the way around a circle so that you get the drawings of each of the sections being repeated everywhere around the circle in a live way. And I thought I'd take this opportunity. Teoh also explain the appearance panel, and I don't appear to have it open here if you don't just go to your window and you'll show the appearance. This is another of the outstanding features of illustrator and I'm talking about. Once I learned how to use the appearance panel along with whatever transformations I was doing made a big difference When you've just got it going on over here, there's nothing in the layers palette that tells you what's happening, and you don't know you where transformations are or how many you've got or what's going on . But what happens in the appearance panel is they show up over here so that initial transformation that we did with that one line, you can see it already here in the transformation effect, subcategory of our particular object that we've got selected. Okay, so we've got that selected. The transformation shows up here and now we're gonna do the next transformation, which will repeat this all the way around or again. I still got just This one is elected, and I'm going to go back to my effect and transform. Now we're gonna get this message that comes up and it says this will apply another instance of this effect. And yes, we want to apply the new effects. So we hit this button here. Now, here we get to choose the second fact that we want happening all around the circle. We're gonna use the rotate part of the transform effect. And in this case, we're gonna put 30 degrees because we've already got both sides happening here, so we don't need 15 degrees. We need the 30 degrees, which is the two wedges put together, and we're gonna do 11 copies. So if you hit that preview button, you'll see the rubble line repeated all way around. That's exactly what we want. So we're gonna hit OK? And did you see the second transform now has popped up into this appearance panel. So that's super important. Because if you ever needed to just hide or disable one, you could do that. You can actually see these transforms that have happened, Alright, And the next step is going to be to create a clipping mask so I won't explain to you why you're gonna be wanting to have that clipping mask. I'm just gonna show this layer again and you can see that we're having a problem here with this line. If we were to be drawing additional lines in here, let's say with a brush, you can see that the continuous line goes beyond the edge of the actual which and that's not what we want. We want it to actually end at each of these lines that you can see on this guide Lior here . So I'm gonna resolve that issue by creating a clipping mask. Creating the clipping mask will resolve this issue off the lines reflecting beyond this dividing line. We don't want that to be happening. So what we're gonna do is in this layer, we're gonna draw a circle. I'm holding down my auction and my shift key to make sure it's a perfect circle. And then what I want to do is divide this so that it only has this wedge showing. So I'm going to use a little trick with the properties panel here. I'm going to click this ellipsis in the corner and this brings out this additional dialogue box and here I'm going to type in 90. It will be the one side of my wedge and 105 which will bring in the line to the left side of my which you can see that that perfectly by sex where it needs to. And that's gonna be what will help us to make that clipping mask. We have to expand the shape now because you want to get rid of this big bounding box on the outside. So now we're left with just the wedge, as you can see. And then we're going to expand the appearance on that as well. And now it is simply a wedge shape. No stroke, no Phil. So next thing to do is to de select that so command shift A, he selects. We're going to select that layer just by highlighting it up here. Don't select anything over here. Just highlight the layer and then hits this make release clipping mask button at the bottom of the panel. So you could see that now nothing goes beyond the edges of the wedge, which is exactly what we want. So whatever we draw now within this wedge will be perfectly cut off at those guidelines. So I hope that wasn't too hard for you. I think now you're gonna have some fun because you're gonna see the power of that template and the fact that the transformations all take place in a live format. The next lesson we're gonna start doing some of our brushwork. That's the fun part. So I will see you there. 3. Brushes, Guides and Templates: Hi, guys. Welcome to lessen, too. So in this lesson, we're going to work on creating guides, and we're gonna use the brushes and get started on our first design. All right, let's get to it. So this lesson is going to reveal to you the beauty of thes live transformations. I'm just gonna lead down a brushstroke here for you to see doesn't matter right now. What brush? But you'll see that. Let me just hide these guides. You can see that whatever I paint will now be duplicated everywhere on my mandala. So that's pretty funky. I love that. I'm gonna import some brushes, and we're going to do a little bit of experimenting with, um so you could choose at this point, Teoh keep those lines showing So these three Or you could hide them like this. It's still going to work when you ain't into that wedge there. Now, if it's a little bit confusing because you can't see the wedge, we can duplicate it and make it into a guideline. So let's do that real quick just to make it a little bit easier for you. So what we're gonna do is take that clipping path we're gonna do pecan it, you can just create new layer. I just personally like to click on it. I am going to auction. Drag that wedge to that layer. Let's hide all this other stuff for now. We're gonna take that layer so you can see that the wedges there it's invisible. But if you select it by either clicking over here or doing select all with only that layer showing and that will be selected and go under object to expand. So all you need to do here now that it's selected, is to go under the view guides and make guides, and you've got a guide there, this guy you can lock. So I suggested you just lock this layer and we can call this wedge guide so that it can be turned off completely. And then bring our artwork back and you can see where your wedges and you know where you have to draw. So next thing I want to do is open up some brushes and I've got lots of brush libraries. As you know, if you've been taking any of my other classes and in this use it to find, I'm gonna grab these Leinart heart brushes. So those air from the Leinart Heart course that I did, and I will select one select my I was select all of the brushes by clicking on that 1st 1 and then scrolling down, looking on the last one. You see that they're old highlighted here. I could either drag them over to the brushes palette, or I can just add two brushes here. They all show up. I can both this library. And now I've got all of these fun little brushes to play with. So let's get rid of those first alliance that I did. I'm gonna just get rid them. I kind of like that, you know, it's a really need effect to have that broken brush stroke. It wasn't what I was attending today, but I mean, for some other project, I may still use that. So I'm going to take those away hitting the trash can. And you know, what would be a wonderful thing to do right now is to save it, and I'm going to call it my class demo template. I had one before my practice one. And the other thing I'm gonna do is I'm gonna save this as a template. You really want to do this because you will be able to use this over and over again to make additional mandalas. If you are interested in, I'm gonna save it. Actually, I'm gonna save it of template. I'm going to save it right here in my assets folder along with the documents. And you see, it has the A i t file extension at the end. Save it there. And now you can see that's what's come up here. And I know I'm using that template. I can close this and I could made a new file going to file. And this time I'm gonna go new from template, Gonna go to where I saved that template class demo template. And that new document is set up exactly as the template waas with everything I need to proceed with my drawing. Here are my brushes, and let's just give one of these a test run here, so make sure that you are on the artwork layer or not, the guide layer be on your keyboard gives you the brush tool, and you can see that whatever you're gonna draw in this, which is going to be repeated all the way around your mandala. So it's really just a simple is that and you can play around with all your different brushes to see what kind of effects that you can get That's based on what you do in that one wedge. So the metal that I want to create today is something like this. I wanna have that kind of a swooping edge to it. And when I looked at the brushes that I have, I didn't find anything shaped like this. So what I want to do is create that brush just so you get an idea of Oh, that's not I've already created this one, but I'm gonna do another one from scratch will just be a variant of that one. So I've drawn a rectangle filled with black. No stroke I'm gonna do is at a point some on my pan tool at the plus sign that gives me the at a point and using my smart guys I can perfectly positioned match in the middle on the left hand side here and I'm gonna get minus on my keyboard. And that allows me to get rid off those two additional points that I didn't need. And then that entire triangle I could drag into my brushes, palette it Arte brush and okay. And I can leave all of these settings the way they are for now. So that's the brush that's currently live. I had put that on a brush making layer so that I could hide it. I'm gonna go back to this layer here, and when I use that brush, you can see that it's giving me that kind of fintech pick that I needed for creating that sort of a look. Okay, so now it all just depends on how you draught. I'm going to start drawing a few of thestreet oaks that I want in there. And you could see that if I stopped short, I would get that sort of, ah, blunt shape because that was the way of my brush with shaped. As long as I take that point and I move it off beyond the edges of my wedge, it's going to give me the shape that I want. So I'm going to just do a few of these beyond my keyboard again. My brush currently is one point. I'm gonna try doing one a little bit smaller as I get into the middle part of my mandala here and try again. You want more of that shape again? If I stopped short, just grab that weight and move it off. And the same thing goes with all of these. Now, I could just make adjustments by either selecting the line or selecting the end point. And at this point, I've got snapping still on. So under view here, I've got actually, it looks like I've got smart guides on. I'm gonna turn those off temporarily. Another way to check is to go into this little allying panel, double click on it, and you could make sure that all of your snapping is turned off there. So I'm just going Teoh do that right now. At this point, I don't need this napping, and I just want it Teoh move Really? Without getting hung up on the guidelines, I'm just kind of adjusting slightly. If you ever want to take a point away, remember, The minus key will allow you to take an anchor 0.0 j. And you just make all your adjustments until you're happy with your shape. I'm gonna keep this one fairly simple. At this point, I just wanted to look a little bit like this. What I'm gonna do in the next lesson is I'm gonna show you how to expand these lines, and we're going to do some fill in ingredients just to make it look as lovely as this one here. So I'll meet you in the next year. 4. Expanding and Gradient Fills: Hi, guys. Welcome to lessen three. So, in this lesson, what we're gonna do is expand the brushstrokes that we created in the last lesson, and I will show you how to create the radiant feels that go along with it. All right, let's get started. So what I like to do before actually expanding appearance on all of this is to make a duplicate of it, just in case I want to go back and use that as a template for another Angela in this same document or another reason, maybe just further editing Later on, I might even go in and change all the brush strokes, for example. So I'm gonna take and duplicate this layer by dragging it onto this icon at the bottom, and that's giving me a duplicate of it. You can see here in the layers panel, so I'm gonna turn off the one and on the copy, I'm going to select it so highlighted over here by clicking on that circle. Everything within is now highlighted and selected. I'm going to de select clipping path and these lines that don't need to be a part of it. So just my brush strokes here are selected. I'm gonna go to object and expand appearance. So what? It's done, you can see here is expanded. The entire mandala that was drawn there and you can see it can be very confusing. Toe. Look at this. What we're gonna do is use Pathfinder. Teoh, unite some of these shapes so that we've got separate feel areas that we can fill with different colors. So we're gonna do some stuff to simplify our file and make it not look quite this crazy. Make it a little bit more. Here's your friendly. Let's just say so you can open up your path buying your palate. If you don't find it here in with the rest of your palates. Just go Tendo and Pathfinder and turn it on there. So the auction here, there's a bunch of options that you can experiment with. You can see that some of them us don't produce any results at all. One that we're gonna use today is this one at the bottom. Old merged. So as soon as I hit that, you're gonna see this completely simplified. Isn't that gorgeous? So now we've got separate fallible shapes here, and that's exactly what we wanted now one of things. I do notice once I get a document that's this busy. Let's just say that file and illustrator tend to start slowing down, especially once you start adding radiance and whatnot. So what I usually do is that this way is selected. All right, now I'm just holding down my command key, and you can see that this comes up all selected. What I'm gonna do is I'm gonna use the simplify palette to just reduce the amount of points here a little bit you may be before simplifying. What I'll do is I'll expand the appearance. Both the fill in the stroke. The simplify is found under path here. I've got a short cut for it that I have installed. If you don't have the shortcut, just simply come to the object menu path and hit Simplify. Now it's telling us currently that we have 2400 and 62 points. If you can see that there. And I'm going to just mess around with the sliders a little bit, Teoh. See what I can do to reduce the amount of points already in whatever my previous settings were for Another project you can see that it has reduced it down to 732 points. So you want to just experiment until you find what is satisfying for you Now myself, The guy was fairly happy with the way it was it 670 by points. Nothing was super distorted. I mean, if you go to the extremes, you will see distortions. But I think I'm gonna leave it right about there. I think will be good for me. So now we've got all these great separate shapes that we could go ahead and color. I could just kill them with color solidly like this for you could use your radiant tool. Specify. Let's try it. Read. Use this Grady int tool here, Teoh, make your adjustments and I'm gonna hit this one, which is the radio ingredient. You can see here that any adjustments I made are happening in real time on the screen. I'm going to change this one to be a lighter yellow, but you can see that little bit better. You can see I'm dragging them closer to this end. This is one way to change the radiant. Or you can use the controls right here to adjust where your radiance are, starting and ending with income point Teoh yellow in a little bit. And bring this rid right to the end. And there are about a really nice, even radiant, if ever you don't want to see the anchor points and stuff while you're working on something , you can go to hide edges. Just remember, you've got those on, so you might think that's going on. I'm selecting this and it's not being selected. Just make sure you've got about that hiding or showing so that, you know, just remember that shortcut command h so that you know what is being selected and what isn't. So then what? If you wanted to actually feel this background, that was the next thing I was gonna address. So let's say like this one here. I wanted to put just a nice field of Grady and in the background. What I would do there is with my direct select to also a on your keyboard, I would select just the outside of that shape you hold down option. When you select, you're making sure that you select absolutely the whole thing. Every anchor point is selected and do you copy? And then you're gonna do paste in back. So that's this one here, command be. And you can see that. Of course, it's the exact same Grady int as I had before. I could go ahead and change that I hitting my radiant tool. And let's do a very soft yellow. I'm gonna click on this circle the outermost circle and I'm going Teoh, go to my Hello, I'm actually to go to my c m y que sliders and I'm going to reduce the intensity of that yellow by sliding. But why? Or yellow slider A little bit to the left, to a boat now 30% or so And then I'm gonna go to these. I'm gonna actually just delete that one by dragging it off. And this one here, I'm going to make pure white so you can see how that's made a nice, lovely, soft yellow like a little bit darker with this. And currently you can see that even though I did the pacing back, it didn't go behind exactly where I wanted it, Teoh. So I'm gonna actually just take that and drag it down to the bottom when I did the pace and back. I probably just didn't have the right part of the later selected here, the group. So then I just continued with filling my mandala with a variety of different ingredients. Basically, based on the same technique, I'm gonna show you a couple of tricks with adding a little bit of detail to this particular mandala. And in the next lesson, I'm gonna show you some alternate ways to feel your template and create some very different looking Manulis. 5. Adjust and Set Up the Template: guys, welcome back. So in this lesson, we're gonna explore some alternate methods for killing your template and creating very unusual and different looking Manulis. Alright. This will really show you the power of that template and why it was worth doing all that to create it. You ready to get started? All right, let's go. So one of things I want to do just before we start that is to show you a couple things we can do to dress ask radiant battle that we created. I'm gonna hide that guy temporarily. One of things I like doing. And it's really easy way to dress these up is to add a stroke. Why it or whatever alternate color that you'd like to select all of these outer ones stroking with weight. And then I like going in and just playing with the size of the line and dashing it so right away that's added a lot of detail and you can adjust the size of the dash. I'm going to do a two might dash with a four point gap so that I'm just alternating with these measurements and just experimenting till I find something that I like now right now, you can see that these are still little squares. If you wanted to make them round it, you could adjust here, experiment with all of these different things and how they affect your line that I'm going to do a slightly thicker line and a smaller dash. Gonna try that from using the tab key to move between these measurements Here, look how cute that looks. So that was really an easy way to add a little bit of fun and detail. So in the next part of the lesson Oh, by the way, this was already expanded. That was the expanded shape that I applied that to. You could have done that also when you were still working on your template and it would have been repeated all the way around. I'm not gonna spend too much time on this one because we've got so many other ones to cover , So I'm gonna get started with those right away. So I took some time off camera yesterday. Teoh do a little bit of experimenting, and this is one of the methods I wanted to show you right away because it is just so simple . What I've done is. I've taken an old artwork that I already had, and you might recognize this one from the class that I did on producing pattern lending, both traditional and digital techniques. So I've taken that section of pattern, paste it into this document and a little bit at an angle, and you'll see when I drag it into my artwork layer under my clipping mask that instantly have created pretty cool mandolin here. Now, any time I make adjustments moving this around, I get different variants, and I'm gonna just hide the edges simple airily so that you can see what's happening in the background here. But talk about a way of recycling. Some of your previously created line work could see this being on excellent coloring pattern. And remember that you could still go in and show those ages again. You could easily go in here and still make adjustments on your artwork. If you wanted to get rid of something or adjust it, you could still make those changes because this is still alive. Artwork group here, so that's one of the methods that you can employ. And of course, you could go in and do all your lowering you could change the rotation. Anything Teoh make the actual finished art look better. So I want to show you all of the powers of your template. So this is just one of the first examples. It doesn't that just make you kind of excited for what you could do here. Like, check that one out. Imagine this one. All colored would be great. So this will. That I created yesterday has been completely created with this brush such So we take a really close look at this in the layers palette. I want to show you a few of the things that I did to make this job a little bit easier. I'm temporarily going to take the artwork out of the template so that I can show you some of things that I did. Teoh make my job a little bit easier with the drawing. So what I did is I went in and I added some concentric circles. No, I did that by just pulling a circle circle Ill, right? Yes, well, so it pulled several circles. So let's just say I wanted some additional ones here, even matter if you're perfectly lined up to the centre. I'm holding down my auction and shift key so that it is approximately at the center. Then I selected those circles. So about the to selected, you can see the aren't aligned shows. Those two points are not at center. And again, I just use my align tools here to make sure that they do get lined up right there. Then what I did with those is I stroked them with a light blue. Somehow it closed my swatches palette many ways. I stroke those with a light blue. You could do any color you want. You might want it even do a light grade, and then you could see that those are part of my guide layer. Let's just make sure these are the two ellipsis I just drew so I could put them into this guy layer. Probably what I would dio and then show that guy layer is I've got some additional circles in there. The other thing I did was to draw another line here to line up some of my artwork that needed to come to a point in the middle of the wedge to do that, I drew perfectly vertical lie and I did that by using backslash to get my line drying tool held down my shift key to keep it perfectly at 90 degrees, you could make sure that it's lined up perfectly. If you put your smart guys on, it's probably the best way to ensure that that's perfectly lined up to the center. Anyhow, it'll kind of snapped to the right spot there. And then what I did is my rotation tool again using that smart tool to show me exactly where I wanted to anchor that quotation option clicked right in there and rotated it. 7.5 degrees. You can click your peer view here. You'll know that it's lining on. You see the line here in the background 7.5. It's exactly half of the 15 degree original wedge that we made it. Okay, And then again, drag that into your guide lier. I'm just gonna get rid of it because I've already got one there. So in relation to my art board, if I was to look back, remember, my art board was 10 inches. I had hidden it here, but just in relation, you can see that this made my drawing area a lot bigger. OK, so let's move on to the next lesson where we're gonna actually see the magic. I'll see you there. 6. Adjust Template and Build Detail: Hi, guys. Welcome Lesson five. So here, we're gonna do a little bit more work on the finishing and you'll see a time lapse of what I have done. Ready to get started. All right, let's go. Okay, so we'll give you a few techniques on drawing this. How? I went about doing this, I recorded the entire process from start to finish. So you're gonna be seeing what I did yesterday in real time. And it will be a time lapse. With a voiceover by me, I will stop whenever I feel like there is something really cool too explorer or to explain . The first little part here is just me testing my template and getting that all set up to work this. Then I decided to go through and make some of those additional guides to help guide me as I was doing all of my rush work. You can see here that my wedge is theoretical size the small size, and you'll see me now going through the process of making a large wedge. Same technique. That's probably the most critical point when you're setting up your template. You want to make that template perfect because you will be reusing it many, many times. So here I'm thinking about how am I going to increase the size of that wedge? And at first I was going to just try to enlarge it, and then I realized that would not be accurate enough. So I went through and copied that largest circle, pasted it in front, move that up into the artwork layer, changed the name of it to clipping mask. And then I will follow the same procedure as I did to first Lesson going into the properties panel, cooking on the ellipsis, changing my two angles to 90 and 105 Now I've got the wedge out to the extended size of a new mandala shape, and I have to, of course, expand the shape. And now the wedge. The only thing on that level now, to define the clipping mask, you could go under object where you can go to into the layer options and make clipping mask . You know it's a clipping math, because it is underlined in the panel. So now I could hide or show anything that I want, double checking what is part of the guide and what isn't and then I'm gonna make another guide at 7.5 degrees. You take the 105 and you subtract 7.5 degrees, 97.5. Figure that you need for this spot here. All right, so that gives me a nice center dividing line there. So that's another ultimate method for dividing up your wedge. Just when I chose to make light blue. Now I go back into my layers panel and I make sure that I'm on the artwork layer. So here comes the fun part. Now I can just start creating, and I've started with just a few little dots you can see here in the bottom of my wedge. Already, you can see the impact that just a couple of little lines can make. It's getting a little bit warmed up here. Not sure exactly what I'm gonna draw. That's kind of the fun of it. Is discovering all the different ways that your template can work. In some cases, here I'm a time lapse of a little bit is to move the process along. You can see here that I'm making adjustments to my path by individually moving the points That's Another thing that's so cool about it is that it's completely edit Herbal, turning off all my snapping here in the upper right hand corner like I showed you before, including all the smart guys and snapped pixels, even just as a way to draw flowers. This template is going to be very useful, right? I'm also experimenting with all my different brush types. Some calligraphy brush is this one makes a really nice, thin to thick line. I think I know what I want to do here is to swoop all the way down, read that kind of a shape. But it's all a bunch of fun experimenting at this point. It's a great way to learn how to use all of your different brushes also to make adjustments to them. So in some cases I'm reducing the stroke with to make it work a little bit better in the space that I have. I think if I was to do a bunch of these one after the other, I would develop a brush. Such that was exactly to the size that I needed it. What I'm actually trying to achieve is the look of a hand attaching. I'm looking for kind of a delicate, almost lacey pattern and those air using really intricate with a lot of little details going on. I really like this one with the really thin point or coming to a real thin point makes me kind of think of toll painting or getting on Kingham with that least called like How fun is that? This is already starting to really come together. What it normally try to do is establish the overall fill with all the brush strokes and then later on a kind of back up and take a look at it and decide what areas should be made a little bit darker. So towards the end of this, you will see me go back and change quite a few things that I could get a balance between light and dark areas. I'm gonna throw down a few older strokes here, and one of things I really love doing is layering my brush strokes. So layering a white stroke over a black stroke and that's one of the techniques I use quite a lot, and I will be showing you how to do that. It's a great method if you're trying, Teoh create Mandela's that will be color that somebody is going to color. You can see having the white over the black kind of makes an outline. She I'm gonna be explaining more of this in the last lesson. I'm gonna give you the details. You could also create brushes that are strictly outline. If that's what you were trying to achieve is that effect of coloring book or coloring page ? But I really like about this is being able, Teoh, move your strokes and everything happens live. I'm going to be doing a couple more classes on using this life transforming of ah technique have been planning another class with a doggie style of pattern rip each sort of on onion shaped. So I think if you're into pattern design, something like this should be really exciting for you. I know it is for me because I can use this single mandala that have created and then from it to create a pattern. I think what I'll do you after I've got this class completed is I will ahead and show the use of this and my other mandalas that have created in the creation of patterns. I hope you could ignore some of that noise that goes on in the background. Here. We have had a surprise mid April snowstorm. So we've got our fireplace going and the fireplace has a fan. So of course you'll hear the fan running intermittently. So here I'm also gonna layer a white stroke over this black. So I'm using a different profile here trying to make this work. Now, one of the neat things that I discovered after a bit of experimenting is that I could actually take some of these lines and dash hm. So create a dashed line like I did in the previous lesson. So even if it's a brushstroke, it could still be dashed. I'll be showing you that in a minute. Tow line, This one perfectly up on the reflect I really enlarged so I could get a perfect fit. I really like how this one kind of looks like a little too it with leaves at the bottom. Now I'm using almost all strictly brushes here, but remember that you can draw any shapes that you want. You can use the pen tool, the pencil tool. The blob brush could use ellipses and squares, rectangles, anything to achieve the effect that you want. In the end, before the end of this lesson, you'll have seen me do a lot of different it orations of this and I'm narrating it right now. But the whole heap without editing, without time lapsing was only 43 minutes long. So I know that this entire process to be less than an hour to dio here I'm using just my basic brush and amusing my bracket key as I'm going along. Teoh make the dots bigger or smaller, doing a little bit of fine tuning in here in that I could probably wait till the end to do . But sometimes it's nice to do as you go along. My gosh, I can't believe that there is snow still falling here in Manitoba, Canada in the middle of April. It makes it even sadder when I think where it was a month ago in Florida and it was so hot , I could hardly stand it. Damn you, Cove in 19. I think this is one of my favorite brush profiles. That little pointed stroke ticket one ended thin at the other for the next admit. It's I just went ahead and did a whole bunch of changes to add detail. What I'll do in the next lesson is give you a little bit more of an explanation of the layering off the brushes. I'm just gonna time lapse the rest of watch I'm doing here. And in this last little bit, you'll just see me doing some adjusting to the overall balance of dark and light areas. Just some final adjustments. This one is critical real quick and in the next lesson over. Do some of the alternates to layering your brushes that I can think of explaining to you, So I'll see you there in the next lesson, Bye for now. 7. Brush Stroke and Pattern Repeat Testing: Hi, guys. Welcome to lessen six. So glad you hung in there, and I'm going all the way to this point. This is where things start getting really cool. I'm gonna show you the use of my motif in pattern making You ready to get started? All right, let's do it. So this is how it ended up turning out. And I've got a lot of different things going on here that I'm not sure if you noticed, but a lot of layering in here. I wanted to show you how exactly to do that. And then I've got a couple of other things from some other mandalas that I've done in the past that I wanted to show you. So let's get right to it. I'm gonna show you first. The layering. I apologize in advance if you hear that ban in the background from our fireplace. All right. So the 1st 1 that I want to show you was just having a layered at breast stroke. So I've got the black stroke right now. I'm going to copy it and paste it in front. So there are two copies of it, as you can see, And this time I'm going to stroke it with white. It's kind of vaguely see the outline of the black and behind there you would do here is then just make the inside one or the top one white and make it a little bit narrower. That's one of the techniques, what I have done and what you saw in the other lessons. I also took that line and dashed it. So go into your strokes. Pallets. It's like I have closed it and gash that line that's on top. No, that shape looks a little bit weird when it's dashed. So maybe I would switch to something like this and you can see instantly that there is a smaller set of dots on that top top line. Okay, you could do that also with just a plain brushstroke. If you wanted Teoh, and then you could probably do some pretty neat effects with your line. I kind of like that, even Ah, The other method that I want to show you real quick was when you had something like this scatter brush. And what I would do here is expand the appearance. Just remember that now it is a shape. It's not a brush stroke anymore. You won't be able to edit it in the same way. But the neat thing about this is you can then fill it with white and stroke it with black and again. You know you can specify the thickness. So if you're into creating coloring books, for example, this might be a way to do the entire heart champion that one. Now one of the other things I have done is create some brushes that already have a bunch of the details. In this case, you could see that I just used that same technique off, adding a dash blind to the outside of the brush, which I created by expanding another brush stroke. So it's kind of cool, because now, if you were to drag this one into brushes, palette have it as an art brush. I'm just going Teoh demonstrate the use of it. You see that all of the detail is already on it, so that's another way that you can quickly make some of your motifs. Sometimes it's nice because you can if you're especially if you're doing pattern design, you can use it. Something like this is a feeler in the background. All right, so those were just a couple of the techniques that I wanted to show you with those kind of brushes that I created, You can see I have three brushes here that I used and created this entire thing. I also used a few graphics that I drew. But these brushes can be really cool. In several of my other courses, I show you the creation of brushes. So if you go back to those courses, you can see how I did this. And here's another example, this one in black white. This one also would be a really good one for using in a coloring book. And you can see the lot of these brushes are already hollowed out, so they're created with shapes. You have a white shape over a block shape and drag it into your brushes panel creating our brush. And you've got a new brush that you could use for doing some of that drawing. But you could do some pretty neat things with ease. Hand drawn brushes. Like I said, I have a couple of other courses that go into a lot of detail with creating the brush is so I won't go into that today. But definitely that's something that you should check out. So if your mind is not already blown, I'm gonna show you another one that I did real quick. I mean, it's super rough story about that. I've got, you know, a lot of sort of miss shape and pieces here that I could improve on, but But I wanted to do is just show you real quick how this could be used in your pattern design. And how powerful are transformation really is. So I've designed the single wedge here. Go to drag that down into my clipping mask layer Drumroll, please. That, uh oh, that was so quick and so easy. Obviously, some adjustments would have to be made here. Go back into your wedge and you don't change anything that you don't like. You want adjusted. A lot of times, something like this, I would use the rotate tool and just I just want to move this one tow line up, but you can see how fun and great this template is gonna be for you. All right, Next. Now. The other thing that I wanted to show you before we ended this lesson is just a quick look at or quick idea about the hour that you now have to use this kind of a transformation in your pattern design if you are a pattern designer. So I've got this as a 10 by 10 and I like using that measurement because it's easy for me to figure out a rip each other repeating pattern. So I'm going to actually save this as a pattern demo so that I don't affect my original file. And then I'm gonna take and just quickly show you how Teoh create or use this in your pattern. Repeat. So I'm going to select at all. At this point, what I want to do is expand everything because I don't need to have at this point as I'm demonstrating this to you, I don't need to have all the layers and all the clipping masks and all that, so it will just expand it and make it into a solid single motif. So I'm gonna just check out my layers here as I'm doing this to know that's exactly what's happening. I've got everything selected so you can see here everything in my pattern artwork layer is selected. I'm going to go down into Pathfinder and merge. So I'm down to the clipping mask and all the content here. I'm actually also have been going to get rid of this guide, suggest for my demo. And you know, chancer wouldn't do this because I would like to have all that stuff on my main document. But just so that I can demonstrate this more easily, I can now select the entire artwork. I've got a short cut to get into my pattern, which is command apostrophe. If you've seen any of my other classes, you'll see that that are making palate will come up. It has been attitude swatches panel here, and I would use a either a brick column. So it dropped pattern, and I'm going to try it at 10 by 10. My illustrator is going to start running real slow because I'm making it worth so darn hard . Now imagine using this to create a pattern. You could bring it in even tighter. Hang on how you structure your overlap and even on whether or not you've created a white solid background on this right now. If I was to overlap it, you would see over here where it's overlapping. You wouldn't have a white release to have it overlap and block the other one in behind it. Another thing you should experiment with is the hex I find with circles. The hex works really great. Let's try the 10 by 10. So the height I would maybe put at NYU in the wits at 10.5, you get the idea. Just imagine this as just a overall lace pattern. Maybe even white on a soft color could be just a great coordinates for, say, my heart related patterns that I've done in those last couple, of course, is there the Leinart Heart Project and the tailored topography project that I have here. Both of those could use this as a coordinate. What I would have done. Going to escape out of this is to probably create a shape in behind. All of this may be by first emerging and along with first selected all under object and see we have both expand and expand appearance. First thing I would do is expand. Watch up here in the layers palette. You'll see the clipping mask disappear, turns it into a group, and now I'm going to object to expand appearance again. Watch this layers palette and you can see that it is simply the artwork. Now, don't go into the Pathfinder palette and hit. Merge. Oh, poor illustrator. You're working so darn hard. You can do it. I can actually hear the fan coming on for my processor. When? When It has to work this hard. Okay, so that took just a minute. But here we go. I'm ready to test my pattern again. And now I have created the white field in behind. Took a minute to do that. And let's try our exp I call him again. Let's try both and see which one works better. They feel like the hex by column that drops it halfway down on both sides. Proximately. But now you can see that the overlaid one mandala will cover the other Mandel ist if they do overlap, just want to show you that real quick just to give you an idea of how useful that could be . Experiment with the different types of overland. You can just see there that you could create a really lovely and delicate pattern that would I could imagine white on a color might just exports just this to see if that one my swatches palette here there's a new Swatch has been created. Let's just give it a shot here and create a nice big copy of it would be so pretty. I think I'm just gonna quickly copy that into photo shop. Create a nice big document, paste it in. This is pixels. All I want to do is experiment with color right now. Colorize it, enlighten it. My goodness, I'll find with this. Be think that's really pretty soft Gray would be really nice or if I was doing it to go with my heart's a nice red. I kind of like that creamy background. It's on right at the moment. I just wanted to show you some of the possibilities with that, and I know that this is just fueled my imagination now. And I am going to definitely, definitely be experimenting a little bit more with these mandalas shapes and putting them on an actual background, experimenting with the color and trying this even out on a mock up. Oh my God, I think I just have to do that. Let me open one of my go to mock ups. Let's try this wallpaper one. This particular mock up I got in the class that catch coca let teaches on mockups. I took her class and I just loved it. Not with one of the wallpapers I created. And this is my coral and sea life pattern. That's part of one of my courses. So let's just double click on this artwork layer. Select that artwork east it in here. Save it. It's gonna update this smart object. You have a pretty Lacey omigosh Like acute. That iss that looks so good. And that wasn't even something that I laboriously worked on for a week. I mean, that was actually pretty quick, I think, in totality. It may have taken me an hour. So if I was indeed doing it for actual submission for licensing, I know I would have spent a lot more time on it, but wow, Do I love that now? I am just fueled. Fueled going, even change the color. Oh, my gosh, I could do this all day. You guys, let's try just something a little bit deeper, more saturated. This will be cute. I I really love this one. Last time. Let's try a really nice blue, and that is a mandala that I get in 100% block. You saw what I did. If I had done this with a whole bunch of colors or even a palette of three or four colors, you can imagine how much variety I could have gotten in my design. So I really hope that this has inspired you and that you will create some fabulous patterns with your template. Once you have that template, you can use it over and over again. It's really worth the time that you put into it. All right, so I better go because I have got a lot of experimenting to Dio. I will see you in the last little lesson where we'll just wrap things up and say goodbye until next time. See, there 8. Outro: guys, thanks so much for hanging in there until the end of my course. I really appreciate it, and I always appreciate your comments and the projects that you post. So the main focus of my class was, of course, to show you the power of the transformations and how you could use those to create some really great motifs. It works great, especially in cases like this, where there is a radio transform. Imagine doing all of that work manually. Every little change you make in one wedge you would have had to make all the way around way too difficult. It's awesome that it can be done in a live way. That's why I love live transformations so much. Now that you've warmed up to this a little bit, maybe you can experiment a little bit more with transformations and the appearance panel. I hope to teach a little bit more on that in the future, so make sure you follow, and that way I can let you know whatever. I have something new coming up. I really appreciate your comments and reviews. Please take the time to do it if you can, obviously creating this kind of a template is worth it in the long run. Imagine the possibilities for your future designs. Remember, if you have a question, probably someone else has the exact same question, so it helps everyone else. When you do ask those questions, remember to follow. And if you post anything on social media, can you hash? Tag me, Delores, NASCAR and slash skill share. I really appreciate that. And if you feel like it, check out my Pinterest sites. They're full of great resource is for artists. Also, if you have time, check out my store and follow me on Instagram and Facebook at the lowest art Canada. All right, take care you next time.