Simple Fast Folk Art Inspired Half Drop Toss Pattern Using Filters, Transformations, & Pattern Maker | Delores Naskrent | Skillshare

Simple Fast Folk Art Inspired Half Drop Toss Pattern Using Filters, Transformations, & Pattern Maker

Delores Naskrent, Creative Explorer

Simple Fast Folk Art Inspired Half Drop Toss Pattern Using Filters, Transformations, & Pattern Maker

Delores Naskrent, Creative Explorer

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11 Lessons (1h 22m)
    • 1. Intro

      1:49
    • 2. Make Varied Simple Motifs

      8:29
    • 3. Make Varied Silhouette Flowers

      14:51
    • 4. Lesson 3 Leaf Variations and Making Brushes

      8:55
    • 5. Lesson 4 Using Filters to Alter Shapes

      6:24
    • 6. Arranging Motifs and Keyboard Shortcuts

      4:56
    • 7. Testing and Critiquing our Pattern

      12:48
    • 8. Optional - Create a Transformation

      9:57
    • 9. Exporting Pattern Swatch - 2 Ways

      7:59
    • 10. Showing Off Our Pattern

      3:58
    • 11. Outro

      1:53
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About This Class

Have you ever just wanted an project that is pure fun? This pattern design is one of those! I am sure you have seen similar patterns that toss all kinds of motifs and elements together to create a fanciful and whimsical design. I’m sharing everything I’ve learned about making this toss pattern which I have learned from hours of creating and perfecting. You will see my personal technique for creating fun and super easy flower and leaf motifs using Illustrator filters. You can literally create multiple flowers in minutes! You will not believe it! Even if you aren’t into pattern design, this is an asset for you. This course, Folk Art Inspired Half Drop Toss Pattern, is specific to the toss pattern with a half-drop repeat with the added bonus of creating a template you can use for hundreds of future repeating pattern designs.

 

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I’ll show you my step by step process, from creating the easy-peasy motifs to creating the final repeat in Illustrator. We take the time to critique, all the while referring to our reference and inspiration pieces. This helps us to perfect the positive and negative space considerations that really make this kind of pattern work. Finally, we will be creating the template with transformations, and applying the pattern created onto mockups. All the concepts can be used in any patterns you make down the line, and skills are transferable to any software that has similar functionality.

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Lesson 7, which is optional, will explain using transformation to help visualize the repeat layout. What I mean by that is you can see the repeat of the pattern as you are arranging elements, and Illustrator will show the repeat work in a LIVE way. You will see what is happening with your motifs everywhere in the repeat as you work on the original tile. This makes it even easier than having to use the pattern-maker tool, and much more intuitive. I would recommend some knowledge of pattern-making with the goal of wanting to learn additional techniques. In class, we’ll talk about both design and technical aspects of repeats. We’ll discuss design theory which enhances and reinforces the toss. I will demonstrate the Illustrator software engines which include transformation and live transformation. I will be demonstrating using Illustrator, but it’s the concepts that are important, and these could easily be applied in similar software as well.

Although some of the steps seem quite advanced, I will demonstrate them at a reasonable pace so that it will be easy to follow along. This course is for all levels; I recommend being acquainted with Illustrator somewhat, and, also knowing the basic principles of creating pattern repeats, but most steps are explained very thoroughly. I suggest pausing and repeating sections and possibly even slowing the speed if you are in your browser. Adobe Illustrator is recommended for this class, as that is what is being featured here, and it makes use of the Transformation Effects and the Appearance Panel. 

The key concepts I will include:

  • review of my techniques in creating the initial toss pattern motifs
  • design considerations for a successful toss pattern
  • good examples, reference and inspiration pieces reinforcing the goal
  • methods to automate with Actions and Transformations
  • approaches you can take in your creative work

This course is packed with an abundant amount of information for you no matter what your purpose for the pattern you create. Begin today, so you can be benefitting from this effective knowledge immediately in your art practice!

Are you primed to create fun toss patterns and a re-usable template? That’s absolutely obtainable with this small investment of time! Let’s get right to it!

 Intro:

This short intro will give you an overview of the class.

Lesson 1: Make Varied Simple Motifs

In this lesson, I will show you my inspiration and we will begin to develop some folk art inspired motifs using Illustrator filters to speed up the process.

Lesson 2: Make Various Silhouette Flowers

In this lesson, we will continue to create silhouette flowers motif and more. We will continue using the filters in Illustrator and we will use additional Illustrator functions. I advise you on how to add character to your motifs.

 Lesson 3: Leaf Variations and Making Brushes

In this lesson, we will make a few Illustrator brushes to help us create leaves and branches in our pattern. We will use pathfinder and simplificationoptions to improve our designs. I show you how to make your designs look hand-drawn and not machine-drawn.  

Lesson 4: Using Filters to Alter Shapes

In this lesson, we will continue to create the motifs. I will show you how to add some quick animal silhouettes. You will learn much theory around pattern design. Specifically, we look at design considerations to help reinforce the folk-art look.

Lesson 5: Arranging Motifs and Keyboard Shortcuts

At this stage of the game, we start to pull our pattern together by positioning motifs on the artboard. We talk about editing the artboard and other housekeeping as well as essential keyboard shortcuts. I show you adjustment of brushes and making alternates that will appear bolder when at a smaller size. Again, I reinforce design considerations for these folk-art patterns. Finally, through time lapse, I demonstrate my initial design steps.

Lesson 6: Testing and Critiquing Our Pattern

We will experiment with finessing our pattern once we do a test with the Pattern maker tool.  This is an opportunity for us to critique our pattern to improve it. We discuss negative space and other design considerations. I also review and reinforce more keyboard shortcuts which are essential to speed up the process.

Lesson 7: Optional - Create a Transformation

In this lesson, we will review changes I made off camera, and then we will use the transformation effect. Using the transformations and appearance panel, we can create a live version of our repeat without having to use the pattern maker tool. This helps us preview in “real-time” as we rearrange elements and motifs so the pattern repeat is evident ON-SCREEN, giving us more control and less time wasted testing with the pattern maker tool. If you prefer the pattern make tool, you may choose to skip this lesson.

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Lesson 8: Exporting our Patterns

Exporting our assets with our final color choices is demonstrated in 2 ways. We first create large samples of our different color swatches and use the asset export panel to export as high resolution files for our mockups. We then use the original artboards to export swatch assets

Lesson 9: Showing Off Our Finished Patterns

We complete a couple of mockups at this time, and I explain the real purpose behind creating them. You will gain some insider insights upon completion of this unit.

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Outro

We will conclude everything in this lesson with a chat about next steps.

Concepts covered:

Concepts covered include but are not limited to pattern design, repeated patterns, surface pattern design, Illustrator repeat, Illustrator pattern design tool, Illustrator color settings, Illustrator actions, Illustrator Effects, Illustrator transformation, envelope warp, the Appearance Panel, automated repeats, arranging motifs, color considerations, design considerations, using Illustrator brushes, layout finessing, color experimentation in Illustrator vector pattern design, essential Illustrator keyboard shortcuts, pathfinder, simplification and many more!

You will get the bonus of…

  • one hour and 24 minutes of direction from an instructor who has been in the graphic design business and education for over 40 years
  • awareness of multiple approaches to resolve 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. Intro: Hi, guys. Welcome. I'm so glad he clicked on this course. My name is the largest Ask print. I am coming to you from Sunny Manitoba, Canada. Yes, Finally, it's sunny here, middle of May. This is another course in my powder design. Siri's and I've faced this particular pattern on full cart. I was researching full cart on Pinterest and found a whole bunch of really cool patterns that were inspired by Mexican arch called Otomi Automate. Arch is a beautiful type of embroidery that is done traditionally in Mexico, and the patterns are usually really, really simple. I was inspired to do this when I was working on my last course where we created scallop designs and I'm gonna be using a lot of similar techniques. So he took that course you're, well, crime to be taken this one. As you know, designing patterns is a process. There's a lot that goes into it, and I'm gonna be doing my entire process from start to finish on this particular design. So I'm gonna be showing you how to draw some really simple icons. We're gonna be using a lot of the filters that illustrator has, and we're also gonna be using brushes to create some of the motifs. If you have been using illustrative for pattern design, it really will just be an extension of what you have been doing. If you haven't used illustrated before, what could be better than a simple pattern like this? We're gonna work through creating the pattern we're gonna work through actually laying out what? The pattern. Then I'm gonna be helped you create the pattern. Repeat and we're gonna do a couple of different things with that, including transformations like we did in the scallop design class. Then at the end, of course, on board to be showing you how to export. And we're gonna create a few mock ups because you know me. That's my favorite part. If you're looking to brush up on a few additional skills for pattern design, this is a class for you. So let's get started. I'll see you in less than one 2. Make Varied Simple Motifs: guys, welcome to lesson one. So, like I said in this class, we're going to be producing the motifs by hand right here in Illustrator. We're gonna use some filters and we're gonna create some simple shapes. We're gonna create a whole bunch of different variations, including some leaves. Yeah. So I recently published a class on these traditional Mexican designs called Artemis Designs . And in that class, we created a template to do the automatic reflecting and repeating of our pattern. Now that has inspired me to go on and create more of this sort of a look. I really like the play of white space negative space around all of the really simple motifs . So I'm going to show you a few examples of what I'm talking about. So I'm here in Pinterest and I'm going to go to a couple of different boards to show you the kind of things that inspired me. I kind of started with this. I had, um I wanted some inspiration for another class that I've been planning which will use a lot of paper cutting and what I really found. Looking at these was the amount of negative space that was used between the different icons . You know, for example, this one here where you've got a ton of negative space around a very simple motif. And then I worse had my board that you saw in that other class if you took it from me. So within my surface pattern design board, I've got this one here called Otomi inspired. That's the one I used for reference on my last class. And of course, you know, as you're looking through this, you could see the same thing. None of the icons overlap. Very simple coloration. 90% of the time, it's just one color. And so that's kind of what I'm gonna go for in this class. But at the same time, I'm going to be showing you some ways to make some really, really quick motif. So we're gonna start that right now in Illustrator, I've the past created lots of very simple designs like this that could be very easily produced. Just using some of the filters right here in Illustrator. I'm gonna show you this one, for example, and how to create that quickly. So today, in this class, we're going to get a bunch of these motifs in this particular lesson. We'll do that in this first couple of lessons. Once we've done that, then we're gonna go ahead and start arranging them in one of those very simple patterns and create a repeat that you can use and in one of your other collections, or maybe even as a feature pattern. All right, so let's get started. So one of my favorite things is to create these quick little flowers, and you wouldn't believe how easy they are to make I start with a polygon as I'm pulling. Let's just get a feel here. I'm actually gonna work completely with this color here, So I'm going to select all of the unused watches and I'm gonna delete so that the only swatch that's really left is this Navy, black and white. Stay here automatically. I'm gonna pull this one into this color group. I'm going to get rid of this block one, and basically this whole design is going to be done with this sort of a deep into go color . I've put it here is a global color, identified it as a global color. That way, if I were to change this so if I were to go in there right now and change it. Let's say I lightened it up a little bit. I'm gonna go to Hue, saturation and balance. And let's say it was lighten it up a little bit and click. OK, You see, all of my elements have changed color, so that's just kind of ah, quick way to set it up in the first place so that I can actually very easily change the color later on. All right. Okay, so let's make this one first. And what we're gonna do is the hexagon. As I'm pulling, you could see the amount of sides that air there. I am not gonna let go here, and I'm gonna use the arrow tool to reduce the amount sides. So I'm doing that while I'm holding down my mouse button. In this case, it's my stylist. So I'm pressing without letting go on. My stylist and I am reduced the amount of sides and I'm thinking that's what I want is maybe a five or four petaled flower. So that's how you decide how many sides you want and how maney pedals it will result in. Okay, So I'm down to five pedals here and then I'm gonna let go. Now my shape has been drawn with the five sides and I'm going to use this filter under effect. I'm gonna go to distort and transform. I'm gonna go to pucker and bloat. I'm gonna hit the preview here and you'll see that as I increase the presented, I will end up with rounded petals. So depending on the shape of flour that you want to draw and I'm thinking I want a variety of thm some of them I may want to leave solid. Some of them I'm going to do like this with the interior of white, and I'm kind of liking that. So I'm just gonna hit okay here and all this went up here and you can still see the Octagon shape here. And that's because we haven't expanded the appearance. So the first thing you would do here is go to object span appearance. And now we're left with just this flower show. There's lots of things you could do here. You could duplicate this flower. I'm just using option and dragging it. I could make changes by adjusting any of these points. I could I could change to a stroke flower. So let's go to the strokes panel ongoing Teoh Fill with nothing stroke with navy or indigo , and I could change the thickness here. So let's try really thick. You can change the alignment of the stroke. We could put this one on the outside and wait. We still have those little points here and again. We could expand appearance and we're left with a white shape over a dark Navy shape. I've also done things like selected the entire lower. In fact, let's just duplicate this again. Remember to hold your option key. I'm holding shift an option at the same time. So I start dragging. And then I got my fingers down on to shift an option. And then that gives me a duplicate. And what I've done here at times is gone in and you notice here how many points I have. I've gone in and used my simplify to reduce the amount of points I'm gonna previewed here and around with some of these settings to also change, loosen up the shape a little bit, which one? So that has reduced from 36 points to 14 points and the neat thing about that is that if you do then want to make adjustments, you've got way less points toe work with. Then you can do things like she was select the whole inside and then use that. So you've got a different sort of a flower than the one that you originally created. The other thing you could Dio is instead of doing it with a stroke like that, you could do another hex have gone. So let's do that. I'm going to roughly put it in the middle. This one. I'm gonna fill that one with white. Then I'm gonna go back to that pucker and blowed So that's right here. Preview. And then I could start playing with this until I get something that I really like. It's what I'm gonna do. So it's a little bit thicker than this one over here. So again, and playing with the negative space and keeping it a little bit different than this one here. So let's select on both. So I'm holding down option and shift and dragging over them. I'm going to go back and expand appearance because that interior one wasn't expanded, and then what? I'm gonna do is use my allying tools over here. Make sure I've got this is a lie into selection and ideo And then I can also mess around with the rotation. I'm just using the rotate tool. I think I'm gonna move that a little bit. Let me make it little wee bit smaller. And yeah, now I've got three flowers I've created really, really quickly. Actually, I've got this original one that I did too. So I've got four, and I think what I'm gonna do is move some of these things down that I'm gonna be showing you how to create another lesson, and I'm going to group each of these individually. This is grouped. This is grouped. Last two are grouped. I'm going, Teoh gonna move these over. And I know this is completely unnecessary. It'll just make me happy. I'm going to align them and I'm going to distribute their horizontal space. So we've got the first set off motifs. We've got four quick Moti, sir, that we've done super super easily just with the pucker and bloat and the hexagon tool. And we're gonna go into the next lesson where I'm gonna show you a few other things that we can do with leaves and what not? I'm going to do them in this order. Actually, I'm going to do this one first. So I guess I sent her these little suckers. Let's move those over again. I'm gonna show you this one next, which we will do in a very similar way to this one. Use the Pathfinder to simplify and have it more as a silhouette of a flower. And and we're going to do some leaves. So we'll see you in the next lesson where we're going to get that done. 3. Make Varied Silhouette Flowers: Hi, guys. Welcome to lessen too. So that was kind of fun, right? Producing those simple flowers. Nobody did produce a few. That arm or in a silhouette kind of format. Side view of the flowers. Let's get started. OK, so we're gonna work on silhouettes of flowers for this next last or this next lesson. I've been working right now. Here, you can see in the Illustrated 2019 Got illustrated 2020 as well, and I'm not gonna switch into it. I've saved the file here as flowers Main Illustrated 2020 is opening, and I will switch into it because I like thes simplification in 2020 better than 2019. But meantime, I can show you the production of this particular flower. So I drew another hex, which you saw me do last time by just pulling out the shape and adjusting with my up and down arrows. I've got less points or less sides here because I really just want this part of it that I'm gonna use and I'll show you that in just a second. So I'm going to select the shape I'm gonna go back Teoh Tucker and bloat. And now this is probably the tense time I've gone into this pucker and blow. So I know for myself I would want to put in a keyboard shortcut, so I will show you real quick how to do that. So what you do is you go to edit, you go to keyboard shortcuts. It's a menu command that you're gonna want to be changing. And we know we were in the effect menu. So we'll go down to effect, and we're gonna go to distort and transform and find the hacker and bloat. And the hardest thing for me is finding a keyboard shortcut that I haven't yet you who's so let me just try a couple things here. That then see? No. Okay. Is that one? That's well, let's see. First of all, I always check this command, and the tilde key was already in used by navigate to the next document. You know what? I don't care about that one, So I'm gonna use that shortcut. So that's command And the Tilke without any shift killed. Key is the one that's just below your escape key on your If you have an apple keyboard, I'm gonna hit OK. And yes, I do want to override that original set which had that as navigate to the next document. I don't really use that very much. So now I know that I can just do the command till and I will get the pucker and bloat. And now I can use it to do what I wanted to dio So I'm looking for I guess about that depth of ah, pucker. So I'm pulling down 34% and I'm gonna hit okay, cause I think I like that now what I want to do is divide it so that I could get the bottom half to be just a smooth, like, unjust eliminate. Actually, maybe I'll just eliminate. So I'm going to use my cue key. Just my last suit and I'm selecting just the bottom half. Actually, let's expand appearance first and I'll be left. If I do it this way, I'll be left with 1234 pedals, so to speak. So I'm just doing kind of the bottom half here. Another keeper, a shortcut that I have and I use a lot Is this one for removing anchor points? So command period is what I've got for that now that you know how, Teoh or change keyboard shortcuts, That would be one that I would suggest that you do, because you probably will use it a lot. I sure do. So I'm doing command, period, and that gets rid of those extra points. It looks kind of weird right now. E on my keyboard gives me my pen tool, and you can see that the handle here is turned completely around. And you can see I've got two handles here, and I want to be able to move them independently. So when I click on that point, if I hold my option key, I can move this handle independently of the other one. Okay, so that's kind of cool thing. If you didn't know before. I remember learning this and thinking Oh, my God. Why didn't I know this before? So many times that I used to have to just adjust one side of a curb and I had to look it up and find out how exactly to do that. And I'm sure glad that I did, because I've used this a lot. So I've now pulled it down. So about kind of the shape that I want. I'm thinking I want to eliminate or smooth out these two points. So you see, right now, they are obviously a very angled point, like a 90 degree angle. Almost so there's two ways you could smooth it out. You could either use this widget and just pull, which is probably the fastest, I guess. Or you could just go up here and hit this to convert a point. Depends on what you want. How much control do you want? If you want to be able to control exactly where and how that curve ends and use the widget , I find that the only drawback is that you now have this extra point. So if that's an issue, then go back and do it the way I showed you with this. But the convert anchor point. And I think I'm gonna use that one, actually, because I want Teoh able Teoh use this and have the whole curve controlled with one handle . So I'm getting it kind of shape that I want. I'm not gonna do it exactly like this one, because I want them to be a little bit different now. The other thing is, if you don't like this being too wide at the bottom. Actually, let's duplicate this. I'm gonna drag it over a shift and drag. I'm going Teoh at a point at the bottom here, which will help me to control shape of the very bottom here. So depending on how you want it to look, I want this one to look different than my original. And I mean it already does, because it's got only four huddles rather than the five I had on this one looking for something a little bit less symmetrical. One of the things I want is for these two look like they were hand drawn. So I am definitely going through and to make your adjustments here and there, that we'll make it look less symmetrical. So when I switch over to illustrate 2020 you'll see that the simplify command. I'm gonna be using it to do some of that as well. So I've got this shape now. Let's think this just slightly different, going to add points to the top here instead, so that I can actually control these curves and make them make it a smooth curve. But I'm going to really reduce down the curvature of the top. So I'm pulling down as well that I can control that. And I am going to separate the two sides here having trouble because I have drank a little bit too much espresso this morning in a little trouble, grabbing those at a point on this one and this one. I'm really hoping it's that anyways, because I don't want to admit that perhaps, as I am ageing, my either my eyesight or my just in general shakiness is changing or increasing. This one looks super hand drawn, which I kind of like. This reminds me a little bit of those paper cutouts that I was showing you at the beginning because there are a lot more casual like if you take a look at some of Matisse's actual, curvy shapes that he used to draw, let's just take a quick look at that. A lot of these were paper cuts because he was starting to have trouble with shakiness himself. So you can see that, you know, a lot of the edges are obviously done with scissors. He's actually a great inspiration for this kind of a sign that we're doing okay, so we bought 1 to 3 different ones here. I think I'm going to rotate this a little bit. I want to show you how I have drawn these two little cut outs from the inside of the flower . Super simple. I just did elongated the lips filled with white shot my anchor point to Ally Accessed that on my keyboard with shift see and just click on the bottom and you can see that you get now a sharp point instead of having around it point. Now, the other thing I did for this one just to make it more of a teardrop shape is I then pulled the other point at the top down a little bit and then you can, of course, you don't do whatever you want to do that. Say we're going to curb it this way so that we can have that same sort of Ah, look as I had. I don't know what you'd even call this, and I'm gonna use my rotate tool. So I'm using you. Can either a soldier command key at this point and use the rotation, or you can use your rotation tool. Relax. That's that's what are on the keyboard. I like it because you can click where you want the rotation to originate. It's like putting a thumbtack in there. And then when you rotate, it rotates from that point. And then when you let go, position where you want it. Now I want to have another one on this side here, too. So I'm going to use my transform. Each can access that by going Teoh object, transform and transform each. And here, of course, you see my other short touch. I've got command option shifty. I use it all the time. It's totally worth putting in there. We're going to do a copy, and we're gonna reflected on the X axis and transform objects. Is the only thing you wanna have selected here, not patterns. Just objects it. Copy. You've got your copy there, and you can move it to wherever you want. Okay, So that's the one way to do that. Sort of a little silhouette of a highlight in the flower. Now, the other way I like is doing something that almost looks like stamens. I'm going to do a solid circle filled with the white. I'm gonna do it in black. You can see, we're gonna make a brush out of this, so I'm now gonna grab the rectangle tool. Bigger here, draw a field rectangle. That's toll on skinny. Let's round the bottom of this. So going really big that you can use the widget around those two bottom corners. And let's also just alter this so that it's not perfectly symmetrical, so it's just a little bit asymmetrical. I've been at a point in the middle here, too, and maybe a little bit higher when I'm just gonna move on a little bit this way and this one just a little bit this way. So we've got, you know, a more or less steam and shaped villa wet that we're going to make into a brush. One of things I want you to be aware of after doing all of these things that are going to go into your flowers and icons, remember that what we're eyeing Teoh balance is this white space, the negative space. So everything that we're doing here right now, if we're adding anything to the insides of the designs of the icons for trying Teoh be really consistent with the weight and and quite bold. So Let's go back. Super quickly! Make a brush. So I've got that. I'm going. Teoh, use my Pathfinder and unite them. So they're one solid shape in close those two off. We're going to drag this into the brushes panel. Arte brush. OK, we're going to be drawing from the top end to the bottom. That's perfectly fine. We're gonna change this two tents, so that will be able to urinate white. I've built the brush to approximately the size that I want it, so I don't have to adjust the size in here. I could have this actually smaller or bigger, just trying a little bit smaller so that you can see. And now we're going to do the white stroke. So no, Phil, White stroke. And let's just give that one a test run. And because we had what tents in, we were able to change it to white. And now we've got 1/3 silhouette. So the other thing I would do is I would really simplify this shape which would give us something super rounded. I'm going to switch into Illustrator 2020 like that Simplify panel. Better. I was having trouble with illustrated 2020 end. It kept shutting down on me. I've named this anyways, the flowers made. So now I'm going to switch to 2020. We're gonna open that up, and yeah, I think it was when I was doing something to do with pattern design, there was something glitch ing in the heart of maker Tool. So that's why I switched back to 2019. But anyways, now we are open here in 2020. No, we don't need it to our been there, done that. And I'm gonna take this one. I'm gonna duplicate it. And remember that these air brushes. So at the moment, they are not shapes that can really be simplified. What I want to do is go to object, expand appearance. Now they are. So now you see that they're not brushstrokes anymore. And then let's go into simplify with all of my work, switched to my normal workspace. You guys use that a lot, you know, switching workspaces and stuff. Saving your workspaces. I sure do. I'm gonna go into simplify which my shortcuts remember. It's demand period allows me to enter the dialogue box for simplifying. I don't know if you saw that, but if you go to simplify something which he would access here under object, simplify if you don't have their shortcuts when this opens up, you can actually expanded by hitting this ellipsis, which gives more options. And then here you can meddle around with your simplify until you get what to what you like . The original had 44 points, which is quite simple. Let's say you wanted to really smooth it out or really change the appearance of it. This would be a way to do it. So I'm going to do that. You notice how the this especially is really changing here. So I am going to dio like a super simplified curve. Maybe too much like that, actually. And then, of course, you can also make adjustments here. So it would give you really sharp corners here, or it would really smooth the moat so you can see this has reduced it down to 14 point. I can see a couple of adjustments I'm gonna need to make here. I don't want these little points on the stamens, but overall, I like how it has really changed the look of those in comparison to these. So I'm gonna say, OK, here. I'm going to enlarge this one really big. I am going Teoh, use my direct select so that I can smooth out those with the widgets. And I'm gonna take this one out. I'm just gonna actually, I'm gonna move these over a little bit because I'm thinking that what I want to do is duplicate these. So I'm gonna use the transform each again. So that's my command auction shifty. And I'm going to reflect them as a copy and move it over, obviously. And if you ever get something like this, or you want Teoh line up all the bottoms here and I'm thinking that what I want to do is line up all those points without really changing where I've got these positions change a little bit. They don't look like a perfect reflection. They actually look very different from each other because of these adjustments that I'm making just really quick. But what I want to do is line up all these points along the bottom. So I'm going to use my sue. So it's cute on your keyboard. I'm gonna select kind of the bottom whites here, and I'm gonna use average, which is Mad Auction J, which averages the mouth. And now I can move those together. And I just wanted to give myself a completely different looking effect. And I think I've done that, you know, by doing those adjustments, Remember, all of these little changes and things that I'm making are completely optional. I am showing them to you, and it seems like it's taking a long time to do when you are doing this. You know, you're gonna balance that out with how fast you want to actually get your design created. So I just wanted to do a fairly quick, different sort of shape than the ones that I've got there. So I think it's quite different than this one here. Lets maybe adjust this one a little bit. And didn't we have room to put in a gift? One. I'm going to rotate these a little bit. Tack it in here, movies over these two. Attack it in here, Move it over and I'm going to 20 and I dio I'm going to duplicate this one. So I'm going to use a rotate tool to do that. I'm gonna get the bottom here, and then I'm going to start dragging. Then I'm gonna hold down my command and option and you see how that gives me that double arrow and that is giving me a duplication of that particular one. And I think I'm just going to make it just a little bit taller. So now this one is very different than this one. And I think that I would also sure that these are fairly consistently sized. So there's a couple of things I'll do off camera adjusting on my shape Course. I'm gonna go through and group all these group group and will do my spacing and distribute them evenly lying to selection. And now they're distributed evenly and want to line the money. So we've got eight icons built already is awesome. So in the next lesson will work on doing these leaves. Sand. We're going to do most of these with brushes, A swell. So I will see you there where we're gonna do that 4. Lesson 3 Leaf Variations and Making Brushes: guys welcome to less than three. So in this lesson, we're gonna work on the leaves, were going to use brushes to create some of them, and it's gonna be a really simple and quick process. So we've talked about doing flower icons because we're focusing on leaves. I wanted to show you why I'm in interest rate now. Just is a quick place to search it out, and I'm going to look for folk art inspired patterns, which is a search that I just did. And I don't know about you, but do you find all these little videos coming as annoying as pop ups in your browser? I just looked it up to find a way to actually get rid of that. So that right now, especially as I'm doing these videos, I don't have it popping up, So I'm gonna go to edit my profile here. So this is my site, Laura, start national Or isn aspirant gonna go to edit profile and go to the privacy settings? And right here you can just switch off your oughta lay for videos on your desktop so you can switch it on and off any time you want. Make sure that you click done here, which will save now I could go back to folk art inspired patterns. They will not play, which is kind of nice. Okay, so the reason I wanted to just quickly show this to you again is to show you how much hours and leaves really play into these designs here. So I've just I looked out and start folk art inspired patterns. Other search that I did earlier was the epitome inspired patterns. So between the two of them, you will see leaves and flowers. Silhouettes are usually a very big part of the design. That's why we're kind of focusing on this and we're gonna go back, Teoh our document here and going to create a few leaf icon. So the way I did this one here is exact the same way as I did that she inset on these silhouettes here, and that was to create an elongated ellipse sealed with the color. Then I used my command see short cut to get the anchor point tool, and I changed it so that it was weighted. And so now you've got that sort of pointed hettel sham You could do with it. Whatever you want, Teoh may different sort of belief. So I've got this one here. Now that I've got this white inset, I'm just going to use that here is Well, bring it to the front. So command bracket, he brought it to the front. I'm making this one slightly different so that it looks a little bit more hand drawn. So we've got this one with about this one, and what I'm gonna do is I'm going to use this to create kind of a three leaf silhouette. So I'm gonna go to my transform each which for me is command option shifty. I'm gonna reflect on the X axis and saying Can copy? Oh, I've got duplicates. I'm gonna take that use. My shortcut are to rotate clicking once in the bottom two bad. And I've got the rotation happening from the spot that I wanted to, which is the very bottom. So I've got a bit of group this one through this one and group this one end. Now I can select the very bottom whites here, so I just dragged over just the very bottom. And I'm gonna use the command option J to get my average and say OK and I have created a three petal flower with an inset. So I am going Teoh, just make some adjustments here and that curve in a little bit more asymmetrical. I'm making some of these parts is the more hand drawn it looks or hand touch in the case of , let's say, possibly paper cutting. And I'm happy with that particular one there. I'm going to also group this entire thing here, and I am going to use my Pathfinder to unite them. But before I do that, I'm gonna make a duplicate go back to this one. I'm gonna select all of the dark navy background buns and unite them here. So that's the first option in Pathfinder. And then just send it to the back, copy this entire thing, make a new layer, paste it rid of this original. And the reason I wanted Teoh put it on its own layer is to be able to look at a stacking order here. So I'm going to now just be able to pull that down. And everything is the way I want it to be. The reason I duplicated it because I want Teoh take away the inside on this one. So I've got this sort of alternate shape, and again I'm going to unite all those clothes that leaders palette and so that I've got a very different silhouette. I'm also going to go to simplify, which is for me command, period. And I've gone from nine points to seven. Let's see if we can even make that last year. There we go, and let's smooth it all out. I'm going to at a point here and here. I am going to also do this just so that I can this and then I've got a very different looking silhouette than this one. But this one here, I think I've been at a point here that could make it shaped a little bit more like that. So there's another really cute little full cardy kind of flower. Fill a wet. We've silhouette, whatever you want to call it. So I think I'm gonna only do those two for that sort of. If he's still a wet, slight adjustments here, happy with that one. Maybe change that so that the interior white shapes are insistent in same with those outside shapes, and I think here I'm gonna pull down is part of the curve. Hey, so good itself with those two. And for this one, I'm going to show you This is Gan Is that same technique of taking the Ellipse and 20 in the one end of its when I'm going to add a rectangle actually able to duplicate this first . So make sure you thought the whole thing selected and drag it to the right, holding down your option shift keys, which then makes them perfectly aligned. And I'm going to use command d now to duplicate to add some additional leaves, use the rectangle tool to draw a rectangle through the middle of it. It's also silhouette or filled with the Navy, and I want to just slightly round the ends here, so I'm going in real close. And in this case, I am going to use the widget. Did both ends. Okay, perfect. And we're gonna make a brush out of this one as well that we're gonna make a arte brush. I'm going to use Pathfinder to unite first and then we're going, Teoh, drag it into the brushes palette. So let me open that up so quick and it's so worth it to do it this way again. I'm just gonna leave that out of fixed size. And in this case, I'm not going to change this to tense because we already happened in the Navy. Say okay, and let's just give that test, Ron, I've got the brush selected by touching me on my keeper. And let's draw a nice, curvy path legacy. Depending on how I curve it, I'm getting very different leaf shapes, and that's super cool. That's exactly what I want. And then also, don't forget that afterwards you're going to be able to control the size about Levi going in and changing the thickness of your stroke. So that's our version. Number one So quick, let's do version number two. So in this case, we're gonna do basically the same thing. We're going to drag and pull. This time, I'm gonna go a little bit further urges to make a little bit different than that one. Let's do two more, and what we're gonna do in this case is select. Let's say, alternates here. I'm just like this one, this one, maybe both of these and this one here, and we're going to take the feel out of it. Instead, we're gonna stroke it. Feel none. Look, let's take that just a tiny bit thicker of a stroke. So we're gonna go here and let's make it say two points. We're going to draw the central stem real quick. No stroke filled with navy, and we're gonna keep it fairly close to the same thickness. I'm going to select all of this now. I'm going to expand appearance both the fill in the stroke, and then we're gonna go back to Pathfinder and stick it on this panel so easier for me to access. Want this to be solid with no stroke? I've been expand appearance on these spanned like this with the Fillon stroke selected. Now we can select the entire thing. Hit the merge command, and that way were left with was interiors being away that they are. Now. I want to just take a look at the simplicity here. Something do command, period. I have changed. You can see that, Sean from 86 points to 66 points and one of the things I like about this is it's kind of simplifying it and making it look more hand drawn. So I am going to let's see, just a tiny bit more and I would hit Okay, here. Very last thing I want to do before making this into a brush is to expand appearance. Because you can see here the appearance has not been expanded. And that would give us problems with our brush. So we're gonna go object, expand appearance or expand. Make sure it looks the way you want it to before you make it into an art brush. That'll make things a lot faster. And I'm just gonna make a couple of adjustment on this stamp so that it doesn't look quite so symmetrical and selected all that. It's all simplified and we're going Teoh, drag that into the brushes panel. I'm also putting that up here just to make it easier for me to access the whole thing. Drag it in part brush, OK, And let's try that one out too. So that's another option for our a stem leaves. I'm gonna do another one off camera with this one here. I'm going to actually point both sides of the leaf rather than just the bottom by using my convert anchor point tool. So That's an auction for you. You know exactly what to do. It will be exactly like these two. And I'm going to do that off camera just to save a little bit of time. And I will meet you in the next lesson. 5. Lesson 4 Using Filters to Alter Shapes: Hi guys. Welcome to lessen. For So in this lesson, we're gonna be doing a little bit of work on altering and flushing out our complete motifs Set. Let's get started. So yeah, we can go through and create a lot of alternates here by just simply using the different filters. And I'm going to show you two or three of them by duplicating this one here. And let's just go in and just really super fast Use some of these to make some alterations . So we've been using pucker and bloated. Let's take a look at that one again. We're gonna preview here and just, let's say, adding, I've 3 to 5% on the pucker and Blocher Well, I'm gonna go five it okay and expand appearance, and you can see that that one looks quite different than this one. You can go in and make changes right there. You've created another alternate. You could even add stem to it. Unite those using Pathfinder, go in and round the bottom considerably slightly. Distort that stem as well. And you could even go in and use envelope distort. Let's do it with a want to make some adjustments to it there. Let's go real small here. Now, this is doing a horizontal band. We could switch to vertical so that we have a bit of ah, herb on it. And remember that you can hit okay here and then go back in. And this work is still here that you can adjust. And with the wreck select tool, you can adjust individual points. So that's another method. Let's go in and try. Let's try the twist and got preview here. So I'm seeing the twist as it is changing it. You don't go through with a bunch of these and see what you like it. Okay, and then remember to expand appearance. Let's try rough in this when I find that the smaller have thes settings and smoother you have it is the better it seems to work out, which is try percent again. You can decide what you want. Here is faras the look on point for that smooth kind of a look, and this is how many details within each inch make it try five and spanned appearance. On that, you've got another a quirky, quirky shape, but this one has lots of points. So what I would do is go in and simplify. And again, with that, you're going to be able Teoh, do some adjusting on how your shape looks. So there's a bunch of different options, some of them better than others. And now the last thing I wanted to point out, Teoh is when you take a look at those patterns that were being inspired by these sort of me kind of based designs, almost all of them that you see here include some sort of AnAnd animal or heard. So I'm gonna add a bird to mind. I created this bird for a previous project, so I'm just going to use it in a selected to miss trace it. And then I've got a very simple silhouette with my drag select tool. I'm going to get rid of this rectangle that's automatically formed and I'm left with my bird. Now you can see this guy was a very large file, So it has given me tons of detail for what I'm using it for. I don't need that much detail, so I'm gonna go in and super simplify it. So that's taken it from 383 points. You can see here down to 86 let's see about even simplifying that more. So I've landed here on about 65% for simplifying the curve and about 97% on my corner. Right angle threshold. Maybe a little bit more rounded. Yeah, I like that. And that's still reduced it down quite a bit. So I'm gonna click. OK, Here, copy it. Not saving it. I'm going to pace it into my document here. I want to resize it to be closer to the icon size that I have here. You might just be a little bit too detailed, so I'm not sure I may end up changing my mind on him. My icon color him in thes simple navy blue that I'm using. And I'm gonna go in and do a little bit of simplification here, and I guess just for the fun of it, we're gonna grab this guy So he is copied from the Internet. I would not necessarily suggest that unless you're gonna make some major changes to it. So I think that's what I'm gonna dio. I'm gonna image trace it expand, simplify it. I'm gonna get rid of that white. I first of all, expanding the appearance of it, he wrote of the white. Then I'm going Teoh make quite a few changes to him. So I'm not just straight copying and I'm gonna make a change using warp to change his appearance. He's not necessarily going to be identifiable, has a beaver anymore. That is to me that looks like it could be a beaver, but it could be an honor or a seal pop. Whatever. Let's expand appearance on this guy and then go in and do some modification as well to help us ultra. His appearance amusing. My last you two will here. I'm going, Teoh a few points here that I want to get rid of. So I've got those two. I'm going Teoh, eliminate. And I am going to eliminate this point here. Object back to path and I'm going to remove anchor points. So that has also altered his appearance a little bit from the clip art that I copied. I'm gonna shorten him or his snowed here a little bit and tighten up his things. Tail here there's some kind of a rule were hopping changing. It has to be changed 75% or something from the original. So you know that something that you got to keep in mind if it's something that you're gonna end up using commercially may not want to be copying or tracing from an image on the Internet. I personally usually draw my own and van based, um But just to make this faster, I decided to show you this method. So I'm gonna copy this now and just close this document. I don't want to save it, paste it in here, and we're going Teoh, make him a lot smaller. I'm basically keeping the icons flowers, birds believe kind of consistently size just so that I don't have to do a lot of adjustment . Later, when I'm actually with raging all my elements in the pattern, I'm gonna draw a few more in a time lapse. I'm gonna be using all the same technique since you've seen me use. So you could probably greet a few more yourself, and then we'll come back and we're gonna work a little bit on e beginning off our pattern Lee out. So I'll see you in the next lesson and then the next lesson 6. Arranging Motifs and Keyboard Shortcuts: welcome to less than five. So we're going to start working on laying out our pattern, and we're gonna use some really good keyboard shortcuts which we're going to discuss right away. And then we're gonna do some alterations on some of these shapes. So we're gonna be using Illustrator to help us do that. And one of the things I like using is the work tools. Will we'll be using that in this lesson, and then we're going to things like simplification and removing of anchor points. Let's get started. So this is gonna be the fun part, I think, starting our pattern design. And as you can see here, I've got all of my palettes closed for the time being. And I've got all of my icons off to the side of my heart board. I've set up my art board at the 10 by 10. Just in case you didn't notice that at the beginning. I don't remember if I actually went through it, but if you ever had to actually change the size of your art board, just click into your art board tool over here, and then you can double check to make sure that you're exactly at 10 by 10. As you know, I like working with a 10 by 10 because it just makes all of the other sort of figuring really easy. Now I'm all about the easy. So I've got all my icons. I've got my document and I am just going to start going for it and placing the elements so many time lapses because I'm sure it's gonna take me a little bit of time. But if I am doing anything that I particularly want to comment about, I will slow it down and talk to you about it. I'm not sure if you noticed over here, I have actually made some alterations. Let me just show you my brushes. I've got that first set of four that I did, which is thes here. And then I've got a second set. And what I did here was just go through and thinking up that center line, and I did that by just selecting it. Just the bottom half there is you could see and just pulling it down. A little bit of that, I could get the central Stamm a little bit wider. Make any adjustments that you need you know you've got these originals here. You can do changes on the fly. I'm going to drag this one in just to give me even one more alternate. Take your it's an art brush. Click OK and leave the settings at 100. Let's just check that one out. That's a version of this one here, so I'm gonna do it just a little bit below and let's give that one a little bit of a test and you can see now I've got a substantially thick middle stem, and that will be important if I decide to go smaller. But I still want Teoh have generally the thickness, the same to balance with my other icons. I think that the main thing to remember when you're putting together one of these sort of patterns is to keep it very balanced assed faras the weight and the size of your icons and the take a look at this one, for example, and then the negative space that's between them. You want to keep it all quite balanced, so let's start just laying out the pattern. Like I said, I'm gonna time lapse it and then we'll go from there as I'm dragging over my elements, you could see I'm holding down my option key so that I can make duplicates and leave my originals over here. And I am roughly rotating a few of them. And at the moment, I'm just kind of laying the moat willy nilly just to basically get them over here and get the general sort of direction or flow. I'm not trying to balance it all. That will come a little bit later. - Okay , So I've done quite a bit of work on this, and I've got my pattern quite well filled out. I'm gonna continue to do some work off camera. I'm gonna come back to you in the next lesson and discuss some of the stuff that's going on and what our next moves are. So I will see you there and we'll see maybe our first test of the actual pattern using the pattern editor right here. Yes. So we'll use the pattern design tool, and we're just going to get a bit of a test run after I've got a lot of these changes made that I want and I'm satisfied. So we'll do that The next lesson. I'll see you there 7. Testing and Critiquing our Pattern: Hi, guys. Welcome to lessen six. So we're getting there. Hate. It's time now to start taking a really good look at our pattern. And let's do a little bit of a critique to figure out some of things we can do to improve it. Let's get started. Yeah, we're at that point where we're really starting to fill out the pattern, and I'm quite happy with it. So far, I haven't actually tested it, but I want to point out a few of the things that idea in the time lapse and camera fill in my pattern. So because you have added a couple of other icons here, I've got a maple leaf, which I've added. I've done a few spruce trees. These are also sort of Canadian esque icons. Canadian asked. Is that a word? If I look out my window right now, I'm looking at spruce trees, and I've got a huge silver maple directly outside my door. It's one of my absolute favorite trees, so I've added those. I have created a couple of just single leaf stems, which you could see have used in a couple of places here. What else did I dio? I created this as a brush which was just a thickened version of the original one. Let's take a look at the extra brushes that you met may not have seen. And so some of them what I did is just ticking. Toothy middle stem There have also decided I want one with double the amount of leaves on it. Oh, I took this one here, duplicated it and I've got here the two of them. One on top of the other is going a little bit closer here. They're lined up adequately. Central was leaves a little band. I'm going to select both of these Use Pathfinder to unite them. And I think what I'm gonna do is round a few of the CDs will widgets will be helpful for me to round out the points. So instead of having this identical to the other leave, I want everything on this one to be rounded. So I'm just gonna pull. I've got the whole thing selected. So when I pull on one widget, it will adjust all of the curves there. I hope Illustrator does not decide to misbehave on me today. While we're doing this overall, I have found illustrator 2020 to be a little bit glitchy, hoping that one of the updates coming up will air note. Some of that for me is I've got orders round a little bit. So it looks quite different than this one, which has really pointed leaves. I'm ready to drag this into the brushes panel. Arte brush. OK, Everything else I'm gonna leave us is it was working just fine the way it waas okay. And let's just draw a line with that brush so it looks perfect. And nice thing about it is I concur of it. And the nice thing about that is it gives me all these weird sort of deformed leaves which can work in some cases. So got that. Also, you can see that I've taken a couple of my other flowers and made some changes, added some additional detail sub statements in here, just that way. When I was working over here, I was able to get a little bit of variety in my shapes. Really. I'm at that point where I want to kind of just test my pattern for the first time to see if I'm hitting all of things. I want to do you are is positioning and negative space and so on. There's a few things that I think I will need to change. I don't like that this beaver is facing the same direction in both spots here, so I will probably change that. And, um, I'm just wanting to see how this all of these different curved leaves are working with this kind of a toss design. Let's do a quick test to select everything. A shortcut is command apostrophe. I could use it as a grid pattern by I like it better as 1/2 drop repeat just sort of has become my go to for most of my pattern design all that most. So I'm gonna type in my 10 by 10 measurement there, and I've got the tile edge showing here. I've still got my art board showing, as you can see in the background here on dim your copies. If you want Teoh, you know, let's say 70%. Then you can see what's The actual original tie on the outside here shows just how it has filled in nicely. Kind of like the idea that I can look at this and it's fairly quick, but I think I'm gonna probably set out transformations like I did in my last class. That shows me this in a live way. When I'm or so right now, let's just take a screenshot. I'm a new command shift for which gives me this crosshairs. I'm screen shotting the area, making sure that I get some of the outlying area as well as the original tile. My screenshot comes up here. I'm gonna go back into Illustrator kind of escape. This I can copy. Just command. See? Copy the B shot to my document. I could taste it. And now I've kind of got something to look at. As I am working, you can put it over here, and this kind of shows me the holes of things I'm missing. You know, I find that most of time doing this, especially the first time I see all kinds of things that I want to change. So take a look at that. You know, let's just zoom out a little bit and let's take a look at this and critique what we see as wrong with it right now. What do you think? What kind of stuff? This is screaming at you right now. Do your focus Test like, unfocused your eyes a little bit. Lean back. Whatever it takes to help you see the big picture and definitely don't like that. This beaver is in the same musically the same position as the other one. So I'm going to move this guy hoops over here on my tile. I'm going, Teoh. Maybe I'll switch position between these two, and I'm going to flip this one, so I'm just gonna do it with transform each so command option shift D and from the center is Okay, let's preview it to see what happens. Why aren't you flipping? Transform Object Don't have transformed patterns on in this case have transformed object. And it's the X that I'm trying Teoh live. All right, so we've got him flipped. I'm gonna rotate him manually. So are and mess around a little bit with getting stuff in this area to work with it. We'll move that up, rotate this guy a bit. And like I said, this is the unit where all of your keyboard shortcuts are super important. So the main ones that I want to encourage you to learn and use our V A R and Q. So V is the move tool, which allows you to select something in its entirety. So something that's grouped is to help you move individual points. So if you were to select here because you could just move one point at a time, are is rotate so something is selected. Are will allow you to rotate. I like it better than the regular transform. Regular transform. You can always those handles when you're on either the move tool or the directs electoral. So either the or a you would have access to these handles. But sometimes they're hard to grab. I don't know if it's just me or what I like our because I confer. Sure, grab it where I want it. I can click a spot option, click a spot and it's like putting in a thumbtack there, and when I rotate, it rotates from that spot. Que is super helpful because it allows you to select just a grew of anchor point. So let's say I wanted to just adjust this side. You see, I can just drag over or last you around it, and only those points are selected. So super important. Learn those for sure, because you'll use them a lot. Remember, also, Teoh add shortcuts for things like Pattern, which is command apostrophe in my case, man period, which is simplify. That's one of the ones I've added. So let's look at something that might have a bunch of extra points really cleaned up my shapes a lot. There aren't a lot of extra points on them, but let's just take a look. That real quick command period is, except my simplify and I could go in and you additional investments to the settings they're going on. Duke's I don't Want him will really simplified. Also, the remove anchor points is something that I've got as a shortcuts that would be really useful in something like this. Let's say use Q and I grabbing all of these bottom points here. A short cut for removed anchor points is command mama, So in that case, I could do command comma. It would be done. I wouldn't have to go in with my delete anchor point dual and drew them individually. Nor would I have to go up here into path and remove anchor points. It's just faster than going into the menu. So those are just a few of the ones that I have that are, can't live without kind of the other things that have shortcuts on or things like the war. So let's say I wanted to serve this flower combination and a little bit Now I've actually added these leaves. Let's just put them into one shape my shortcut for the warp, this command option shift W and you can see that that is really useful for doing things like curving. Actually put a curve in there and hit OK, and you notice that it always kind of makes it quite a bit bigger. So a lot of times before I do that work, I will make it smaller, do my command option shift W. And it's a little bit more proportional, and I can kind of visualize it in the space a bit more. I actually kind of like that. So I'm gonna leave that and remember that you can also go in now with your a little directs electoral and make additional changes. If you want Teoh, try to make it fit in this space a bit more. Really. The next part of this here is going to be meeting a lot of that sort of fitting and shaping adjustments. I guess you'd say, based on what I see here is like this white area here I think I need to work with, move things around to kind of fit that in. Obviously, I've changed this beaver. So this whole area here needs were one of things that when I was squinting my eyes that I did notice, too. We're a light and dark areas of my icons. Some of these same group together, these all these four year too dark oven area, in my opinion, So it's kind of good to have moved this beaver up here and have something different going on where he was originally placed. So I'm going to be kind of feeling around with that bitch. Some of these I don't just I don't like them that much. And I may make changes to them. This flower hearing into the points here, inside, in the middle of the flower. I don't live with it. Here, in this case, is I added a circle, used the Pathfinder and join it into one shape and then rounded it. So I may go you may see me doing that with a few of these has to make them a little bit more palatable with the other things I've got going on. So I'm gonna time lapse that because I know myself and I tend to I don't tend to fuss a little bit, so it might take me half an hour to do. I don't want you to have to watch every second of it. So I am going to time. Lapse it. And if something really cool or important comes up that I need to explain, I will stop in the middle of it and explain that to you. All right, OK, let's get going. So here, I want to point out that when you've got a work and you are absolutely sure it's the way you want it and you still want to make scientific adjustments that aren't working with the handles that you've got there, you can still expand the appearance on this. So using your selection tools like the whole thing go to expand here and expand appearance . Now, before I do that, I want to point out that you can edit the envelope, which is what I'm doing that's what this is called. You can edit the original light clicking on the edit contents button up here. And when you're on the envelope here, envelope button, you can still actually go in and make changes here. So that's one thing I just haven't pointed out. And I was a just that just for fun. You experiment with these a little bit. I'm going to at this point, expand, which will give me this dialog box. I want it expand both the object in the field. Click OK, And then now when I switch back to my Rex Electoral, I can go in and make the fine tuning adjustments that I want. So I just wanted things I wanted to do was to just picking that up here down at the bottom . Nothing that I had do. But I didn't point out to you with these dots for some areas, and those have just accomplished by on the largest round brush that I have. And I went to the swatches panel, make sure that I was on a dark blue line, and now I could just use my brush tool and put in a couple off his big dots strategically placed in spots where I needed a little bit of a feel. So you can see I'm making it bigger or smaller by using my right and left bracket keys. One there a bigger in a smaller one. And this is something these little dots and icons is something that you often see in those designs. If you go back to that Pinterest board that I have, you'll see a lot of use of thes circles in these folk art designs. So I think I'm getting a little bit closer to having addressed most of the problems here on this particular had us watch. So I am going to do a little bit of set up here. Teoh create the transform that I wanna have that I don't have to use the pattern. And there was a perfect example of how my illustrator was clinching out last time illustrator 2020. So it looks like whatever the problem is that adobes having with that and this may be this operating system Apple operating system, it's still not totally worked out. So I'm going to restart my illustrator program as soon as this is say, and I will come back to you in the next lesson will do a little bit of attack. And I'm going to explain to you how I set up the transformation that helps me to preview the pattern without actually having to use the pattern design to, So I will see you in the next lesson. 8. Optional - Create a Transformation: Hi guys. Welcome to lessen seven. So it's looking great. And I think now let's take a look at doing live transformations to help us absolutely finish up our tile. Let's get started. I've brought in another inspiration piece here that I'm going to use for a little bit of guidance. Like I said earlier in the class, it's not like you're copying something like this. You've got it just there to help you achieve the result that you want. So this was one that I found that was pretty close to what I was looking for. What I like in interest. When you do find one that you like and you pin it, it'll suggest a whole bunch of other ones that are similar. So that's one of things that I do is, you know, take a look at different ideas that come up here based on the one that I've chosen. So I've got a whole bunch more to my service pattern design or, to me, inspire word. But I've also got this older board that I have had for quite a while, art, which I don't remember when I started, but it had a lot of the similar style that I am trying to achieve here. So those kind of things are great when you're working on something like this just to get a little bit of inspiration, I'm gonna create myself a little brush that is leave shaped. You saw that I was going in with thoughts, but I think what I might want to do is a couple of just plain old these shapes. So I'm going Teoh do that over here. I'm gonna create two filled a lip shapes. You be a little bit smaller to just keep them a little bit closer to the other leaves I've got going on there. Access it here, Anchor Point Tool or I use fancy on my keyboard and asked me if that was one that was built and urges when I invented I don't know. I'm going to do one of these leaves with you just on one side, and then I'm gonna do one with point on both sides that simple. Make any other adjustments you might want, and it's gonna it's a little bit more into your dropped in this case, sort of my brushes panel and drag patty in part brush. OK, aren't brush. OK, so I've got these two additional brushes that I can use to do some of the filling in areas that I feel. I need it. So you're gonna see me in my time lapse? Probably eliminate a few of these dots and going in and use belief. It's good. I'm thinking that I want peace. Stamen Stam's a little bit thicker, so I'm just going to use one of my regular round brushes to do that. Let's see what size gonna work a little bit smaller. I haven't expanded the shape, so I'll do that. First. Now expanded parents and use Pathfinder and united into one's pound again. Then you know, into one. Perfect. I guess I had missed that. Let's expand that appearance. Do and why did you want? Okay, so I have thickened that up, and I think that works a little bit better. I had also done that to this flower as well, and I'm pretty happy with this at the moment. I'd love to test it in a live way to see how this fitting is happening around the edges, where the after obvious, it's kind of like you're going in blind and you're trying to position things and kind of guess at whether or not you're getting your edge is the way you want. So I'm gonna set up a transformation. I'm going to do it off camera and then explain it to you once I have it completed and show you how that works with the appearance panel and the transformations to do the repeat in a live way that I don't have to go into the pattern maker tool to do it. This will be a template that I'm going to save and use repeatedly. I'm gonna make some new actions first that will help me to create that transformation. And then I will explain it really quick. I have transformations, and the creation of this kind of repeat completely explained in the class. Just previous to this, when you create the scalloped pattern, the scale, a transformation, it's something that I created in that class, and it explains it really thoroughly. So if you wanted to go back to that class and just go step by step through the process, I'll explain to you what kind of things you have to watch out for and what exactly you need to do to make it 1/2 draw. Repeat like the one we're gonna use in here. So to set up my document to do that, I've created a layer called transformation. I'm gonna take everything to do with the pattern and make sure that it's on its own layer. So I'm cutting it from this layer. I think a new layer he's soon place. So you can go to edit paste in place or I've got command ship be is my shortcut that's on its own layer. Undertake these brushes. Same thing. Might as well name these different this one. I'm just gonna hide and lock because I don't need to use it anymore. One I'm going to call my design Lee, if you have created a layer called Transformations, here is my get rid of these two of them on the brush lier. So lock that again. And this is my inspiration, Layer. Soldiers call that inspiration. That's usually something I get rid of before now. But I'm gonna leave it there just in case I need to refer back to again. And that could be locked and hidden. Move these down here with these two are so I was gonna leave them for now, I think one of them is this. So this is my pattern test layer. So that large square that I have there would have been where I was asked the swatches that I created Bill. So that was my last Swatch test. So at the moment, I'm gonna undo that, cause I want to get rid of these to these words, just those quick tests that we did meet those because they're completely gone. Now I'm going to actually I'd and lock that layer, move it down. So these are all hidden and out of the way my inspiration here and get rid of this layer because I have no idea why that was created or what I needed it for originally. So it's gone. So now we could start working on our transformation. So the first thing I do is I create a large rectangle quite a bit bigger than my my board. I think I usually do it about 20 by 20. So I'll do that. And I'm going Teoh, use my allying tools to align to the art board here. Sure you have a lying toe Art board selected. So I've got that, centers. And now we'll start with the transformations. So this design layer I'm going Teoh Target. And one thing I'm gonna do is group everything at the moment. Just so it's easier to get rid of this After I'm done using it for this pattern. I want to save my template, and it'll just be easier to select that pattern and get rid of it right now. We need to actually do the transformations on this layer, these moves that I'm making, I already have saved in my actions because these are moves that I make often. So you're gonna see me using my actions to make duplicates on both sides. And then I'm going Teoh duplicate all three above and below. And that's going to give us full feeling of the drop that we want. The half draw and the size and measurements of the actual tile fitting nicely with that tenant. Repeat. So it'll be 10 inches cross and five inches down, so that's what creates the half drops. So if I were to just show it to you right now as a move, be 10 inches across and five inches down and there you see how it's dropped half and it's moved over by Tanay. So I'm gonna go ahead and create that. And then I'll come back and explain everything you need to know about the transformation. Yes. You can see here that because I have used the dance form effect, I'm in the appearance panel. You can see those four transformations the upper, the lower and both sides. Now we're ready to just use and change our pattern with this transformation layer showing all of the changes that we're making in a live way. Like I said, that other class explains reading the transformations. But basically you saw what I was doing. I just went into the effects into distort and transform and down to transform. Once I had this panel open, I would click, Yes, apply new effect, put in my new measurements, make sure that I had one copy indicated, obviously preview it and cook. Okay. And then the other transformation was added. So the cool thing about that is that now, any changes I make within this pile will just automatically happen in the outside area so I can see the effect that my movements are gonna have. So I can know. What was this layer? What was the appearance panel I'm gonna hit save just because Now I've created that template that I can use elsewhere, and I'm just gonna go a little bit bigger. And I want you to see how this is going to be helpful for us. A little tiny bit smaller. I want you to be able to see example as I move this May belief. And I'm using the regular adjustments that I would always make using, you know, the rotate tool, the move to allow direct select tool anything that I want. Whatever I dio, it's now good automatically be transformed so visually I can see the effect that it's having. Undo that. Now you're gonna see me dio my final adjustments on my tile. I'm going to time lapse at four. Yes, so you don't have to watch every little detail. But, you know, I'm gonna be addressing things like, for example, here where there's a little bit of an overlap that's filling in some of the spaces that have not been, um, Billy addressed and yet just moving stuff around until I get the balance that I want. So I'm going to time lapse sat, and I'll see you in a couple minutes. So I'm pretty satisfied with my girl arrangement here, and I think that I may do a few more slight adjustments, but overall, I've got my pattern ready to go. And the next lesson we're just gonna finalize making the swatch and doing some testing and maybe experimental little bit with reversing out the design so that it is white on a baby blue background so that we have both of the options available for when we're doing our mock ups. All right, so I will see you in the next lesson where we're gonna do a little bit of that. 9. Exporting Pattern Swatch - 2 Ways: Hi, guys. Welcome to lessen eight. So so great to be at this point, isn't it? Now we're gonna do Ah, little bit of an experiment with the colors on this final pattern, and we're gonna get ready to work on exporting our trial. We're going, Teoh, talk about art boards. We're gonna talk about export options. We're gonna talk about color options. Let's get started. All right. So at the point where we're gonna do some testing off our swatch and then creating some mock ups. So what I'm gonna do here is I'm going to change something that I have set incorrectly here in my layers palette. I named this one transformation. I should have named it design. And then this should have been the one that was named Transformation. So you can see here my original swatch. So when I've been making changes on so I am going to actually duplicate that by dragging it on toothy layers icon at the bottom here, and I'm gonna take that duplication and put up in this layer, I'm gonna completely turn off my whole transformation layer here. And then this is the one we're gonna rename to design and This is the one we're gonna name to transformation. When I am making a template out of this after the fact this will be the layer that I'm gonna be using. Just save my transformation, and I'm gonna take all of the design elements out of that. But like I said, I covered that, right. Well, in that last class sea scallops classes for us, saving out the template. So I'm not gonna take the time to do it in that this lesson, because this one was all about layout design off our little folk art pattern. So now that I know that this is going to be my final pattern, repeat that I'm going Teoh export as a swatch. Let's just lock that transformation layer and close off layers. Palette will open up the swatches palette. You can see right now there are no swatches in there. I'm going to select it all. Use the pattern maker tools, so command apostrophe for me, and I'm gonna go in there on my pattern options. Change it to the bread column, half drop. Repeat 10 by 10. And you can see up here that it's added this watch. I have my final Swatch. That's what I need. I'm not gonna proceed with a different color option. Teoh, Create another swatch that I will use for some of my mock ups. So what I need here. In order to do that, I'm actually gonna make another art board. Think that would be the easiest way? So you're right. Board, tool. Whole outta shape. You can do approximately the size because it can go in here and change it to 10 by 10. So we've got exactly what we had here in the first place. Maybe this one. I will name White on Blue and Uncle Back and rename this one blue on white. So that way, if I exports by art board, I will have both of the art boards named. So there's a couple different ways that you can export this one of them is by just exporting the pattern child Swatch and the other one is by creating a couple of large assets that we can export using the export panel I can export or see as art boards. And I will have my pattern trials to be used in other programs or to upload to swim flower , whatever your needs are so I can just click out of the art or tool know by looking on any other tool. I am going to take all of this stuff and it's Group H. Yes, this one's grouped. Let's just align it to the art board centered both ways. That's when it's also aligned in the same way. This is the one that I'm going to change and put it on a blue background. So I'm gonna make myself a blue square for this one option. Click. Anywhere you do tend by tan line into the art board as well. About right now is the Navy icons on the Navy background. I need to change that. Those icons to white. So what I've got now is the white powder on the Navy background. So I'm about to do something here that's gonna look a little bit weird in our swatches palette. I am going to select this entire white design. I'm going to de select that blue rectangle that's just go layers palette and make absolutely sure only down my shift key and dragging over the edge of that rectangle. And you can see here in my layers palette that it is indeed be selected. I've got a couple things here that I've noticed. There's this particular icon doesn't have this little steam in type thing in navy. So I'm just gonna repair that before I go any further. I'm sure there could be more things when I double check but will select this and make it into the white pattern that we need. So I'm gonna again Do you select that Blue Square? And Anthony is a pattern maker tool to create the white swatch, which looks super weird. I know. Bear with me and we're gonna make sure that with you are half draw 10 by 10. And you could see up here in the swatches panel that has been at it. So I'm gonna escape out of here. I'm gonna go over to this large asset and I feel the square with the white patterns watch. So it looks weird because it's all the white, but I'm gonna copy it, paste it in back his command, be and I'm gonna fill that new rectangle with navy. And there you see it. So I have my two large assets created as well as the art, Boris, that I'm ready to export. So let's move on and do that right now. So now we've got both the navy background and the white background. Take a look at my inspiration. This looks very, very similar. If you focus your eyes, the only difference is of course, this one is done with the reflection very similar to what I did in that other class in the scallop class, we did a transformation. Where we did this reflection, we had a central element going down the middle. This one is more of a toss pattern and an all over pattern, but in essence, the feeling is the same. So you've captured that spirit soul of this kind of a design. I could totally see things that I would go ahead and work on before exporting. But I think I'm ready. Let's just move on ahead right now and start our export process to export these two assets . All I need to do is grab him and drag him into my acid export panel, which is here. Pull him into this upper area here. I've grouped the white pattern with the blue rectangle so that I could export them together . They'll just export as a single unit. So I'm gonna go ahead and do the export here. I've got this set. A very high resolution. PNG is fine. I'm gonna export those into my assets folder here. They'll just be named Asset for an asset five. Our final option for exporting these art boards is to do the export as command here under the file menu. We're going, Teoh, use this option at the bottom. I think else save them as tiffs. I'm gonna use the art boards and I'm going Teoh export them right here in my assets folder . So the choice of what format here to choose is sometimes east on what your manufacturer needs Or that say you're uploading Teoh a site like spoon flour. They may have requirement. I think J pegs and Ng's are acceptable on the spoon flour site. I can't remember. It's been a while since I've been there and make your choice here, Export. You can choose at this point whether to make them see him like a so full process color or to do them as rgb again. That could depend on your manufacturer. I'm gonna do them at a really high resolution. You can actually even choose higher than that original resolution. Let's just try it at six hundreds for the fun of it. And here, make sure that you don't have hype optimized. You wanna have art optimized Now with the tiff file format, you can choose Teoh compression or not, I'm gonna do no compression because that's still going to give me the best quality file and I'm gonna hit. Okay, It's gonna take a minute or two to do this. But then when I go back into photo shop where we're going to be putting together our mock ups and you can see I've done a couple already are images will be available to us in our assets full so you can see here they're just popping in. The names of the file correspond with what I had named each of my art boards. So I think we're ready to move on into the next lesson where we're going. Teoh have some fun double checking our pattern by using mock ups. So I'll see you there 10. Showing Off Our Pattern: Hi, guys. So excited. This is the mock up lesson. Always my favorite. Let's get started. Yes, I've got a bunch of mockups made. I'm gonna for sure walk you through the making of one of them. And I'll definitely show you all the different ones that I've done doing these mark ups. It's just a fantastic way. Teoh really showcase your design. And I really use it often for two double checking that everything on the design is exactly the way I want it. So I'm going. Teoh, open up one of my favorite walk ups. So when I opened up, this one it had is checkered fabric position on the different items. I have already re basted on the background fabric here. So I'm gonna show you replacing the fabric on the pillow in the layers panel. You go to his design layer. Here you'll see the smart objects. DoubleClick, the one you're replacing. I had already pasted in my design. So here it is. Here you can of course, at this point, do any number of re sizes are repositions that you want even rotate. Do whatever it takes to make your design locus appealing as possible. Once you save that file and you go back to your original, you'll see that your fabric is now in position there on the pillow. That's really cool and one of things that I love about doing the mockups. It really shows off your pattern in the best light, but it also helps you to take one last look at your pattern. And, of course, again, I see little things that I will change. There. Is this Syria in here that I don't like couple things in here, But you have the basic idea now of how you go about actually replacing and using the smart objects on a mock up. I think it's great to test it on a bunch of different products have to get on different products is a way to check how your scale would work. So here's, ah, pretty large scale phone case. Pretty small scale. I like using this one with the bolts of fabric because I can show three different scales. So on the far left, I've got kind of a small scale. The middle one is pretty much the scale that I have created it at, and then the far right is quite a large scale, and I think this is really helpful to potential clients because they can visualize it better for their particular product. I always like to try it on some kind of a fun product, and I think this one is super cute. And then, of course, back to my pillow design here. So I covered markup to sign in quite a few of my other classes, so I'm not going to spend too much more time on it right now. I'm pretty happy with the results. It's exactly what I had hoped for when I was looking at my inspiration, these full cart kind of patterns. Very simple, mostly monochromatic. What would be really fun right now would be for me to take my pattern and actually do it with more colors. So that's something else I could do if I had lots of time to burn. But I think I've really captured the essence of what I was looking for when I was originally inspired, which was way back when I was doing that last class. So I think they go hand in hand the scallop kind of pattern that I designed in the last class and this, and they're really just two different and additional skills that you have now as a pattern designer fit on you for completing this journey. We've gone a long way from looking at inspiration, Teoh. All the different steps that we took in create it'll motifs, creating brushes, all the steps it took to get from point A to point B. How fun and create a way. I actually can't wait to see some of the patterns that you post here. So I really hope that you'll take the time to go through the classes, use a beautiful pattern and then show it on a mock up and posted here to share with everyone else. So I will see you in the next lesson where we're going to do a little bit of a wrap up and discussion, and I will, Yeah, see you there 11. Outro: Hi guys. Well, we did it. We have a complete pattern and we've bought it beautifully displayed on our mock ups. I really enjoy doing this particular pattern design. I feel it's really forgiving and easy to arrange these kind of motifs. I really hope that you enjoy this and you'll do a couple of patterns and share them here. Please take the time. Teoh Follow That way you'll get news of my new classes as I published. Um, and I really hope that you take time to share here because I feel like the more we get in contact with each other, the more sharing that we do as artists is, the better that we will all become right. There's always room to grow. Also, could you take some time if you don't mind and just give me a little bit of a review on this class? I think that really helps other people to figure out what works best for the process that they're going through in learning pattern design. So I hope you have a minute to do that. Also follow me on Instagram and definitely on interest because that's where I posed tons and tons off artists. Resource is, I have two sites there. One is the Lloris Arch. Delores NASCAR Ridge had to think for a second there. Yeah, Delores are Dolores Nass cringe and the other one is called Teacher Delores. NASCAR and I compiled tons and tons of resource material there on that site when I was teaching, so there's a lot of background for for you. There is a lot of theory. There's a lot of examples, a lot of history, so check that out. And if you have a chance, check out my society six door and my red bubble store. I also sell on Fassel, so I hope to see their I appreciate it so much when I see returning students. Thanks so much for joining me, and I will see you in the next class.