Textural Floral Pattern Design | Delores Naskrent | Skillshare

Textural Floral Pattern Design

Delores Naskrent, Creative Explorer

Textural Floral Pattern Design

Delores Naskrent, Creative Explorer

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11 Lessons (1h 7m)
    • 1. Intro to Textural Floral Pattern Design with the Adobe Textile Designer

    • 2. Lesson 1 Making the Brushes

    • 3. Lesson 2 Composition

    • 4. Lesson 3 Scatter Brush

    • 5. Lesson 4 Testing the Pattern

    • 6. Lesson 5 Fine Tuning Your Pattern

    • 7. Lesson 6 Exporting Swatch for Photoshop

    • 8. Lesson 7 Preparing Layered Photoshop Document

    • 9. Lesson 8 Masking and Adding Texture

    • 10. Lesson 9 Adobe Textile Creator

    • 11. Final Thoughts

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About This Class

The Adobe Suite of graphic illustration programs is an indispensable tool for surface pattern designers to translate their vision into a striking design and a printable, repeating pattern. However, even with the power of Photoshop, creating a pattern often meant repetitive steps and careful calculations which could be time-consuming, and could cripple the creative impulse. In the past, the designer had to work on the foundational tile and the overall pattern, simultaneously paying close attention to both. Yeesh! Changes to colors and shapes in the foundational tile had to be precisely reciprocated to each assemblage in the full pattern. A late change once meant starting from scratch. But not any more!

You will be guided step-by-step through the process of producing a textural repeating pattern design, from initial brush creation and composition of the design in Illustrator to adding textural elements using masking techniques in Photoshop. Please Note: The Adobe Textile Designer Plugin has been de-commisioned by Adobe, so you will be unable to download it for free as earlier stated (by joining the beta program). I am unable to pull this class. Most of the class is perfectly fine to learn from, you will just be unable to use the Adobe Textile Designer (ATD) to create the repeat pattern layout. Finally, you will be guided through applying your lovely new pattern to mockups. You will use the Adobe programs Adobe Illustrator and Photoshop and will get a wealth of helpful tips along the way!

The beauty of this course is you can pick JUST the lessons you need, so you can skip concepts you have learned previously. In this class we will go through specific concepts in 10 lessons that cover:

  • Using calligraphy brushes in Illustrator for creating both art and scatter brushes.
  • Creating a pattern tile in Illustrator and ensuring the repeat works.
  • Using puppet warp to alter the shape of a flower
  • Using Photoshop group masks to assist in applying texture, the easy way!
  • Working with mockups in Adobe Photoshop.

You will get the bonus of…

  • over 60 minutes of direction from an instructor who has been in the graphic design business for over 30 years
  • Photoshop importable Actions to speed up your workflow.
  • A FREE brush set to play with in creating your first pattern in Illustrator.
  • A project sheet with step-by-step written instructions to create your first textured pattern successfully.
  • a list of helpful online sites to further your education into surface pattern design.

Upon conclusion of my class, I encourage you to create this project and try out my methods. Feel free to participate in the free guidance I offer while sharing in the projects section. Get involved in the process and benefit from the constructive advice and support of fellow artists! Whether you are new to surface pattern design or an accomplished master, the Adobe Textile Designer is another “must-have know-how”. So, let’s get the ball rolling! Start the Textural Floral Pattern Design  class NOW!


Lesson 1

In this lesson you will learn how to create Illustrator Brushes  or you can skip brush creation and load my free brush set to play around with and develop your composition! You will get a review on the use of the Pathfinder Palette and the Simplify command.

Lesson 2

This lesson focuses on the development of your overall composition. You will learn to add brushes, adjust brushes and make new filler brushes. You will learn about Expand Appearance, the Pathfinder Palette, and the Puppet Warp Tool.

Lesson 3

Scatter brushes will be developed in this lesson to help you fill out your composition. You will learn techniques for their use. You will learn how to create and alter these, and how to adjust all the variables.

Lesson 4

You will now get the opportunity to test the pattern using Illustrator pattern design fundamentals. You will learn about Expanding and Uniting your motifs. This gives you the opportunity to further develop your composition. I give you a few tips and tricks for testing on the go!

Lesson 5

This lesson is your final opportunity to fine-tune your design and prepare the pattern swatch, or tile, for export. You will get some basic instruction for use of the Puppet Warp tool and other tips and tricks for filling out your design.

Lesson 6

This is a very short lesson which shows you how to export your swatch in preparation for use in Adobe Photoshop.

Lesson 7

In this lesson, we make the preparations necessary for adding our textures to the design. You will create all the Group Masks necessary for the next step. I will explain the installation and use of the Photoshop actions that I have included here for free. Upon conclusion of this lesson, you are ready for the textures!

Lesson 8

This is a fun unit in which we add the textural layers for our flowers. We will discuss blending modes and see just how awesome the group masks are at this point. Once complete, the document is ready for Adobe Textile Designer!

Concepts covered in this course: pattern design fundamentals, Illustrator brushes, scatter brushes, puppet warp in Illustrator, group masks, calligraphy brushes, photoshop, illustrator pattern design, Adobe Textile Designer installation, Adobe Textile Designer instructions, surface pattern design, mockups, mockup design and production in Photoshop


Meet Your Teacher

Teacher Profile Image

Delores Naskrent

Creative Explorer


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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1. Intro to Textural Floral Pattern Design with the Adobe Textile Designer : Hi there. My name is Dolores NASCAR Ridge. I'm a graphic designer living in Sunny Manitoba, Canada. I've got some fun stuff to share with you today, and I just hope you'll hang in there for this whole course. I know there's lots of lessons. Don't be scared. This is gonna be a fun course because I'm introducing the new Adobe textile designer. I've just started using this plug in and well, does it ever make a difference on my workflow? I'll explain. It is one of my lessons here. You could literally skip to that lesson. If you know all about illustrator brushes and boat masking and photo shop, you could just pick and choose which lessons you would like to actually benefit from. This course is about another type of florals are like to create. It's a textural floral. In this course, I will show you how to create the brushes, an illustrator and how to test your pattern, how to import the pattern tile into four to shop, how to use photo shop layer groups to do the masking on the flowers and adding all the textures. Then I'll show you how to use the adobe textile designer. So this course is full of all kinds of interesting stuff. I really hope you'll take all the lessons with me, especially if you're a new to serve his pattern design. So are you ready to get started? Well, let's get to it. I'll see you in lesson one. 2. Lesson 1 Making the Brushes: Hey there. Welcome to Lesson one. I'm glad that you hung in there. And in this lesson, I'm going to show you all about creating illustrator brushes. If you have done this before in my other classes, then you could probably skip this one completely. These brushes are the brushes we're going to use to create composition in the next lesson. And that will end up being this watch for our pattern design. So let's get to it. So I guess you can see here. I've already been playing around making some brushes that you can see over here in my brushes panel. I'm gonna walk you through making a quick brush like this, and I'm going to give you some pointers about making brushes. In general, we're going to use the calligraphy brush, designed one of these brushes, ironically using a brush to make a brush. But here we go. So I'm going to go over here to the brush palette, and I'm going to click on new brush in the options panel, and I want a telegraphic brush. So that's what I'm going to click on. And I'm not gonna change the angle here. And I'm gonna keep the roundness at 100 because what I want is a brush that looks like I'm drawing it with a Sharpie marker or that type of pan. The big thing I want to do, though, is I want Teoh have ability to go thick and thin with my lines. So I'm going to change this to be controlled by pressure so that my pan on my tablet will allow me to get those six and thins. So I've already got a nine point Russia that created here. I'm going to do one a little bit bigger so that you can see up here what's happening when I changed my settings here. So what, I'm going to adjust here is this variation. Right now there's zero variations, so that's why these dots are the same. This is the current size, and this is the chicken and thick that I could produce if I change that variation and I want to be able to really vary it, so go to 20 points so that it's an even number, and I'm going to change this to each point variation. Now you can see here that I get really thin and I get really thick, which is exactly what I want. So I'm gonna click OK there. And I'm going to demonstrate that get my brush tool by pressing B on my keyboard. And I can keep this brush size or I can make it bigger or smaller using the right and left brackets. Okay, So the important thing was that I was getting the variation and the size. I can totally use the brackets to adjust. I'm going to start with very little pressure, and then I'm gonna press really hard and you'll see how I can get a really variation on my breast stroke. Now, it's not as extreme as I would like. So I'm going to double click on my brush here to make adjustments. And I'm going to change this to, uh, 10 point variation. You can see the adjustment happens right here in real time. Click OK. And again I'm going to go softly and then hard and you can see how I am offend my stroke A Remember it because we have a 20 point brush that it starts this thick at the top. Ok, I've got believed. This is ah, three point brush with a variation of 1.5. I'm gonna actually change that to I'm gonna check this one. And that's a nine point with a variation of nine. So you can see it actually shows nothing on this side, depending on my pressure. And then I've got the 20 point that I just created. So it's experiment with this one a little bit. That's when I was mainly using. So I'm going to start with a really small amount of pressure, and then I'm gonna press really hard so you could see that gives me a tremendous amount of variation in my brush stroke. I think we're ready to start, and we're gonna create one of these brushes. So I guess you'd call those pedals. I'm creating a brush that looks like it pedal. And so I'm gonna have a very light pressure and then go to a heavy pressure and I don't know if you noticed, but the way I'm pulling, I'm also pressing very lightly at the beginning and very heavily at the end. This is a kind of brush that's often used for brush lettering. Now, I don't know if you also notice that my hand, even though it's quite shaky. I'm getting a very smooth line here. So the reason for that is that I've got the smoothness set at 100% here. Okay, so you can experiment with that. We could try it with a little bit less. And you see that It straightens it out. Kind of a little bit less. Get rid of all those. And let's actually make this an actual brush just to give it some variation from the ones I have here. So I'm gonna select the endpoints here of both of these strokes first, and then I'm going to average so that I can put this point exactly on top of that point. So average out the points. The shortcut is command option J. And that brings up this dialog box, and I want it to average it on both axes. Someone say, OK, that puts them directly on top of each other. And I'm going to just make a slight adjustment here so that they are giving me a bit more of a smooth and here But now you see up got a fairly fairly decent petal shape here, so I'm gonna select it all and to make a brush these have to be actual shapes. So I'm gonna go under object to expand appearance, and you can see now it's not a stroke path, but it's actually a shape. Now I want to combine these two. They're actually still separate. I'm gonna go under Pathfinder, and I'm gonna use this first finder option. Unite, And you can see that it's united it right here. I'm going to bring that up a little bit closer so you can see it right now to separate shapes your night. And we've got one single shape here, so this is ready to be made into a brush. But I think I want to just find tune a little bit here. So I'm going to use my pen tool options to get rid of some of these extra points. Pen tool, shortcut, P. Once I've got the pen tool, I'm going to use the minus key, which gives me this little cursor with a minus on it. And I'm going to subtract a few of these points that I don't want because I want to kind of bring that to a bit of a point. Actually, that's pretty much what I want. Right there. so that gives me a really nice looking peddle Orly shape. So now I'm going to select it all. It's point simplified already. Otherwise I'd go in. What? Let me show you how you would go to object down two paths and to simplify. I've got a shortcut for that cause I use it so often. So my shortcut is command slash and actually, my last settings were pretty good. I've got this on preview, so I can see. And it originally had 24 points. Now it's got 13. It may not seem super important, but actually, when you get a really busy pattern field document, all of the's points add to the size of the document. So reducing this amount of points here is actually really beneficial. I'm gonna just go a little bit more accurate. So I've reduced if you can see here from 24 points down to 16 points and I still like the shape, So I'm going to click, OK, and now I'm ready to create my brush. All I need to do now is drag this into my brushes palette designated as an art brush. The only thing I might change here right now, is this gonna change it too tense and that way I know that I can colorize it at any point. OK, as far as the drawing direction. This is something that is a personal preference. I do like drawing from top to bottom, so that works out good for me. You can change us at any time, and that's something you'll just have to experiment with to see what you personally like. Now, here I can also designate whether or not I want pressure to control the brush. Storms could change that now as well. So let's give this brush a test run and drop with it now. That gives us a really nice brush and you can see depending on the direction I pull. So if I pull from down, Teoh up, get a certain kind of a look. I work from up the bottom. I get a certain look, and the harder I press with softer, it actually effects the shape of the lines within the brush. It's already have created five pretty cool brushes here, and what I often dio is take one of these brushes something like this that I've just created and modify it slightly so that I'm creating a completely different brush. So the one that you see here, this is the original brush that I had made with it. Okay, Now, I wanted to add these two little curlicues at the top. I use the calligraphy brush. I think I used this one here. I made a curlicue kind of like that. Okay, there's so many different ways that you can make these spirals. You can reduce the size of your brush and press harder, softer to get a different look. Or you could also use thes spiral tool, and you can pull a spiral. And if I keep my pen connected to the art board, I don't let go. I can use the up and down arrows to add or subtract spirals to my spiral, if that makes sense. So I I just want something like that and I'm just gonna let go, and I can stroke it with the brush that works the best. So let's try that one. And that's another way to create a spiral. Okay, so I like this original one that I made here, So I've been reflected copy of it, So I'm gonna go to the reflect tool. I'm going to double click on it and reflect tool. And it brings up this dialog box. And it is a vertical coffee that I want to meet. I can preview it. And as long as I hit copy here, it'll duplicate the one that I have there. So there we have it. I've got a little spiral, and I am going to just slightly rotate thes I'm going Teoh span appearance. I'm gonna go into Pathfinder and unite all this and united to the back part of my brush. The back most layer. Send it to the back so that these white circles remain on top and that I was gonna make a little couple of little adjustments here. I'm going to round this point. I want this not to be really squared off here. I'm gonna convert this to a smooth point by going up here to the convert selected anchor points tool in the control bar. Look on that and see that it's now around it. Path there. Now, here on this side. You see this little dodge? Now that could be used to round it out as well. So if I pull this back. You could see its rounding out that path. That's gonna be my new brush profile. They want around this. So just a little bit more about actually student faster. And I'm gonna slightly change this to so that it's not so identical to the other one is gonna pull this one down a little bit, maybe make this circle a little bit smaller, just slightly change it so that there's a variation when I'm using it. Somebody selected all gonna drag it to the brush panel. She was Arte Brush. Click, OK, changes to tents and everything else I'm gonna leave as is for now. Okay, so now you've learned how to make the illustrated brushes and in our next lesson, we're gonna use those brushes to make our composition. I hope that lesson was really informative for you. I've got some other brushes and other composition techniques coming up, so just hang in there and I'll see in the next lesson 3. Lesson 2 Composition : they're welcome to lessen too. So in this lesson, we're gonna mainly focus on the composition of our patterns. Watch. You'll learn all about how to adjust the brushes and make them work for you. I've even included a free brush library for you to load and use as you see fit. So let's get into it. So this is the brush library that I'm going to be attaching for you to use. So as I click on these brushes here individually, they will be added to my palette. So I'm gonna go through and add the ones that I really want in. They're only gonna take me a second soul, go right through and do that. Now I can get rid of that one. And you can see all my brushes here in this palette. So all these brushes basically created the same way you can see that I've got all kinds of different profiles that worked really well for creating florals. I'm going to include this brush such in the project file so you can have them and experiment, at least for your first attempt here. Why not? It'll be so much easier for you. So I'm going to get rid of all of this, and I'm going to start composing. The pattern that I want here had quite a lot of practice. Making these compositions on my most recent ones will show you Here I created with Fresh is that I've called my succulent rushes. You'll see there's a couple here that are in that other set, but this is the kind of composition that I want to work on, and I'll show you what that looks like when it's finished. It looks somewhat like this. Once I made it into the repeating pattern and how it looks when it's applied to this mock up. I had a single print that I actually based it on. I've done a lot of these sort of ah, mock watercolor. Look, I've actually got a couple classes that I teach on this technique, so I'll show you one of those in photo shop here. So this is one of the compositions based pretty much entirely on that brush set that we're using now. Maybe you'll recognize some of these when I get to work on it, so let's go back into Illustrator. I highly recommend you save very frequently, so Let's start composing our flower. I'm gonna goto one of these that I really use a lot and there's one of my first flowers composed, so I like to actually draw a couple of stems right away. I'm going to adjust this size. I double clicked on the brush right now it's set 100 66 it's a fixed size brush. I'm gonna actually change this to pressure and I'm gonna go to about 50% of the size. I'm just going to draw a couple of quick stems. Should go even a little bit smaller here. I find that the Stam's really kind of anchor the pattern for a starch. Now the other thing, I don't want Teoh have anything coming off my pattern on the right and bottom. I'll explain that a little bit more as we get into the pattern. Repeat, but avoid that area. I'm going to do one like this. I think beside okay. Sorry. Sorry for all that fiddling around. Now, most of these brushes I bet you might have to go in and adjust the size cause chances are they were not built with the same size of documents. So you may find that you will need to do that right now I'm working on a 10 by 10 and that's kind of become my standard. Will probably adjust all these or else able these brushes so that the brush said that I give you will be the one that works on a 10 by 10 document. So I'm going even smaller. I must have been working on a 20 by 20 or something. Okay, So the other thing that seems to be a little bit off for me here is the directional, all on these brushes. So again, that's something you can change the direction which you pull. And I see one of the problems is that I don't have the line directly centered. So I'm gonna actually remake that brush with that. You can see. So right now the problem is, when I pull straight pedal is crooked. So I'm going to redo that brush. Get rid of it from here. I'm going to span appearance on that so that I can use this to make my next brush and I'm going Teoh, get rid of it here and just make a slight adjustment to the size here and I think I'm gonna use this brush here to just add a little bit of detail there. OK, so I'm going to expand appearance on that again. They go to Pathfinder and united. And that's one thing I've learned is to make sure that I keep my brushes at a 90 degree angle so that when I am using it when I'm pulling, it will follow the way I pull my stroke. So I'm going to drag that into the brushes panel, making an art brush, Say okay. And you see, now it's perfectly centered the way by our stroke will be pulled, Jack. Two tents. It will maybe sleep but smaller. Look. Okay. And then I can get rid of that. And then just use the brush. So that feels more natural to me now. I can pull the way. It feels comfortable for me. Hey, I'm gonna pull one vertically. Just met. I will in that space a little bit. Kind of looks like a tulip. Gonna move this stem a little bit. If you leaves on these right now, let's see how big that one is. So that's kind of some ole leaf looked through here. Maybe this one will be more suitable. Yes, So I'm just pulling to make some nice leaves here. They respond well to the way I pull my brush the way I'm pulling my stylists. So the settings that I have here for smoothing this I like just taking a quick look at my pencil sketch to make sure that I am kind off following it. Change the direction of that one that when I'm pulling downwards, it feels comfortable. Now you notice some of my pedals are very similar or my brushes the profiles are very similar. And chances are I built them based on that previous brush. So let's take that as an example. I'm going to pull a stroke. I am going to span appearance on it. I'm going to simplify it. So I'm reduced the amount off points from 29 points to 12 points and then I am going Teoh, use my pen tool at a point and I'm just going Teoh adjusted. I'm using the arrow keys right now, So let's say this is gonna work with these Very similar as you see, I'm going to drag that into the brushes panel. Save it as an art brush very similar, but different enough that it looks like a natural or alternate stroke to this one. Here, leave all these settings the way they are. Actually, let's go a little bit smaller. Get rid of it. Here and now. When I pull stroke, you can see that profile is the new profile for that particular one, I think will change this to B that profile. Where is it? This one? Yeah, that's not. Generally I end up putting all the brushes that are similar position the same are very close to each other on the Russia's panel. Just to make it easier for myself. And I can see here I've got somewhere I'm pulling from top to bottom and somewhere it's the opposite way. So generally I go in and change them to all be the same. It just makes it easier. So that's when I will switch so that when I am pulling that pulls and get smaller at the bottom, which is what I like. I'm probably going to time lapse a lot of this now, and I'm going to go ahead and finish up my pattern and I'll just pause when I want to explain something that's really important. Here we go gonna move up to those brushes that we created in the first segment. I'm just gonna use a few of these because I generally want to have big, solid shapes like this for the textural part that we're gonna be doing in photo shop. So now we've got most of our composition done. And the next lesson I'm going to show you how to create scatter brushes, which will help in creating the backgrounds and filling in the spaces of our composition. So I'll see you in the next lesson. 4. Lesson 3 Scatter Brush: you guys, welcome to this lesson about scatter brush is so in this lesson, I plan to show you how to create the scatter brush is and adjust. Um, I'm going to show you how to use filters to create some of your brushes, and we're going to create enough scatter brush is that we can use them to work on our composition. So then we'll flip back into the composition and I'll show you how the scatter brush is air used. So now that I'm filling in the spaces around the flowers, I've done a few with just freehand brushing. But I want to show you how a scatter brush can work and give you breast strokes like this. So that would be very cool in filling out some of our white space. And I want to show you some very quick ways that you can create these brushes. These were all created starting with an ellipse. So you pull the ellipse to the size that you want to fill it with black. And then I have been doing this, which is kind of fun going into distort and transform. So under the effect menu distorting transform and let's start with zigzag. So that's this flower here that you see. So I just used course, put it on preview so you could get some really extreme Starlight shapes. I want this to be more like a flower so you can see by these settings that created a little flower just pretty much instantly. And as I adjust these settings, I am getting a different type of flower. So are different looking flower so I can adjust the amount of I guess you call them pedals and how big they are and whether they're smooth or their sharp. So I'm going to keep them a smooth like I said, to make them look more like flowers. I think you can actually put decimals in there, too. Yes, you can. So that created a flower that's very much like a lily of the valley or lilac bloom. And then I'm going to go Teoh, distort and transform again and this time to roughen. I wanted to look more natural. So again I'm gonna put on preview and I'm going to make it smooth. And for this you pretty much can bring the numbers way down and you can see that what this does, is it? Randomize them a little bit more. So depending on the look that you're after, you want to look quite natural, Like it was hand drawn, drawn with a technical pan or a marker. I kind of like that. So I think I'm gonna stop there. I'm going to say OK, so that was the Ruffin. Okay, so here I've created two different flowers, basically using the same techniques. This one I didn't roughened. So I'm gonna go back, and I can apply that roughing that I just used. Or I can go in and adjust it so you can increase the amount of detail or reduce it with this slider here. I'm going to say okay to that. So there's two. Let's try 1/3 and these are all being created very easily. Oh, I'm going to go to rough in this time again. And this time I was gonna make kind of a circle with really rough edge. Even that little square would be cool for feel. I'm gonna go with something like that. Okay. I'm gonna create three brushes here and select the mall. It's banned, appearance and expand. And then I want to create a scatter brush. So I am going to drag this into Russia's palette. And this time I'm gonna choose scatter brush here and click OK, and all of these different options come up for now. I'm just gonna say OK, just so that I can show you with a breast role. So I'm going to create the brushstroke that uses this is the Phil. So it's depending on the length of line is how many repeats that they're going to be, and I definitely want to adjust that. So the scatter brush is air kept up here on the brushes palette. I'm gonna double click on it. And this way you can see what my adjustments are going to do. I'm going to change a few of these settings and you can just keep an eye on what happens here as I changed the settings so you can see that thesis cat er will determine how far from the line my little shapes will be. And they're sliders here on both sides so you can see that something like the scatter There's a minimum and a maximum amount when this is on random. If this was fixed, you see I can't make any changes to this side when it's on random, I can, so I don't really want it to be. It's kind of cool for things like the size that it buries the sizes of thes and the rotation is probably what I think is gonna make it look. The most natural is if we make some adjustments to this and this rotation relative to path . So this rotation controlled year and you see how that changed it instantly to be kind of following my line. So there, let's say these were the raise on the sun that iconic Children's way of drawing the sun, and you would have all of these converging in perspective to the middle of, ah, invisible circle here. Okay, I would say the most important thing for you is to experiment a little bit on these, and you'll kind of get the feel of what each of these controls will dio. And then, of course, once you get back into your document, you'll see how each of those can work for you. I'm going to go through, and I'm going to create these as well, putting them all on random now, relative to path say okay, draw my breast stroke. There's my little flowers being applied to my breaststroke. Double click on that to make adjustments, and I am going Teoh, give that a variety, actually change. Just want to pressure, I think. Yeah, and then that changes. That's another variable that you can around with. I'm going to know the spacing. They saw another one pop onto the screen there, because now, with the spacing really tight, you can fit more Ian Wright If the spacing is really tight and I think them even to reduce the size further so I can make them even tighter here, I'm going Teoh. Really slightly adjust the scatter, he told me. He's really small brushes that he's settings have to be a quite minimal if you want them to . Still controlled by your breast stroke and the rotation, let's have them rotate a little bit, depending on how hard I press I get them closer or further apart. I think I am going to change that, though I don't want that to be one got to be fixed. That's more what I really want. That thing I show you is if I adjust the size of the brush. So that's kind of cool Rate what? Wait at these brushes to my other documents, copy to my other documents and paste them. Even if they're over here, you'll see that they have been added up here to my scattered brushes. Okay, so I can actually just delete those and they show up here. Now, I just by zooming out here, I realized that I've got my concentration of big flowers a little bit too stripey. If that makes sense to you. Like, if I were to repeat this pattern right now, this would create a really dark stripe across the whole thing, and I don't want that. So before I do with the rest of my feeling, I am going to make some adjustments. So I'm just gonna time lapse that for you. It's gonna group these to make them easier to move. So if I were to de select now and then select this whole flower in this corner would move is a group, so that's kind of fun. I think I'm gonna move away up, and that's going to kind of mitigate this striping that was originally created there. I'm going to just make this one a little bit smaller. So I think that kind of addresses that striping problem to make some other little adjustments here. Because of moving stuff and some of these feelers that I originally put in, I may end up moving once I've got my other brushes. My little scatter brush is that I can use, so this is kind of a neat thing to that. You can actually go in and just control your breast, Stroke says. If it was a pen line, that's something you can't do with natural media. I think something these spaces out so that I can show you the scatter brush is a little bit more easily expand appearance on that one so that I can simplify it. This is a brush that I did create using that distortion effect and with this when it was kind of cool, too, because I I'll just quickly show you here created the circle. Actually, I think it was a white stroke, and I went into the strokes palette, increased the size of the stroke and then created a dashed line. It's chicken that line a bit more even. See how it's digging a little bit more into the circle. When I do that and then expand appearance and expand again, span the fill in the stroke to say OK, then use the Pathfinder to unite and you can change that. And you see how it gives me that kind of, ah, serrated edge. And then I believe I just used just a basic brush with no Phil and stroke toe with white. And I just drew some lines in there. Sort of like that. Okay, you have to mess around with the settings and do some experimenting. Now let's try playing with some of those. Get a brushes, screw up. And here are my little scatter brushes. So let's just try quick line over here to see how the proportion is. That's not bad for size. Think I want them spaced a bit more? I am going to for them a little bit. Just try this random, and I want a little bit of a scatter on it so that it looks more natural. And let's just try some of that in there. I think I'm going to change my brush right now to have a little bit less smoothing that it responds more to the path that I'm drawing more exactly, rather than trying to correct me, applying some randomness, which I like with spacing and after we expand appearance on this will still be able to move things around so you can see the different ways I stroke my brush affect the way it is drawn. So if you want inspiration for something like this, even though I'm not sure what techniques they use, look toe artists like Helen Dardick or Mel Armstrong. They use a lot of killers like this in the background. I'm not sure how they actually do it, whether they just kind of randomly draw the brush strokes or whether they have scattered brushes. But this is the kind of effect that I'm after here. So I'm going Teoh, go ahead and you a bunch of feeling here, so you'll probably just he'll tow, Watch it Time last. So if I just click once, I can get a single flower as well. So that's something that you could experiment with. I've gotten a little bit out of control with my shapes being outside of my area that I'm working, so I am going to make a few quick adjustments to that before I continue. Everything within just makes it easier in the long run. It kind of works there. And I'm going to just move this guy a little bitch because I want to move these guys down so that they're into the image area here. So I'm going to just totally reduce the size of this. This went up a little bit. Use a on your keyboard if you want access, just the direct, select tool which allow you to move one point at a time. And if you want to select more than one thing at a time, hold out your shift key and then you can get a grouping. So I'm gonna move these down here because I like them. But I want them in the image area, got them selected, and I'm on the direct select tool. So if a hit return, I can actually move thes and I'm going to move them vertically. So 0 10 inches down and I see okay, and that moves it back in here. So I liked how it waas how it went around this set of flowers here. So rather than adjust the positioning here, I want to leave that because I like the way that was interacted and what I want to change its this guy here so I'll select the whole thing and continue adjusting until I like it. So I hope the scatter brush information wasn't too much. And I hope you experiment with ease and try to figure out different kinds of brushes that you can use in your composition. So for now, we're gonna move on into our next lesson. And in the next lesson, what we're gonna do is we're gonna test our pattern. 5. Lesson 4 Testing the Pattern: welcome to lessen for So we've finally gotten to the stage where we're gonna test our patterns. I'm gonna show you how I do that on the fly and give you some tips and tricks. Okay, So let's get started. A lot of times when I get to the stage where I've got a lot of my image filled, I'll just select it all and do a quick test of the pattern by going under object. So I've selected all I go under, object to pattern and make, and it's going to give me the new patterns watch, which will be in my panel. I can get rid of later, but I can say OK, and it's going to fill my screen here, and then I can set my actual settings that I'm going to use. It's always 10 by 10 for Meeks that you attend by 10 square, and that gives me a very quick look at how my whole pattern is starting to work out. So there's a couple problems here, one of them being that I still have the striping kind of effect going on because the weight of this flower and the weight of this flower are too similar. And this leaf is running into these flowers right here. This flower right here. So those were two things that I need to address. And just so I have a reference for this all to a screenshot So mass shift four, I'll do a screenshot and then I'll undo that pattern that I've created, And then I'll go to preview and I'm going to open up. You could see I did that before, So I'm going to open up my most recent screenshots so that I can actually work back and forth. I can go. I'm on the document. I'm on the preview so I can see the things that I have to change real quick. Sometimes they put them off. I'm thinking I'm going to get rid of this peddle completely or leaf And I think and I don't even want this flower anymore. I don't like it, so I'm gonna take it out completely. I'm deleting that deleting all of this going on over here, and I'm going to Let's just take a quick look again. See, I also had the striping kind of going on diagonally here, so I want to be really careful because these two are too similar. So these two are ones I'm gonna have to adjust. So I'm going to make one smaller. Should have been outspend the appearance on that. That gives me a little bit more control over the shape. So I'm put that when they're a little bit so that eliminates the one problem. Now, I need a flower for over here, so I don't want it to be exactly like this. I think something like this would work, So I'm going to work with some of those brushes instead. So I'm gonna grab this brush, and I'm going to create another flower similar to that one and took. That solves those problems. We could test it again. So select. It'll pattern make a shortcut for that, as you can see. So that's probably will use next time would attend my 10. And that helps those problems a lot. So I might just move this one up a little bit. So this one with the start of paddle shaped petals, and then I just got to figure out something for this whole right here. You know the pattern, this guy up change the direction of them. That probably will help a lot. And then let's see if one of my brushes could just work too. Make a flower over here in this corner. So this is the only other scatter brush that I did not use yet. So I want to show you that one a little bit. I think I will get rid of some of these in here and use this one instead. So you could take a look at the adjustments. And what happens? Going to duplicate that scatter brush so I could make one with the second set of settings? Smaller, tighter spacing. Okay, I'm gonna test this one out. Now, let's just use a short looked set it to 10 by 10. Now, I'm really started. Like how this is looking. So we've got a much everything that I need here. Think I've reduced striping pretty good and still a just those two. I think I've been a print this one off, actually. So that printout is super helpful, actually, So I am going to make a couple of their adjustments here. I hope you like this lesson. It's always kind of fun to get to that point when you're adjusting your pattern and actually testing it out to see how it works. I'm gonna keep working on this, and I will see you in the next lesson where we're gonna do some of the fine tuning See there. 6. Lesson 5 Fine Tuning Your Pattern: you guys welcome to lessen five. So, in this lesson, what I plan to do is all of the fine tuning to help us finish this patterns. Watch. I'm gonna kind of be using a screenshot to guide me. I'm gonna be using the scatter brush is that I created. And I'm gonna be using Puppet Warp. So I don't know if you've used that or not, but we're gonna cover that in this lesson, and I'm gonna be explaining expand appearance and the Pathfinder pellet. And I think we should be able to, by the end of this lesson, export the pattern tile that we're going to use in photo shop. I know, right? I'm excited, too. I think I'm going to make some adjustments and I want to just kind of changed the shape of it. I've simplified it, and I'm gonna go to my puppet work tool. So that's right over here. I don't know if you've ever used this, but this is very helpful. If you're just trying to change the overall shape of something you can see have actually expanded it to have one under object to expand appearance. And now I'm going to make some changes. So the mesh I have will work just fine. I'm gonna put attack right in the middle of it. And what I want to do is pull this side down a bit, put attack in there. So wherever you click, you're gonna put down a little attack, and then that tack you can move around. That's a little bit more like what I want. So I'm gonna okay on that. And I have changed to a different tool, and here I can adjust this little nachos kind of bothering me. So that's a little bit more like what I want. And in my screenshot here, a couple little spots to fill in here. I want to feel that area and maybe a little bit in here. So I'm gonna go back and use this brush to put a few more details in here. I'm just single clicking so that I've got just one instance of the brush showing up there. So I'm going to use this one for here. And remember that you can adjust the size of your brush by going into the strokes palette here so I can make that one a little bit smaller. Is remember that the brushes when they're still applied the line are actually strokes, so stroke size does work. So I think, mate, adjust the size of some of these using the strokes palette to I'm gonna go. Why inch each? Maybe 0.9. Just take that one out completely, and I'm going to use this one. So I'm on 10.9 right now. And if I change it here, it's going to affect the size of my brush. Going to go a little bit less. Stephen, Wait seven. And a lot of this is just fine tuning. After a while, you just kind of get the feel for what? Look you want, how you want to fill up the space and which one of your little icons were motifs that work the best. And I think I want Teoh reduce the size of this one a little bit so that there's a little bit more spacing. I'm gonna continue with my little adjustments here, and you'll probably see all this in a time lapse. Keep referring back to my point out just so that I can make sure that I'm covering everything that I want to cover. So one of the things that going back with different brush sizes does is just kind of randomize. Is it a little bit? So everything on the page isn't the same size, and that's usually quite pleasing to the eye. When you have a repeat pattern, we get from smaller ones of this particular style. Let's do a few of thes just like the smaller size. Remember, you use the minus key to subtract points even when it's a brushstroke. Time for another test so you can adjust your pattern when you've got it previewing. As you can see, I can select anything here and move it around. So that's what I'm gonna do now is kind of Ah, live adjustments holding down or my option key with my command key, I can make copies, So I'm gonna do a couple of those in places where I see I needed Phil gonna randomize some of this a little bit so it doesn't look like such a straight line of flowers. I'm going to span appearance on this bunch up here so they could make some changes down here in the bottom. So everything selected, it's bound appearance, and I'm gonna go to Pathfinder unite it and then I'm going to you simplify it. So my shortcut ISS manned and slash, and this reduces it from 137 points to less than 40 points. So that's really great. And I know that there's a little flower over here, so I'm going to pull these over here we go. So whenever you want to, you can expand appearance on your individual brush strokes so that you can move them independently. So that's kind of what I'm going around and doing is just double checking that. I've got everything the way I want it and check my pattern again. I could make this one bigger. I'm shift clicking so that I get them all, rotate it. And then if you put a few more of these in, So I'm going back to edit mode again, and that's going to finish up here hungry to just make a few little smaller ones in the here going to get rid of that one, This one a little bit smaller know one more thing I want to change is going to get rid of that. Temporarily save a copy first, just in case of it. This is always really hard trying to fill a spot when I get rid of something really big. But let's give it a shot to any one of these would work. I know what I'm gonna do. I'm going, Teoh, This one based sitting here large it and then I'm gonna use puppet work. Teoh reshape it a little bit. They already like this better than what I had. I don't know what I did without this puppet work tool. Honestly, what did we do before? To make this kind of change like this pattern? I like it so much better, Del. So much better. I'm going, Teoh, commit that. I'm going to reduce the size of this guy a little bit. Yeah, I'm liking that a lot better. You know, it might seem crazy, but I'm going to get rid of this for a second and try putting in one of these was actually something I really like about that. And I think it's because it balances out this big leaf over here. So I'm going to make it the size that I want. And then I'll make adjustments to all my other elements to make it work. Some liking that a lot better. This is my final swatch. And if I was to apply that So let's just draw another rectangle and will fill it with that pattern. And you can see that repeat has worked just fine. So I can scale that if I wanted to in my transform. But I know now that it works and repeat has been saved for application to anything that I watch. At this point, of course, you know that what we're gonna do is we're gonna take this into four shop, but we could do her coloration if we wanted Teoh. Right here. Each of these shapes is edit herbal and can be field. So we've got that swatch already to go. My next lesson is a very short one, and it'll be on exporting that pattern tile. 7. Lesson 6 Exporting Swatch for Photoshop: Hey there. Welcome to Lessen Six. This is a really short lesson, but I thought I'd keep it separate for people who don't need Teoh. See everything else. So here goes. We're going to export our swatch. So that's it. My pattern is complete, and my last step is to export this. So, um, going to show you the finished pattern. So back to my swatches palette here and apply that last pattern Swatch. So that's completely done. I like the way it flows. Like the repeat. Everything about it works for me right now or my demonstration. And my last step here is to exports. So I'm gonna go into edit pattern. I'm not actually gonna make any edits. I'm just going to save a copy is a PSD file. First of all, I'm adding it to my panel is my final swatch. I'm going to delete it, delete the sample issued you there and then I'm going to go under file. Teoh exports export as and I'm going to choose PSD down here for the Shop PST. I've already got a copy of that that I have put in there as the main pattern to tst going to export and replace it, and I'm leaving it on C N y que. It makes no difference, really right now because it's black and white anyways, So that's already for me to open up in photo shop, get to work, putting on those textures. 8. Lesson 7 Preparing Layered Photoshop Document: welcome to lessen seven. So in this lesson, what we're gonna do is isolate some of the flowers in the PSD file and create group masks so that we can apply all the textures that we want in photo shop here I opened up my main pattern to PST and I can select all and go under edit to define pattern. I'm going to call it skill share pattern to I've created Swatch. It would be in my patterns and I'm going to show the application of that right away. So I'm gonna make a new document and I'm going to make it 15 by 15 inches because I want part of the overlap of the pattern to show. So I'm going to do that at 300 d p. I. R p p i. And I'll explain in a minute why I want more than just one of the single patterns watches to show. So I'm going to go right out plenty layers here. I'm going to do a new feel it layer, and it's going to be a pattern, okay? And it's filled it with that pattern because that was the last pattern that I added. Thank you for the shop, and I'm gonna spiel that up. And I want it big enough that the entire SWAT show as well as at least part of the repeat. The reason for that is that we're going to apply textures to these, and we can't use partial ones to do that. We want to use whole flowers or whole silhouettes to do that. So I'm going to click okay, here, because I could see I've got full flowers all around the edges here. I could probably go teats, even see bit bigger about that full flower. That one. That one. That one. That one. Okay, so I'm gonna cook, Okay, We're going to redefine a pattern Swatch later, which has all of our textured flowers in there. So that's gonna be another step. Now I'm going to save this document just to be sure. And now we're ready to apply the textures. Now, as faras textures go, I've made a lot myself. I've got a whole folder of textures that I've collected for this project. You can also buy textures on places like Creative Market and actually have a shop there where I have a bunch of my work and I am going to add a couple of textures collections as soon as I get a minute so you can go through and you can check. You can set your price limit. Let's say you want to only spend $5 set it to $5 your textures will come up that are in that price range. Now, I could have a specific idea that I want, and I really watch a bunch of stripes. So I'm gonna purchase this one here. So I want a lot of sort of lines now. Of course, I could create all of these myself, but just to expedite this demonstration, I'm going to buy it. So it's just very quick. You look carefully at your selection here and just make sure it's about everything that you want. Their nice big files. 300 GP I J. Pegs. Perfect. I'm gonna purchase that and then we're good to go. But my textures and I've got them all in one place and make it easier for when I'm ready for putting all the textures in. And now what I need to do is you actually separate the flowers groupings of which ones I want a certain texture apply to. So usually I separate all the big ones out onto their own separate mass. And then I work on grouping some of these small ones. So my first step is to pasteurize layer, so I'm going to right click on it and rest arise the layer. So now it makes it really easy for me to select. So I'm going to use my magic wand tool and I'm selecting, and you'll note that most of my objects here are isolated from each other. There was very little overlap in the way I designed this pattern, so that makes it a lot easier for really quick selecting with my magic wand jewel. So my next step here is to separate all of my big flowers onto their own layers. So I'm going to the main patterns. Watch amusing magic wand to select a flower, and then I'm using Command J to isolate it to its own layer. If I'm selecting and doing this with all of my larger leaves in plants and occasionally high do, you weren't just just make sure that you're getting everything. It's actually pretty quick when you do this using the magic wand and command j to make your new layers. And I'm noticing here that there's a few little ones that we're kind of stuck to the bigger ones. So I'm taking time to separate those out. So I'm going through and checking and then labelling all my layers here have kind of cut off the very end of this flower. It doesn't appear on the other side. I don't want it to be separate. So I am going Teoh just crop it a little bit bigger and brush in that little end bit and avoid to re select this flower and merge it down with the original of it, just to be sure about the whole thing. Just going through and making sure that I've got every last little morsel here into my pattern. And if I find something like I just found that little flower that was missing, I isolated it. And now I'm gonna merge it with the original layer, and I put it on top so the I can merge it and not have to be named earlier. I hide my pattern. Now I can see that I've got everything and I'm gonna keep this later here so I can always go back and add if necessary. And what I'm gonna do now is group of these and put all the main flowers into their own older. So I'm elected mall and grouping them and then all of the fillers. So I'll put those in their own group. So I'm gonna put main florals as a title for this one and fillers for this one, and I'm actually a double click on the background and just get rid of it. So now we've isolated all of our pieces, ready to apply the textures. 9. Lesson 8 Masking and Adding Texture: Hey there. Welcome to this next lesson. What we're gonna do is isolate some of the flowers in the PSD file and create group masks so that we can apply all the textures that we want. I'm going to be showing you the use of some actions to help automate some of our processes . I'm going to give you instructions on how to load these, and then we'll be creating the group masks and adding all the textures. This is gonna be the fun part. The technique I'm gonna show you is in creating a group mask that's gonna house all of our textures. So I'm going to demonstrate by creating one. But I've also created actions to help us out with that. And I will be including these actions that you can upload to help you automate some of the tasks. So I'm just gonna choose one of the flowers here, and we use this big one here, demonstrate. The first thing I'm gonna do is create a group folder. So you click down here on the layers palette like a little folder, and a group is created. Now I'm gonna use the magic wand tool to select the flower. I'm gonna click on this mask icon at the bottom of the palate and because I've got that flower selected is going to create a mask on my group. So that tells me that whatever is in this group will Onley show in this white area. So in the area of the flower. So if I option click on the mask, I can see it completely. And I know that it's going Teoh, how is all of my textures perfectly. What I usually do is I dragged the flower to folder and hide it. I really don't need to see it beyond this point. Believe it showing just for now just so that you get the idea of where the positioning of the textures has to be. I'm gonna open up one of my textures and I've saved a few here that I can use and I select all and copy I can close that. And as long as I'm on this group here, when I paste, the texture will be pacing within the flower. So using my move tool, I could move or enlarge textures in whatever way I see fit. I've mainly used kind of a blue color palette, So I am going to just quickly show you how to change the color of the texture. So if you've never done this before to access this panel is man option you and then you just slide the sliders along until you get to the color that you want. No, right now I've got it clicked on color eyes. So it's It's making the texture all one color, and I actually still want to keep it having a bit of ah, variety. And it's Hugh, So I am going to not colorize it and just change the overall hue so you can change the saturation you haven't supersaturated or you can have it less saturated and you can lighten or darken it. So let's just say that was my choice. I'm never gonna remember exactly what I did the first time. Suffice it to say this is what my final texture ended up looking like, So it's It's pretty similar. I also added a floral and essentially to add any sort of a texture or vector pattern that you've created. You can as long as you're still in that folder, use your place embedded command and locate your texture. Hit your place command like okay. And your texture is now places like again. You can see that it is applying it only within the area. We've specified here on the mask. So just like any other layer, you can affect the way it bland's. You can enlarge or reduce it. Using your transform command, you can rotate it, reposition it any way you want. Just make all your adjustments. I am actually gonna rast arise this layer to make it easier to cull arise and this shift the hue a little bit. So it's more into my blues and then I can use any other blending modes. Teoh, apply that texture to the texture below it. So you can see that the possibilities are endless at this point. So as long as you've got a layer mask, you can fill it with any texture that you watch. So what I did because I know that I want to do those steps creating a mask on a group. I created an action to do that so that I was able to go through very quickly and apply or create this group mask so you'll get these actions what you're gonna do is go into your actions, panels, options. You're going to load actions, and you will find that action that I've given you click open. Those textures will be important now. I already had those there, so I'm going to delete them so that it stopped a single correct set here, and this is how quickly you'll be able to do it. Use your magic wand tool to select the flour and then press play on that action, and it has automatically created that folder for you. So what I did is I just would quickly drag that into the folder, closed the folder, go to the next flower selected with the magic Wand tool, and repeat that action so you can see how quickly this would go. So I continued and went through and created these group folders for all of the flowers. So I'll show you my finished documents. Of course, you can see that I made a ton adjustments after the fact I went quickly into each of these folders, added color added texture so you could see what they look like, at least part way through my process. So once I was done, that step My next step was to go through and flatten each of these and apply the layer mask again. I created an action for this, but I'll show you the steps. You would select the group that you want. You would flatten it by using the shortcut Command E right. Click on the mask itself and hit apply layer mask. And so that flower is complete. Now with no masks anymore, that happened to be those little leaves that those are now completely ready to go for my next step. So to make it faster for you, I've created the action that will complete that for you. So this is how quickly I went through and did it so literally clicked on the group, played the action, clicked on the group and played the action. So it's super quick to go through and do this process. Once that was complete, I had my layers to create my final pattern. And that's this tile that you see here. So this ended up being my completed tile, and it has the added repeat all worked out. So I'm gonna show you how to actually create this pattern tile that will be using the new extension Adobe type designer. So in the next lesson, what we're gonna be doing is installing the adobe textile designer plug in. So I'm gonna walk you through the steps of that first, and then we're gonna get right to using it, So let's get started. 10. Lesson 9 Adobe Textile Creator: Hey there. Welcome to this next lesson. We're gonna start this us and by installing the adobe type designer extension or plug in already got mine loaded. But I'm gonna walk you through it anyways. You need to go to your browser and put in the link that I have attached in the project files that will take you to this page, which is the Adobe Textile designer download page. So you're gonna need to sign up for Beta. And in order to do that, you do have to have an adobe. I d I assume that you have one. If not, you're gonna have to sign up for it. So you click. Sign up for beta. It's going Teoh ask you to log in and you're gonna get to this page here, and you can download the extension right from this spot. If you had previously installed the project Paris, you're gonna have to uninstall it from your photo shop before installing. But then you just click on view program and you'll be taken to this page and you can download the latest version now. This was updated very recently, so July five days ago. So this really a few days ago has been already updated, so I don't even know if I have this latest version. So I'm definitely going to click on it, and it's currently downloading. Locate your download, double click on it and you'll be taken to the install holder. You know, double click on the installer and it's going to guide you through the steps of installing is very, very simple. It guides you through every step of the way. So once you have it installed, people back to your photo shop and open it and you'll be able to find the extensions here under your extensions in the window menu. Okay, I've already got mine here in my toolbox, and I like having my adobe textile designer preview our open here. So I just drag it up a little bit higher onto my image area, and then this icon is the actual textile designer main panel that I need. So I'm gonna drag that office. Well, I'm gonna keep it down here. So the most important thing I need to dio is to have anything that is on the top or the left Repeat. In order to do that, I have to designate it as wrapped to wrap the layer. I would just locate the layer that I want to wrap him. It's going to be this one. I'm gonna work on first, and I simply have to click on route this layer, and it shows me here in my preview that that is being wrapped. Okay, so you can see there that that is wrapping perfectly. So if I wasn't draft, I would have a problem. Like what you see here, where the flower is being cut off. You can even reduce the size of your preview if you want, so that you can see it as it's happening. So I'm gonna go through with everything that is overhanging. It doesn't automatically preview. You can hit the refresh. It seems to be working. So far. I'm actually gonna dock this reach to this panel here, But now I just have to continue going through, and he's sure that anything that is on this side or this side repeats on this side. I'm gonna do that real quick. I just love that. Got this previewed. Look out here. What? You're finished. Pattern tile is going to look like so I actually went ahead and did a whole bunch of changes in coloration of thes different flowers. On my final padding trial, you can see that I have used human saturation to take some of the color completely out of certain flowers on this one. You can see I've just changed it to be solid yellow on the pod in the right hand, upper right hand corner. I ended up just making it a solid yellow. You can see it works quite nicely the pattern. And I really like the way the texture ended up working here. Now I'm gonna show you how to extract thesis Ingle pattern tile because I've done a street grid pattern here. It's very easy for me to extract the pattern. All I need to do is actually save this document is a J pig and it's good to go. So I'm just gonna do a quick save as I save. It is a J pig cook. Okay. And that leaves me with my completed pattern tile here calling this final coloration without background because I'm going to also demonstrate adding a background to this summer's gonna click. Save on that no background Ferguson J pe Cand create a new document. This 1 20 by 20. I'm going to create a new hill layer with the pattern. Good. Open up that no background version. I'm gonna select all and I'm going Teoh, find it as a pattern. When I go to my document to fill on a new feel layer with pattern is going to take my latest pattern that I saved. So I'm gonna click. OK, I could go in and choose anyone here. And I've had a few versions, as you can see, but this is the one that I want and you can see that the pattern rip each has worked perfectly. So this is fantastic. If I want to put it into a mock up and I'm gonna do a quick lesson at the end, that shows you catch. Now, I've also created one with a pattern on the background. So I had Teoh create a pattern tile that was going to repeat properly, So it had to be paid in such a way that it could wrap. So this matches up perfectly top and bottom, left and right. It is a seamless pattern. Select all copy it and then we get into my document here and it's going to go on the back. Most layer. I'm reducing it down in opacity to about 20%. I'm just going to make sure that that's perfectly aligned the background, and then I'm going to save this. One note is a G pagans Well, so now I have two perfectly good pattern tiles that I can use on mockups or upload to spoon flour, and I'm gonna show you putting this onto a mock up really quick in the next lesson. 11. Final Thoughts: Okay, so here we are in our final lesson in this lesson, we're gonna do a quick mock up. If you have done lots of mockups, then you could probably just skip the end of it Anyways, let's get to it. I can't wait. As you can see, I've already put the pattern on here. I'm gonna walk you through it real quick. It's super easy. Most of the mockups that I have or that I purchase have smart objects and to do any sort of an edit double click on the smart object layer that you want to change. So in this case, I want to change the bedspread and it'll open the associative psb file so you'll know it's for the smart object. Because you could see at the end here it has thought psb for the name of the document what I did in order to put my pattern on there, I'm gonna just hide this one temporarily. I went Teoh Layer and I went to new feel there, and I went to pattern and clicked. Okay. My last pattern that I created is what shows up here. But I can select any of the ones that I have saved. And then I can click on the size that I want the pattern to be watched in the image area here. Or just keep adjusting the sliders till you get to the size that you want. So I'm thinking some things like this. I want a fairly bold pattern. I'm gonna try it at 25% and I'm gonna click, OK? And then I could see my repeat here has worked just fine. Once I save the file and go back to my image, there it is. Say it exactly the way I had it. So I'm thinking that I want Teoh use that background texture that I created on the backside of bedspread. So I'm gonna double click and open up my smart object. I'm gonna double click on the design here and again. I'm going to make a new feel layer with the pattern and it that's come up with my ex. Sure, because that was the last one that I created. And I'm gonna try this at about, uh, 30% like Okay, save it. Go back to my documents thinking the scale is a little bit large, so double click on it again. And I can double click on this and reduce the scale even more. So make sure you double click on the actual icon in the layers panel and I'm gonna try that at 20%. Look, okay. Save it back to my documents. Love it. That looks great. So I'm thinking that for this pattern on the bedspread, I would rather use my pattern tile that I created with a textured background. So I open that up and again to go through the process of creating a new pattern layer, select my pattern with the textural background and click OK, And there you have it kind of like this because it goes well with the background behind this pattern, it definitely coordinates nicely. This mockup came with a little kitty cat, so I'm gonna add him, and then I'm going to make a bit of an adjustment on the contrast of this smoker. I find that the contrast is very dull. So I'm gonna do that with levels which you can access using the shortcut command option. You. So that's pretty much it for adjustments and mock ups. I'm gonna keep working with this adobe textile designer and experimenting with the different types of repeats. And I'm gonna have some more courses coming up with this. I'm so glad you made it through to the end of my course. I'm super excited. And I hope that the adobe textile designer is gonna work for you. I just love that you don't have to do a bunch of calculations every time you wanna wrap something. And I think the more I use it, the better I'll get at it. And so will you. I've got a little project for you. I've got a print out of it so you can print that off. It's in the project files below. I really hope that you will make a textured pattern and shared here so we can all enjoy the fruits of each other's labors. I always love that part. If you have a moment, would you mind leaving? Bit of a review and possibly a comment? That would be awesome if you shared a social media. Please. Hash. Tag me at delores nascar int slash skill share. Please check out my other sites. I've got a few listed here and check out my other courses. I have a whole bunch now, so I hope I'll see you soon. Take care. Bye. For now.