Using Block Prints in Your Surface Pattern Designs | DK Ryland | Skillshare

Using Block Prints in Your Surface Pattern Designs

DK Ryland, Illustrator, Surface Designer

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13 Lessons (1h 32m)
    • 1. Using Block Prints in your Surface Pattern Designs

      1:11
    • 2. A Couple of Notes on Block Printing

      1:37
    • 3. Supplies You Will Need

      2:32
    • 4. Block Printing Basics

      2:00
    • 5. Choosing Your Motif

      1:33
    • 6. Sketching and Transfering Your Motifs

      12:26
    • 7. Carving Your Blocks

      24:22
    • 8. Inking and Printing Your Linocuts

      10:01
    • 9. Digitizing and Editing Your Motifs

      11:59
    • 10. Making a Pattern with a Single Motif

      6:11
    • 11. Making a Tossed Pattern with Multiple Motifs

      9:07
    • 12. Coloring and Recoloring Your Pattern

      9:00
    • 13. Conclusion

      0:24
11 students are watching this class

About This Class

Hi! I'm Danielle Kinley Ryland, a surface pattern designer and illustrator our of San Diego, CA. In this course, Using Block Prints in your Surface Pattern Designs, we are going to take a step by step look at creating, digitizing, and using linocuts (block prints) in your surface pattern designs. I'm so glad you are joining me!

Music: Springish by Gillicuddy

Transcripts

1. Using Block Prints in your Surface Pattern Designs: Daniel Kinley, Round a surface pattern designer and illustrator out of San Diego, California In today's scores, we're gonna talk about how to use line of cuts in your service pattern. Designs Elena Cut were a block print is the term used to create mill astray shin on a certain material, most commonly wood or linoleum, and carving that illustration now. So essentially what you're doing is creating a stamp just like this dinosaur here that I made for my daughter because she's obsessed. So once you have this stamp, it's really common to use it to print on fabric or paper or wallpaper or really any surface , and you can create a powder in my hand. What we're gonna do in this course is a little bit different. We're going to make these black prints digitize them, and then we're going Teoh, manipulate them, edit them and creator patterns and illustrator. What this does is gives us more freedom as to what it looks like in the end, and it also gives us the ability to upload them to spoon flour or pronoun demand sites or even send them to clients. Let's get started 2. A Couple of Notes on Block Printing: Ah, a little bit about line of cutting or black printing. And, um, how you may be able to use these in other ways. I've been Lionel cutting for a while now, and I love it. I love the way it looks. I love doing it. It's really fun. Um, and so a couple different ways that I use that one is they use it to make Prince This, um, draft over here who's stuck in a box. He is a line of cut that I digitized and made into a print The zebra over here. Same thing, see, was actually my illustration logo that I use on my website for my illustration work. And then I also use it for my marketing material. So, uh, when I goto our periods or makers markets, I just put my stamp on all my all my packaging, right? And I do that with things that I mail is well, and it just adds this like extra touch. This is just a prop brown paper bag, and I get so many compliments or comments on how cute my packaging is. And it's literally just a stamp on a brown paper bag. Um, and this one as well. Um, and that's him. Looks like this. And so I just put it on a piece of wood and then just stamp all my marketing material. It takes a lot less time than drawing on your marketing material or spending a bunch of money on marketing material. That's really, really expensive. Uh, and it's just a really nice touch. So those are a couple ways that I've used it, and then, as I just started really enjoying doing it, then I started adding them into my patterns. 3. Supplies You Will Need: let's talk about supplies. So if you're a total beginner, I suggest you go online and you go to a non store to Amazon and you get this beginner pack and it's from speedball, and it's gonna come with, um, I think it's like $20. It's gonna come with a Breyer. It's gonna come with ink years. Um, it's gonna come with black ik. It's gonna come with your carving tool, and it's gonna come with a block of, uh, Wonderland block, so it's gonna have everything that you need to get started. Now if you, uh, don't get that kid, then you can go online and you can get a carving tool. This is I think this is, like $12 the this people want. And it's nice because it's got all these interchangeable heads that you can store right in the butt of it. So it's not these, these little, um blades, and you can just switch him out on the on the top here. It's really, really convenient if you want to get the really nice um, tools, which I wouldn't suggest if you're just kind of trying this out, that'll run you 100 bucks or more to get a ticket, and I set. So that's a good place to start with this, people. One. Um, you gotta get yourself a Breyer. Um, and some block printing ink Literally called block printing ink. You can get fabric, or you can get in for paper. You're also going or what I like to use actually, more than the ink is just an ink pad. So I have this black, um, acid free, permanent waterproof. Uh, I think that you would use for stamps. Um, and you're gonna need carbon paper. You don't have to have this, but it makes your life a little bit easier. Carbon paper or transfer paper craft, white paper, Um, a pencil. Things to write draw with. And, um, if you're using the Breyer, then you're also going to need just a small sheet of glass. Um, and I think that's it. I think that's it. 4. Block Printing Basics: a couple notes on black printing and your supplies before we just jump right in. So once you have your carving tool, uh, it's gonna come with three different weights. There is a size one size, too, and a size five. Your size one is anybody, and so this is for your detail ing. It's a little tiny blade. On the end of that, your size two is a little bit bigger than not bigger details, maybe outlines. And your size five is your biggest blade, and that's gonna be used. Teoh. Scoop away big areas of space. Another note is that if you're doing any words that you have to do them backwards. So when, um, when I did my logo, I did it backward. Uh, I did it forward on my stamp, but what happens when you do it for it on your stamp is that when you put it on paper, it comes out backwards. So if you write your word backward like this, one says, explore down here and I've heard it backward so that when I stamp it on paper, it comes out. So it's just something to take note of in case you're going to do any type of feet or anything like that. Luckily, because we're digitizing these. If we do mess it up like I did with my logo, you can just turn it around an illustrator and all is good. But if you want to use it on your branding or if you want to use it for something hand done , it's not gonna work. 5. Choosing Your Motif: the first thing you're gonna want to dio is decide on motif. So if you have a, um service pattern idea book or a sketchbook where you've got some things in there that you're like, I've been wanting to do a pattern with this motif for that motif. That's a good place to start. Uh, I'm gonna keep it really simple, not to something with so much detail. Not something super extravagant on do some plants and a cat. And so I decided I'm gonna do three different motifs. I cut out decently small blocks of Lionel Block. I've got there all four by six inches on. And when I draw my motifs or transforming motifs onto here, I'm gonna try to fill up the whole block, uh, or close to it, so so that all my women are kind of the same size. So to start with, I can either draw directly onto my block when I would do that with pencil. Some people like to go over that with Sharpie so that as you're carving that your hand isn't erasing it as you go cause it'll fade over time. Um, I'm not doing anything so detailed where I think that's gonna be an issue. So I just do it in pencil. That's my favorite way to do it is just Roger, actually on the block, Draw me sketchbook, get a good idea, and then and then draw directly on the block. Another way to do that is to use your carbon paper and and I'll show you that now. 6. Sketching and Transfering Your Motifs: Now I have my sketches, and I'm just going Teoh, go ahead and outline them. Make them a little bit darker so that I can see them better. And that I know kind of what it is that I want to end up on my final line A cut. So something you'll notice is that I put little corners here and all I did Waas traced the corners of my line a cut block so that I knew that I could, uh, whatever I drew here had to fit onto this block. Okay, so the beauty about this part is that nothing has to be perfect. This is something that we're going going to trace, and then we're gonna car. So our sketches don't have to be exactly how we want it to be. And I also really enjoy when these air a little bit wonky because it just makes them have that much more character. Okay, so this one, though, - Okay , So what you'll notice is that my lines are all over the place and, um, not very exact or precise. And when I'm doing my initial initial sketch, I just don't worry about how it looks, because I still have to trace it over again and wish I could be more careful. And I sought to carve, and that's when I'm going to be the most careful. Okay, so now that we're done drawing these motives we are gonna need are, uh I know block here. We're going to need carbon paper cut out a piece. You don't have to be careful about it, but a piece that's gonna fit right on top, and we put it on top. You're going to put the darker side down so that you get a transfer. Um, and I like to take this into place so that it doesn't move around a lot on me, Okay. And then make sure it's really, um I'm going to take just one side so that as I'm going, I can look and make sure that I'm getting transfer that I want. So I'm gonna put this under paper and because the problem pictures dark, I could see it through, and it can line it up with my corners. Now, I drew this a little bit off center, so I'm actually gonna even move my black a little bit so that my plan is just a tiny bit more center, and that's okay. We can make adjustments as we go, and then I'm gonna go through and I am going Teoh trace over it again and I find that you have to press pretty hard. And it's nice to just kind of, um, scratch your way through, not just like one even line. So we'll just look and make sure that this little piece that we're doing now transfers through. You want to check before you trace the whole thing, and it doesn't come through so you can see the lying coming through. I might even press a little bit harder so that I can really see it, but it is working. So ah, lot of times like these types of details. I'll just draw directly on the block later because I don't really need to waste time sketching them are drying them in now. And this is time to where you can kind of fix some of the wonky lines or whatever. Okay, so here's our plant. It's all there. It's all come through. Ah, if you don't like how light or faint it is, you can always draw directly on the block. You don't have to. You can go with those pencil alliance or those graphite lines. But you can kind of do whatever you want, because once you start carving and using ink, it's it's really not gonna matter. So making one of our blocks, that's one way to transfer the other way, which is the way that I use most often is just to draw directly on your block. Um, so this one I didn't this sketch I didn't measure out. So it's not gonna fit on any block. So I'm just usually what I dio, especially with, um, sketches that just aren't really that complex or hard Teoh to duplicate. Um, I just like to sketch directly on the block. And so, um, that's what I'll do it. This plant. - Okay , so here's my second sketch. So now I have, um, two potted plants and, uh, no, I will show you my cats here. Cats. I decided to do two of them, um, one with the tail that loops around and the other one and it's asleep in the other one with the tail that goes up and is awake. They're really simple, but I think they're gonna be cute. So I prepared another carbon block. I used actually the same one same carbon paper. If you use it too much, eventually it'll lose its graphite. But, um, that we didn't drawn it very much, so it should be OK, so I'm gonna sline that up actually made this a little bit. I'm gonna trace this one first. The reason I have this one dark and not this one is that I want them to be the same shape. So I'm gonna use this is my model bowl times from George here. I'm gonna move, uh, the block over and then trace it again here. Okay, so let's check that out. Okay? We can see her, but she's pretty faint. It's OK. And so since you're so faint, I think I'm gonna copy over her right now so that I don't lose her. - Okay , Great. We're gonna put that carbon paper back on, keep it down over, and then we're gonna copy it again, But we're gonna make it into this cat. She's there. No pencil on this one. I'm just gonna make her darker, and I'm going Teoh out of her tail and I'm just free handing that and if I mess it up, I can always just kind of drove over it. It's no big deal lives. And so you'll see right here, the whiskers kind of getting in the way. I can kind of, um, shift where that goes, redraw it a different way if I want. 7. Carving Your Blocks: way have our blocks all sketched out. We're going to start doing the fun part. We're gonna start curving. So the first thing on it show you and talk to you about is how to load up your carving tool . So if you have this people tool, you're gonna have these three blades where he talked about him. They're all different sizes, and each one of these blades is gonna have this rounded edge here and then a sharp edge on the other side. So take one of those. It doesn't matter which one. Maybe maybe the five biggest one to start with. And we're gonna loosen the top of our tool by turning to the left. It's a little lefty loosey. And then you're going to stick the rounded part in between this ball in the middle and the , um, smaller metal piece. You stick it right in, and then you're gonna turn to the right to ready, tidy it up. So now its in and it's solid, and it's reviewed a car so we can pick any of these blocks to start it. Start with the kitty. Um, and the first thing I'm going to do with the cat is decided. Doing what? This cat to be black or colored whatever income and color is or do I want it to be white or clear or transparent? Do I just wanted to, you know, outline or don't want to be filled. And I think I want the cat to be black because black cats are super cool. And, um And so in order for me to get a black cat, I'm gonna need to get rid of everything out here and keep, um, the middle in. So what I'm going to start by doing is carving the outline. Now, if there's any part of your sketch that you don't like, that looks a little bit wonky to you. Now is a good time to just kind of go in and clean it up and make sure that your curving exactly what it is that you want it to look like. I don't like that. Um, the science don't necessarily much very well, so we're gonna make sure that hello, Kitty is ready to go butter. Okay. Cool. I think Teoh don't make this knows a little bit lower. The beauty about all of this And how, um ugly it kind of looks Is that, um would you carve it? You won't see any of that. Okay, so now, um, go ahead and an attack The outline. So I'm just gonna scoop right along the outside, curve that outline and try to make it as it's me that it's possible the more you start and stop the more little jagged, um, pieces you're gonna get. But the beauty of line a pet is that even the jagged pieces look really cool. So you kind of can't mess it up. Now, this area is a little bit thin. I think I'm okay to use this tool here. But sometimes if details are a little bit Teoh tight, that's when you want to grab a new blade and, um comes and be a little bit more detailed with it. Luckily, this uh, particular block is really simple, and we don't have to do too much detail work. Okay, so I'm gonna go from this side, so I want to kind of make the longest, most continuous cuts that I can and you'll notice. I'm also moving the block to help make this a little bit smoother for me. Here we go. So now we have this super cute, darling. Okay, So if I feel like I have to much extra space around it, I can also go in and cut and trim and do all that. Now I want a little bit because I want there to be some marks on the outside of it. Some detail. But if I just go ahead and cut a little bit of the access, it just helps. Give me a little bit less work to do. Okay, Um, another thing to kind of look out for is how deep you go in with your carving tool. Um, the the deeper you go, to an extent the, um, better stamp you're gonna get now. Oops. Now, if you go to D, if you go too deep and you get your blade buried here, you'll see it's underneath there. Then when you pull it up, the block is gonna rip. And if you're doing that over here, where you're trying to make some nice detail, it's gonna make, um, some really ugly edges. So you just want to make sure that when you're cutting that you're not getting that, um, edge stuck underneath the block. That It's kind of staying above the black as you move it through. Okay, so I'm gonna go ahead and just finish going through this outline before we get to the middle and start doing the details. I like to start with the outline because it just gives me a good place to start. You get rid of a lot of, um, a lot of the block really early makes you feel really accomplished. And something else you'll notice is that I'm not going out this way with my strokes. I'm following the same stroke that following the outline and following your original shook is going to give you the best looking, um, extra lines. So these little lines are gonna pick up a little bit of the ink and you're gonna get these cool little lines around your subject. And that's what kind of, um, makes your, uh, motif look like Elena cut. And that's how you can tell Salonica. And it's really, um, that's really pretty, that's that's unique. And, uh, it's a cool look. So you want to make sure that your conscious of the type of lines that you're making on the outline when you're just getting rid of this stuff because they're almost important as the detail work in the middle. - So now that we have our outline done, we're going to do the details in the middle. So I've got this, um, number two, which is a good detailer, um, for things that are maybe a little bit bigger. Maybe it would be okay for the legs. And then I've got this one. That would be good for the nose and whiskers for the smaller details. So we're gonna go ahead and put in me the two, and, um, we're going Teoh cut out her legs. So once again, when I am cutting something round, I tend to like to use, um, moving the block incident moving my tool. Okay, so now you have those legs we're gonna put in our smallest detailer, the one and we're gonna cut out her whiskers and her nose and her eyes. It's okay. So what I want to do right after I carved, um of walk is busted and make sure that there's something weird and funky that I didn't notice. So I'm just gonna grab my ThinkPad just faster to use this than to use the the block printing ink and so get it nice and black. Um, the first time. Usually it's it's really splotchy because it needs to kind of get primed up. Um, that's okay. We're gonna put it a test paper here and see what she looks like. Pillar. And she's break you. So I see just little tiny details that can be kind of smoothed out. But this is a good way to kind of check now. Also, keep in mind that it does not have to be perfect. Sometimes as illustrators, we like to make sure that everything has perfect lines and all that. What planning is not perfect. That's what kind of makes it special and what makes it distinct. And what makes it with sizable. If this gets to perfect, then we don't see the Linda cutting it anymore. These little tiny, jagged spots are what make it pretty cool. So, um, fix it, but don't get too carried away, okay? So I'm gonna go ahead now and continue cutting out the rest of my blocks. Okay? Now that we have our prince, it's time to, uh, make really nice copies and then digitize them so that we can make our service pattern design 8. Inking and Printing Your Linocuts : go ahead and in car motifs. So whether you have one motif, which would be fine to create a pattern with or whether you have multiple, um, like I do, that's fine as well. So we're gonna grab a white piece of paper. This is when I took out of my sketchbook. It doesn't really matter. As long as it's white, it is. Have lines on it, and it's easy to scan on. Then we're gonna grab. We're gonna do this two different ways and kind of compare and see what we like better. Um, we're gonna use this ink pad for the 1st 1 and we're gonna use this block printing ink for the second life. Okay, So to start with, we're going Teoh, press all around on our stamp on her block print. Lift it up, check it out. Make sure that the ink is evenly coated and do just a little bit more for good measure. Now we want to press down all the sides so that we're also getting kink in the crevices here. See how all those lines having content, too, Because that's gonna give us some fun stuff to play with. Once we digitized so I'm gonna You really careful when I pressed her down not to move it or shake or, uh, get weird lines And then I'm gonna press down on all parts of my block print so that I get a really nice even, uh, print as I lift up. I've got this really cool when a black cat, she looks old sassy. Um, no going to the next month. Now, sometimes people shake on this one, so I'm doing the same thing. I'm gonna press down everywhere. Lots of ink everywhere. I can get it when you when it's pink still. And you haven't done this yet. You'll have to do this more. But once you have done a couple prints, usually your prints get better and better and better, because the coverage gets better. Okay, so she looks pretty good, and we're gonna place her down here and do the same thing. Now some people will use the roller Teoh smash a generally good. I think I just might have moved it. Um, but I find that pressing down is good enough. Yeah, you did a little bit. So it's a little fuzzy, so I'll do that one again. later. Um, OK, now I'm gonna my one of my plants, See if I back coverage there. It's a little a few spots still, and I'm gonna print this one side the side room for my other one. Put it down on one side and then kind of lay it down on the other. The bigger the stamp is, the easier it is to get a little bit buzzy or kind of moving around on accident. So laying it down on one side first makes it a little bit easier and then pulling it up one side, um, to the other makes it easier now to mess it up. So, uh, what you'll notice with stamp with the stamp pad is that you get a lot of graininess, which you either like or you don't like. Um, and you can kind of decide if you like that or not. I tend to think it looks really cool. Just adds a little bit more texture, and we're getting some really cool fun lines here, too. Okay, So this is our last more teeth, me more coverage, and we're gonna put her for him right here. Make sure that we're pressing down even the everywhere. Okay, so then I can kind of decide because I can do this over and over and over again. Do I like that it's missing that much black. Or, you know, this one. That's all fuzzy. I'm obviously gonna do again. And then I can just keep doing it until I get the motives that I want and decide that I want to digitize and use for my pattern. So this is the first way to do it with inside? No. I have a fresh piece of paper to dio with our speed balling. So I'm gonna grab a piece of glass. This is just glass that I've, um that wasn't a frame an old train, and I'm gonna put a generous amount right on that frame, and then I'm going to use my Breyer, and I'm gonna mix that around. So this is, um, one of these things, which I like to work with doesn't smell bad, and it's so much easier to clean up than an oil based ink, but, um, we have both, So I'm gonna move this around, move this around, and until I get a really nice coat on my brain because I mean, use my prayer. Do you call my stamps? So gonna get a nice even go on the stamps? Sure got really good coverage yet. And, um, I'm gonna do the same thing I did before. Lay it down on paper. Press down really good pressure. Good. Even pressure all around the stamp and what you'll notice about the ink, um is that that comes in the tube? Is that you get a lot better coverage, right? You still get these really cool lines, but it's not as sparks. Right. So we're gonna do a side by side comparison here between the two. A side by side comparison between the two. Uh, this obviously isn't his deep of a color. Now, I prefer this method, um, one. It's not as messy, and it's less cleanup, but in less prep. But I don't like this texture. And once I take it into illustrator, I'm gonna image trace it. I'm gonna turn it black anyway, So it's still gonna be this a deep black color, but it's just gonna have a little bit more texture, um, than this one's gonna have. So it's really up to you. What do you like better. I think that using the Breyer method on on fabric and if you're printing by hand works really well, better than in practice. But I think that if you I think that if you're used to digitize it, making pad works better. So it's really up to you, Um, so same thing. And you'll get the hang of this to sometimes you can put too much and gone, and it's gonna just kind of splatter everywhere. You just kind of want a nice even coat. Um, and more detail you have, the more important it is to get the hang of it. Think I might have moved that one? Okay, I feel this up. Yeah, see? So, like this, I'm lost in detail in the eye and in the whiskers, and that's because I just put on to think of a coat. Another trick with this is that when you, uh, put this on your Blair, you're gonna do it enough where you start to hear a stickiness happen. It's going to just make this, like, almost like, um, Velcro noise. And I'm not even there because I have a lot of water in here because I didn't chicken up really good. Um, there you go. Now you concert here it. And so there's just like Velcro sound that's gonna make this not so thick so that you don't lose detail. So if you start finding that you're using this method, use Lessing and make sure that you get that Velcro noise before you put it on your impact arrest. You're just gonna kind of lose some of the details. Gonna be too thick. So, um so pin mess around with that, pick whatever method you like better and get however many motifs you have. Get a print of each of those that you just really like. And, um, meet me back and we will digitize. 9. Digitizing and Editing Your Motifs: The next thing we're gonna talk about is how to digitize an image. Trace your motifs. And so the first thing you're gonna want to do is get your motifs into your computer. So there's a couple ways to do that. Oneness scanning. And the other one is taking a picture either with your phone or with a camera and then uploading them that way. So I like scanning my documents. And so I'm gonna go ahead and do that now and show you how to do that. Everyone scanners a little bit different, but with something like this that we're gonna image trace and it's a black and white picture. And it's not watercolor or something where we really are worried about losing quality, we can go ahead and do a general purpose scan here. We don't have to go up to you know, 600 b p I or anything like that. What we get with general purpose will be just fine. Okay, so here is our document. We've got all our motifs on here. I like the way they look. I've got some good textures still, and we don't lose too much quality, so I'm gonna go ahead and send that, um, and make a document. We'll call him Leno Cup motifs and say them. So now those air saved on my computer is a document. Um, And then I'm gonna go ahead and go into illustrator, and I'm going to create a new document so we'll just go with a simple, basic square document. I'm gonna go ahead and dio 1000 by 1000 pixels, so that's gonna be a nice square. And that is perfect. So create. And I got my box. Now I'm gonna bring in my document that has my motifs on it. And you might have a couple different documents if you stamp them on different paper. That's okay, too. So, um, I'm gonna go to file and place. It's gonna bring up my documents, I'm gonna open that up, and then I'm gonna click wherever I want to put it. Doesn't really matter. So before I image trace this, I'm going Teoh crop it just so it has less tohave to image trace and I can cut out things that I don't want. I'm gonna press enter and it's gonna go ahead and crop that for me. Okay, so here's my document that I want to image Trace. I have got a couple different options here. I can image trace appear I can chase right here. This little circular, Um, I guess I can't. Is for Emma tracing someone Click on that. It's gonna bring out this tab for me, and I'm gonna press down on advanced so that I have a couple more options and a little bit more control. So under preset, I'm gonna go ahead and do black and white logo, and that's gonna work its magic for me and it's on. Then I'm also gonna click on Ignore White so that we don't have a background and then that gives me these motifs that air are black and they have, but they still have some graininess to them Sin. Do you tell it to them? Now I can mess with that graininess. If I feel like it's too grainy, I can move it up. And that will fill in some of the white for me. And I can just keep messing with that until I get my motifs Looking exactly like I want him . I think that looks pretty cool. Um, I like a little bit of the graininess in the plants. And I don't mind. The cats are pretty solid. I think that looks good. So, um, I'm gonna presses area to get rid of that, and then I'm gonna go up here and I'm gonna click Expand. What that's going to do is turn these into vectors for me. So right now all of this is grouped together, so I'm gonna go toe object on group, and then I am going Teoh, start editing away. So one of the things I want to do is just get rid of any of these straight lines. There's this black line here that I don't want once I get rid of and I'm just gonna go through and group certain things together like this is all should be part of one group, and I'm not gonna group it altogether yet because they still want to go in and edit. So any lines that are just too much so I don't really like the way they look. I'm gonna get going into lead them. I'm gonna move some of these lines around. This is what's so beautiful about, illustrator, is that whatever you got in your skin, you kind of have control over and can still manipulate and mess with and make look the way that you want it to look I can even like, let's say I want to get a cool line in here. Um, I can do that as well and just get whatever look that I want to get. I can create eso mess with that a little bit, too. And then same thing here. Group it all together a little bit when I turn this to make this turn and, uh, and stay, um, perfectly straight. I'm just gonna hold down the shift key as they do it, Uh, whips those. Not smart. So obviously, this is an all groups, so I don't want to put it to close to anything else where it might get muddled up. So the same thing here gonna move this away and then just kind of chip away at, um, editing it and making it look the way I want it to look. So I'm gonna go through and do that really quickly, and you go ahead and do that to yours as well. - So once you've edited your motifs in a way where you really like the way the the little stray marks look that make it really stand out as a line. A cut. Once you get those arranged in a way that you like and there's no rules here, you can have them as thick as you want. You can move a line from one side to another side of your motif and just play around until you get something that you like the way it looks. So once you do and you like the way it looks, go ahead and highlight the whole thing and go toe objects and group. I did this tall of mine, but just make sure you do that because it's a bummer when you try to grab it and there's all these little pieces and get separated, because then it's hard to put put back together again. Sometimes 10. Making a Pattern with a Single Motif: So now that we have our motifs group together, their image traced there ready to go, They're ready to make a pattern. We're going to talk about a couple different ways. We can go after this. Um, I'm gonna pick my favorite motif, and I think it's this plant right here. I think it's pretty cool. And I'm gonna use that to start with to show you how to make a pattern with with just one motif. And so I'm gonna go over here to my tool bar and grab the rectangle tool. I know when I click right in the corner and I'm gonna create a 1000 by 1000 pixel square, and that's gonna cover my art board. If you remember, that's the our board we started with. Now, if you have a 400 by 400 pixel art board, then you're gonna put in, you're gonna make a square that's 400 by 400 pixels or whatever you are. Bored sizes doesn't have to be a perfect square, But it's easier for for what we're doing right now. So I'm gonna pick, Let's just go with, like, a really light gray. We're gonna get this really basic, Because color can make things just a little bit more complicated. So I'm gonna grab my motif and I'm gonna put it in the upper left hand corner. I'm gonna go to object, arrangement to front so that it's in the front and I'm gonna kind of massive the size. I'm gonna hold on shift and I'm going Teoh make my motif bigger. Um, and we're just gonna make a really, really simple pattern here. The reason I hold down shift is so that I don't change the proportions of my of my motif. I'm gonna move these out of the way a little bit. So I'm gonna click on my motif here. I'm going to click on control and then click, transform and move. I'm gonna move my plant horizontal 1000 pixels by zero, and I'm gonna click on copy because previews on it shows me where it's gonna move to. If I press okay, it's gonna move the whole thing without copying it. But I want to make a copy, something click on copy. So now I have to plants one in each corner and there exactly 1000 pixels away from each other I'm gonna click on, uh, my plant Hold down shift click on my other plant control click transform move. And now they're going to go horizontal zero pixels and vertical, 1000 pixels. Copy. This is probably review for a lot of people, but I want to make sure that I'm not just skipping over things that are important. So I'm gonna click on that original motif again, and I'm gonna control click transform, move, and I'm gonna move. Horizontal 500 room, 4500 pixels and 500 pixels. Vertical 500 words on off 500 vertical and put copy. That's gonna put it directly in the middle of all the other motifs. Now, I'm also going Teoh rotate my plant so that it's upside down. I'm gonna go over here and I'm gonna click on the rotate tool and I'm going, Teoh, hold shift as I turn it around exactly upside down. Okay, so what that does is just gives me multiple directions with my motifs. That way, when this becomes a pattern, if this were to be put on fabric, it can be sown in a bunch of different ways, and it won't look upside down. Anyway, If I had all the plants facing the same way, there is definitely a right side up and definitely an upside down. And so here there really isn't that if that was way too fast and you have no idea how to do this, I would suggest you go back and check out some of the really amazing service pattern tutorials on skill show. There's a lot of them and they're really, really good. So if that was just really fascinating no idea what I'm talking about then Then go check those out because there are some tutorials that are amazing. So now you're gonna click on this background box command, see for copy and command be, and that's gonna copy that in the back of that square that's in front now its height. My back squares highlighted right now. So I'm gonna go over here and I'm gonna take away the fill so that square in the back has no Phil, no border. It's just a clear box. That's how I'm gonna be able to make this into a repeat. So I'm gonna highlight the whole thing All my motifs and my square. Amna drab it drag it and drop it into my swatches panel. So I just made a really simple pattern and the way I'm gonna be able to test this, I'm gonna draw a rectangle over here and I'm gonna click on that swatch. And now I have this super cute little Lina cut butter very easy to make Super simple. I'm gonna click on it, Hit control, transform scale! Whoa! And I'm gonna go, Let's go like, 50%. And I'm gonna unclip transform objects and my previews on something to see what it looks like. And I'm just gonna hit. Okay, so this is just gonna show me what this pattern looks like on a bigger scale. Let's say if it was sheets or a T shirt pattern or ah, wallpaper or something like that, I would have a better idea as to what it would look like in a smaller scale. So that's that's the first tutorial. If you only made one motif. Or maybe there's one motif that you just like better than the others. And you just want to make a really simple line, a cut pattern. This is a really good way to do that. 11. Making a Tossed Pattern with Multiple Motifs: Now that we've created a pattern with one motif, we're going to get a little bit more complicated and do a pattern with multiple motifs. So I have four. Whether you have two or four or five or 10 you can really You can really do this with any amount. At the more motifs you have, the more complex this can get on DSO Let's get to it. So the first thing I'm gonna dio is select all of my motifs and I'm going to command C Command V and I'm going to copy and paste them. So I've got the mall grab. Now I'm gonna rotate them around while holding shift so they click into place exactly upside down. And what this does for me is reminds me that I need to incorporate motifs that are also upside down. If I'm doing a toss pattern, it's really good to have it be able to be used in any direction. You can do it all in the same direction, but this just gives it a little bit more versatility. So I'm also gonna a copy and paste, uh, the whole group again, and I'm gonna go to reflect tool and I'm going to turn it exactly sideways. So now you'll notice that my kiddies tales are going opposite directions on these have just been turned around. So this just gives us gives us even more dynamic in our pattern. So we've got a good place to start now. The smaller you make your motifs on your dartboard, the more complex and the harder it's going to be to find the repeat so you can do them is videos you want. But if you wanted to be a little bit more difficult to find the repeat, then you're going to make them a little bit smaller. And you're gonna have more motifs in a in your space in your upward. Okay, so the start with you're just gonna you're just gonna go for and you're going to try to arrange these in a way that looks nice and you're going to fill out this top row and this side row, and then once you kind of have that filled in and a little bit of the middle filled in, then we're gonna check back in. All right, so now that we have this whole row filled in and this whole roll filled in. We're gonna go ahead and we're gonna go ahead and copy and paste this row. I mean, sorry, we're gonna copy this row onto this site, and we're gonna copy this row down at the bottom, Kind of like we did with the single motif. It's just more motifs to work with. Just so you know as well my background, I went ahead and I locked it so So that I didn't have to worry about it moving as they moved motifs around. I think I forgot to mention that. So that's why it's helpful when you lock your background or you can put it on a different layer and lock it as well. So I'm gonna highlight all of these control click, transform, move. And I'm gonna move those 1000 pixels horizontal zero vertical and I'm gonna clip copy, and that's gonna put the same road that tear over on this side. And I'm going to do the same thing at the top. I'm going to copy control, Click, transform, move zero horizontal 1000 vertical and copy. So what you'll notice is that it it copied in that filled in some spaces. But I also have some strange spacing happening, and that's gonna happen if you get it perfect the first time. You are incredible. It's just doesn't happen. So this is funny, is facing And so I could move that couch and see if I like that better, and these air a little bit close. And then there's this gap here. So go ahead and just kind of fix all those weird little gaps. Um, but take note that when you do like, if I were to move this Teoh here because it looks better is facing wise. Um, and I didn't move this one the same amount. Then, either. I'm gonna go ahead and delete this one up here and then copy this one and move it back to the same spot where I have to move them together. Because if I try a repeat and and these air not identical on the on their line on the box, the repeats gonna be really funky. So I'm gonna go ahead and deplete that one and control click, transform, move. And because I'm moving it up to the top, it's gonna be zero horizontal, and it's gonna be negative. 1000 vertical. So you have to use negative to go up and you have to use negative to go across to the left . Um and then that's gonna make this facing funny. And so I'm gonna just kind of finagle things around and move things around until they fit and you do the same and I'll meet you back here once we get something we're happy with. - Okay , so I think this looks pretty good. It's nicely spaced. We've got a good mixture of different motifs and summer up upside down, and some are right side up, and it's good mix. So what I'm gonna do now is go to object, unlock all, and that's gonna unlock my background squares. Um, and if you remember, I have a, uh, transparent square behind this background square that's gonna help me make this repeat. So I'm going to grab all of this and I'm gonna drag it and drop it into the swatches panel , okay? And then I'm gonna move over here, make a rectangle, and then I'm gonna click on my swatch. So now I can see my pattern. Uhm, I'm going to do the same thing here where I messed with this scale and I make that scale smaller on click transform objects, and then you're gonna really be able to see what it looks like it about 50%. So this is at a smaller scale. Farther way, and what you'll notice is that you'll start to see just random lines happening, right? Like there's some, um, almost like waves going through this that you wouldn't see, uh, at the bigger scale. And then what you can also kind of look for is anywhere that you see spacing that's really uneven, or maybe too many motifs that air pointing upward in a row and too many that are facing down in a row and things like that. So you can just really investigate at this level and tweak it until you get something that you really like. 12. Coloring and Recoloring Your Pattern: Now, the last thing we're gonna do in this course is re color or pattern. So we have probably the most basic colors you can have with black and gray. And while it looks okay, we can really make this pattern pop and really pretty with adding some color. So I really like to build my pattern out, get a layout that I really like. Make sure the icons air arranged the way that I want them and not have to worry about color until the end. And illustrators re color artwork tool makes that a really easy way to approach, making patterns and coloring patterns. So the first thing that we're gonna do is create the box, and then in that box, we're gonna fill it with our pattern, and we can use either pattern that we want. But I'm gonna go with the more complex one for now on, Ben, once we have that box selected, we're gonna go up to this tool up here. It's the re color artwork tool, and we are going to mess with re coloring our pattern. So right now, because this is black, it doesn't have a color next to it and So I'm going to click and I'm going to say yes that I want to add a new color to the current harmony, and that's going to allow me to change that black color. Um, so I have a couple different color groups here. And if you don't know how to make color groups or add pallets into your color library, I would suggest going back to those surface pattern classes on skill share that teach you all the basics and everything that you need to know about making surface patterns because there's a lot of ways to do it, and it's really nice to have your own palettes if you don't have your own palate, you can always use the, um, the palate that's built in and the colors that are built into illustrator. And that's fine, too, to mess around with. So, uh, we'll start with this palette, and I've got orange and green and randomly selects tear the colors out of that palate, and I don't like that at all. So what I'm gonna do is change it by using this tool right here. This button right here that says randomly change color, order and what that's gonna do is it's gonna give me a new car color combination, and I'll just keep clicking through until I find something that I like. And what you'll notice is that the ones with the most contracts tend to be the ones that look the best. So this one probably looks the best out of what we've seen so far. And it's because there's a high contrast between the background and the foreground. This one is, Well, um, and then we can click on this pallet and click around until we find something that we like . Obviously, when there's very little contrast and almost hurt your eyes on and you can't even see the motifs and that's not gonna work and so you can go through and just kind of see what you like. And it's interesting to how some colors will create this really soft, beautiful pattern. And some colors will create something that's a little bit harder. And, uh, depending on what look you're going for color is it is a tremendous tour. So it's a we love that, and so we're gonna say, OK, I don't I'm not gonna save my changes to my Swatch group, so Now this is a new color or a new pattern, and you'll see that it's created this color pattern here, and I still have my old one. Now, if I want to pull the original pattern out, I can drag this here and it's gonna have my original pattern like the one I made over here . But now with the different colors, it's a really good thing to know when you first do that, it's gonna have all these group together so you can go ahead and group and added, if you want to Okay, so I'm gonna go ahead and delete that, and, um, I'm gonna go back to my original. Now, if I want to re color all the cats or all the plants or have more than just those two colors, I'm gonna have to go in and my original and change color. So let's say I want all the plants to be another color, so I'm just gonna hold, shift down and select all of my plants, and I'm gonna pick a random color because it kind of doesn't matter right now. On when I'm gonna select the whole thing, make another pattern, OK? And then click on this box. Feel that box with that new pattern moves. Is this locked? This must be locked. Yeah, So object unlocked. So because my background is locked, my background has now disappeared. So objects unlock all. And let's try that again. Someone has locked the whole thing and slider on into the pattern into this swatches panel . And then there we go. Now we have our pattern again. So this is also gonna create a whole different look in a whole different pattern and at my create lines that you don't like. So when you re color, you're also gonna want to check out the scale to see if you still like the pattern that it's created. Okay, so, um, just cancel that and we'll go ahead and re color. So I'm gonna go up here to the recall, her work tool. I'm going, Teoh, make black part of my color harmony. And then let's go with this one. So now we've got, um, three different colors, which is pretty cool. So this one like that? That's cute on. Then let's say let's say say that I really like this palette, but I really don't like that The backgrounds red and let's say one, the cats to be read. So I'm going to just drag this red on, switch it with the white, and then I get that I can change where those colors land. Um, so let's find something that we like. And sometimes you'll find, too that a palette that you chose just doesn't really work with the with the pattern and doesn't turn out the way that you I had hoped it would. And so you can just use a different palette and change it up. Now, if you let's say you like this and what you want that greenish background, Maybe you're like, I really think I like those orange cats. So if I double click on that orange and I go to my color swatches, I can scroll down This is my rainbow palette here and my graze on And this watch is that illustrator gives me They're all in there. So let's say I want those cats to be light blue, so or yeah, that's fine. So I'm gonna click, OK, and it's gonna change those cats White blue for me, I would say I really like that. I'm gonna cook. Okay, Um, no. And that's now put my my new pattern that's colored into my swatches panel. You can mess around with that. Find a, um, palette that you really like a color combination that you really like. And you can even I mean, you could make this into four different colors, right? You could make all of these potted plants one color and all of these cats, one color or, you know, whatever. You can get crazy with it. If you want on, then once you have your final pattern and you've got it colored and you're happy with it, then go ahead and post that to the project section. I would love to see what you guys come up with. I'd also love if you post a picture of your original line of cuts or them stamped on your paper, and so we can see your original original motifs and then how you manipulated them into your pattern into illustrator 13. Conclusion: Well, that's it for this course. I hope you have fun. I hope you learned a lot. Whatever you're finished, motifs were And that finished surface pattern. Go ahead and post that to the project section down below. And it questions you might have along the way. Go ahead and post those in the discussions town, and I'll be checking in soon. Thank you so much for taking the class, and I'll see you next time.