William Morris Style Pattern: three ways of Creating a Botanical Design in Photoshop and by hand | Anna Sokolova | Skillshare

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William Morris Style Pattern: three ways of Creating a Botanical Design in Photoshop and by hand

teacher avatar Anna Sokolova, Berlin-based Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

15 Lessons (1h 43m)
    • 1. Intro

      1:31
    • 2. Materials

      1:00
    • 3. Pattern Rules

      1:42
    • 4. Inspiration and Outline

      6:55
    • 5. Texturing

      4:46
    • 6. Scanning and Inking Outline

      6:05
    • 7. Coloring

      4:47
    • 8. Adding Details

      6:21
    • 9. Part I Repeat Pattern

      9:52
    • 10. Part II Seamless Pattern

      14:16
    • 11. Part III Analog Pattern

      19:00
    • 12. Cutting

      18:41
    • 13. Xerox and Taping

      6:53
    • 14. Your Task

      0:32
    • 15. Final Thoughts

      0:34
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About This Class

In this class I'll show you how to create a beautiful William Morris inspired pattern in three different techniques. We’ll begin with a simple repeat pattern using Offset filter in Photoshop and continue with more intuitive seamless pattern. In the third part, I’ll show you how to create 100% analog motif just with a Xerox and your imagination:)

By the end of this 100-minute class you’ll learn some important principles of pattern design and will be able to incorporate it in your own work. Both advanced and beginner creatives can find valuable insights in this class. 

Lessons include:

  • Inspiration advice
  • Digital inking and coloring
  • Pattern design tips
  • Repeat pattern
  • Seamless pattern
  • 100% Hand-drawn analog pattern

Meet Your Teacher

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Anna Sokolova

Berlin-based Artist

Top Teacher

Anna Sokolova is a is an award-winning illustrator and artist based in Berlin, Germany.

Anna works with mixed media and is inspired by merging the traditional and innovative approaches in arts.

A member of the NYC Society of Illustrators, Anna often collaborates with other international and local professionals to achieve the highest quality of unique artworks.

She recently collaborated with Maison Margiela, Wired, Tombow, ImagineFX and Netflix.

Follow Anna's work on Instagram. Join the Owl Post Newsletter to be the first to know about exciting news and inspiring projects.

See full profile

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Transcripts

1. Intro: Hi everyone. My name is Ana Sakalava and I'm a Berlin-based artist and illustrator originally from St. [inaudible] , Russia. I was so happy to see you enjoyed watching my previous classes and it inspired me to create more. I was thinking a lot how I can make it even more interesting for your and that's why today we're standing in the magical Rose Garden, into your garden billion is extremely beautiful. As you can guess today, we're going to work on William Moore's inspired botanical petals. In this class, I'll show you how to create such a pattern, in three different techniques. We'll begin with a simple repeat Victorian Style floral pattern in Photoshop, will use offset filter. Then we'll continue with more intuitive and aesthetic seamless pattern. We will also combine digital painting and analytic texturing for a maximum regional impact. In the third part of the class we'll create 100 percent analog pattern using just a Xerox machine or any other copy machine and your imagination. I highly recommend you to try this technique. It just changes the way you think about designs in general and of course, there is a gift for you. Post your pattern project in the project gallery for a chance to win stylish pattern Italian notebook and one more surprise for me. Are you ready, so let's begin. 2. Materials: The materials are pretty simple. I'll need watercolor paper for texturing. Well, it's a rough paper, high-quality one, I use it all the time. Brushes, usually I use number two, number four, watercolor brush. Actually, I use Chinese brush which can replace this both. You also need paint, watercolor paints, wash paint, what you have at home. For another technique, you'll need cutting knife, tape and the most scary one, a metal ruler. Well, it can also be so long. Of course, usually this materials are totally optional. Just use what you have at home or you can go totally digital. But I strongly advise you to try. 3. Pattern Rules: Well, let's see what we should keep in mind before starting designing. First of all, I advise you to gather some materials before you start designing. Invest some time in gathering all the references to work from before you start creating a pattern. Secondly, if you are creating patterns for products, you should be aware of the size of the final products. Is it for fashion, for interiors, for small accessories? It's really important. For example, this box is pretty big and this is pretty small. You should keep that in mind and you also should be aware of the rules of the market. What's good now? What's bad? Patterns can be really tricky. I'll have to come back to them after a couple of days. Of course, if you don't have strict deadlines, and as commercial illustrator, you probably have, but don't rush with it if you have an opportunity. Also, when coloring and creating the shape, keep in mind the volume. The dark colors should be behind the light ones, so it will create the illusion of depth. Also, when you create a seamless floral patterns, it looks beautiful when the flowers are looking in different directions. Some people can even think it's not a repeat pattern or a seamless pattern at all. This is to my mind, the most important principles of creating a pattern design. See you in the next video. 4. Inspiration and Outline: Welcome to the studio. Now we are ready to paint. What do we have here? Here are some beautiful pictures I took as inspiration sources in botanical garden. Some roses, some plants, I always try to take some beautiful printed materials. I just printed them out in affordable local print shop. Also here's my favorite book of inspirational ornaments and potters. It's really full of wonderful pictures, very illustrated, very inspiring. It looks like a huge gathering of ideas from history, from cultural heritage, some religious one. Actually it looks like a huge cortex, I think it is. It's like encyclopedia of human history in some way. You can see the pictures are very colorful and some famous characters over here, textiles, architecture, everything you can imagine. When I need some ideas I always try to browse this kind of books or you can go to the museum but sometimes you just can't so it's a perfect source for any ideas. Here's another book I recommend you to have. This goes away. It's a botanical master of pieces collection really. Black and white, colorful drawing, different shapes, different type of plants over here and some are really strange like this one. But still you never know what idea comes to your mind when you browse through such a collection. Sometimes I just enjoy watching this eternal number of images here. You can see the style differs from page to page but it's really good in a way. After getting some inspirational insights from the books and from these photos, I created this pencil sketch. If you don't feel comfortable with drawing free hand, here's a small tip I'm going to show you. I'll take this leaf for a while, we'll go back to this one later. You can take any printed material you have, I just don't advice you to use stock photos because I'm sure you want to create your own art, not to copy someone else. With a liner or with what you're comfortable with, just draw over the transparent paper. Well, of course you see the lines are not very alive when you're copying the photo right away but still for a pattern or ornament, this can work really well. You can copy the shadows without stress at all and use a chimneys marker that imitates the inks. I just want you to get the idea how to trace in this classical manner. You can make it too little but if you want to keep the feeling of free hand, this can work. It should dry for a while, just a little bit. This paper will dry. Well, that doesn't look very beautiful but okay. I think it's almost dry. You need any pencil, HB or B or just the charcoal I'm using here. You turn the paper and you cover the backside richly. Don't be afraid to overdo, you just camp. Probably it's not very dry, it's okay. Now, turn it back and fixate it with some type of tape just to keep it in the same place. Here when you trace the image once again. I won't trace the whole piece of plant just to show you the idea. Well, before the computers I just used to work with this method a lot of course when we don't have much time. Let's check if it's well. Yeah, now you see how it works. We are ready to go to the next part. 5. Texturing: Welcome back. We want our illustration to be extremely beautiful and realistic and special. That's why I'd like to add another texture into it. I'll use my favorite Chinese brush or you can use any watercolor brush, some watercolor paints, or brush, whatever you have. I'm looking for inspirational pictures. What I want do is add some texture. You don't have to draw well to do this, just be brave and follow what you think is beautiful. I need more water, I think. I'm using rough papers so a bit more. This works perfectly for a leaf's texture. The thin line then to this a little bit and then the rough one. You can play with texture as you like. You can even do like this. You may want to add some. You'll never know what you'll use because it's better to see I'm making this striking movements so maybe, one more. If you think it's not enough, you can take another sheet of paper so I'm using some manila paper so it's really thick and it's pressed. I need to cut it which is exciting too. I know, it's not very fun, but I like to prepare all the materials thoughtfully so it makes the work more valuable for me. Let's try some more maybe I'll take more. It's good for flowers. Why am I using the brown color? Of course, it's brown, yeah, because in post-production in Photoshop, it gives you lots of opportunities not like other colors. If you're using blue, it will be really hard to make something beautiful out of it afterwards and something more. Let me go for a shadow pretty good. Maybe, add some darker here. Yeah, I know it looks strange, but you never know how it will look on you final illustration. I think you've got the idea that rough paper makes the rough strokes. It's a hot press paper. The cold press watercolor paper is smooth. I think, we're ready to go to Photoshop and create our pattern. 6. Scanning and Inking Outline: We're inside the machine. Let's move forward. As you can see, I've scanned our pencils sketch and the textures we've created. Let's move to the Photoshop. My old lovely version. I'm pretty happy with the sketch. What I usually do is I am using levels to make any sketch more bold. We're just dragging this thing, like this. It's pretty bold itself, but I just want to do this. Let's create a new file. We want our pattern to be pretty big. We could print it and do whatever we want. Apply to some products, 3,000 pixels, 300 dpi. Let's move our sketch. I'm going to resize it a little bit using transform, which is common t. You can press this button and just scale it like this, or you can use the corners. It doesn't matter. What I'm going to do is I'm going to digitally ink our illustration with a round brush. I'm going to create two layers, one for plants and one for the flowers, because I want to change the color afterwards to be more comfortable. I'm creating a new layer and our previous layer, I'll make it a bit more transparent, so it'd be easier for me to ink. Depending on your style, you can import completely a different layer, completely different, I'm just showing you my style. I'm going to use simple round brush number 9. That's right. Now I'm going to calmly ink all the walls and plots over here. I'm happy with the result. Of course, I don't want to bore you following all the entire process. But just to get you, so you can get the idea. Although it's not vector, it might be helpful if you close the lines. I'll show you why afterwards. There won't be any spaces between like this. Everything shutting. This way it will be four leaves. For our beautiful garden flowers, we'll create another layer. I even don't name them, because when you have deadlines, you're just working to get things done, and I'm sure you know what I mean. I'll change the color afterwards, I'm just showing you how I'm inking. Obviously, I'm using a vehicle tablet, a very old one, but somehow I just can't get another one. It's good to use directions. It helps to show the shape, it's pretty beautiful. You can go very rare detail. We'll work on that a bit later. I think you've got that whole idea and we can look forward. I'll just finish with this particular petal over here. Goes here. Don't forget the leaves should be on different layer. It's just easier to move towards some directions. Of course, I'm sure you'll make it more accurate than me. I think it's enough. I can't stop, we need to move forward. My plan is to work the whole illustration in such way. You'll see. At the end we'll get just the clear outline. Let's move to the next video. 7. Coloring: Well, that's it. I've inked the illustration. You can see it's pretty detailed, I like this style, it's a bit Victorian and all the [inaudible] textures and they're pretty detailed. So you see I went through all the leaves and I tried to keep everything neat. Again. It's all about your own style so I'm showing you how I made it. As I told you before, I used two layers. One is for flowers and the second one is for leaves. What I want to do now is I want to change the color of the outline so it'd be easier for me to work with colors afterwards. How to do that? Here is the color. We're going to the Options and Color Overlay. Here, you can choose the color you want. Again, this color I picked for the roses. How to do that. Once again, we're going to the Options, Color Overlay. It's easier to accept all the menu from here. So now we are ready for coloring. If you've been working neatly and you filled all the gaps, it'd be much easier for you right now. What we're going to do, is we're going to use the Selection tool, use the leaves layer and Select. You can see that there could be some small pixels on the border. We don't want this. That's why we go into the Select, Modify, Expand, and one pixel should work. Okay. Now we can use any color and it would go great. I'll work with blue, I think. Don't forget to create a special layer for the coloring. It should be underneath everything. Super. I'm going to tap over the card so we should, I think look at the finished illustration. Here it is. I think it was on bluish. Let's get back and lets pick the right color. Super. You see there is no well, just a little bit, we can fix that. Usually if you want to use this Expand selection, it'd be awful. Remember I told you about using white colors and dark colors, they are working on that too. Once the leaves layer is selected, we're selecting some small leaf, we go to Select, Modify, Expand, Okay. Now, the color layer and we'll color it. Cool. I'm afraid it won't work with my flowers because I wasn't very neat. Well, we can try but I'm almost sure it work. Well, let's try but I'm not sure. Select, Modify, Expand, Okay and additional layer for flowers, the basic color is red. It could have been worse, looks pretty okay. What I'm going to do is I'm going to feel the whole illustration with colors, leaves with blue ones and the roses with rose. In the next small video, I'll show you how to add some shadows and details to make the illustration more aesthetic. 8. Adding Details: Welcome back. So as you can see, I've colored our illustration. I've added some shadows and now I'm going to show you how I did that. You can see here I used some illusion of depth combining light colors light blue and the dark blue behind. It's really beautiful to my mind of course. To compensate the blue color, I used distill yellow spots. I think it's a good find. These are completely plain colors. How to make illustration even more interesting? I used brown brush to add the shadows and highlights. I'm going to show you on this small petal how I did it. So let's select the color. It was plain. The whole rose was plain. I was looking at our reference images. I'm using this type of brush, it's very comfortable because you can control the pressure, and holding "alt" and choosing the dark color here and create some shadows in a small strokes. Very, very tender. I also try to keep the direction of growth. As you can see, the imitation of depth is created by combining dark shadows and highlights. That's why we're doing this. Then created a shadow, and then some highlights here. Of course, the white. It's always good to have something light and something dark in the background when you create a photo. I did with all this petals. It's not so difficult when you have a reference photo, and I'll have to do a really good for that. Just remember, just shadows highlights. The illusion of depth is reached. Now, I'll show you how to add some interest to the leaves. Let's select the leaves. Let's select this one now. Once again, hold in "Alt". We see this color, this plain color, and I'm going to make it a bit darker. Yeah, like this. Then I'll use this brush to show you that it's a standard brush, and I'll just make a free movement. I'm going to color half of the leaf a bit. [inaudible]. Again, now I'm going to use a lighter tone. It goes here. It can be not so detailed. Actually. I just like how it looks. If you want to add even more dramatic impact, you can use "Burn Tool", but just keep in mind it should be really low because it's pretty hard. The same brush. Of course that if you're using this "Burn Tool" you can use "Dodge Tool". Also small amount to highlight. I also want to add some white with a round brush tone like little rounds, because it's very popular in William Morris post cards which I like. So I think you got the idea how I created this effect. It's not very difficult. Just set some set of tricks. It's really difficult to speak, and to do something at the same time, even so I'm complicated. I'll highlight how this looks like. I'm going to pick this color on just this brush because it's really good with control, and I'm glad at little bit. Now it's not so tough. We've got the idea and with the dark color, we can select it, and I just used the same thing. A bit darker, but not that much. There's nobody here. But not much, it's dark anyway. It looks more interesting. I will continue doing my hard work with all these shadows and stuff, and we'll see you in the next video. 9. Part I Repeat Pattern: Welcome back. I've colored the illustration and edit the highlights, the dark cars and I'm really happy with the result. Now we're ready to create a repeat part and use an offset printer in Photoshop. This create a copy of our illustration. What I want to do is merge everything so it will be easier and create a new document. You want the big file, of course,.3000 high resolution, 300 DPI. Strike the image and what I want to do is, I'd like to add some more details because I feel this place will be a bit empty just for the elements we have. What I'm going to do to direct something, I'm just copying the layer using common J. It's not the best option but I like it somehow. Coleman t2 transforms the elements from different ways. That one looks nice. I don't know what can we add. Maybe even some leaf. Some additional stuff here, just to fill space. These elements, Command J, split. Into pretty clean. I think it's enough. The angles should be here. I'll delete some small parts for that bits. You got the idea, you're just creating a piece of a pattern. I think it looks good. You don't have to be very current. I'll add one leaf for balance. Just doesn't feel right. Otherwise from here over to here. Bottom. Now we merge everything. Command A. Shortcuts are really great stuff. I think we'll need a pet ground, and we'll merge everything. Now we're going to create an offset filter. Other offset. I've already had the setting but as you can guess, is the high half of the size of our canvas. Once again, image, image size. We have 3000 pixels and when we're going to the filter, offset, you'll just have to put here the half so you can use any proportion and wrap around. Now we have the free space in the middle. We'd better fill with something. Let's pick a beautiful element, drag it here and something small for the balance. It usually works like this. Well, you see we marched all the layers but maybe it wasn't a very good idea. Let's get back and merge only flowers with outlines. We won't have to cut them. You can see it to drag and drop this way. I think we should make it from the beginning to know what are you going to do with this by design and the outlines with just leaves with Command E, where merge them too. Let's use these ones. Now the best idea but maybe not. Something maybe this one looks better. I'm not sure. Let's try this one. Beep them differently. It looks definitely better for a balance. Now I'm going to clean this a little bit. It's almost the same radius you can see. I'm going to clean this part to add onto something that's missing and you can merge it. Must go and freehand with this because my style allows it. If your work a very precise, you can use your own instruments to do this, which corresponds to this style. Let's furniture thing and here's just enjoy it a little bit. We're using growing new partial determined why not? Almost done. Not so bad. String apart. I don't want to leave again this. I think our pattern is ready. Let's merge it, edit, define pattern, super floral pattern and I can create any file, paper, A4 and here we can choose pattern and here it is. You can use scale. It looks pretty nice. It can look even better if you think a bit how to combine elements but I think it could look perfectly on sound gift box or wrapping paper and it's higher a resolution one. So I think we are ready to move forward for a more difficult pattern. It's just a simple repeat one. See you the next video. 10. Part II Seamless Pattern: I'm really happy to see you this far. Now, there is a real challenge ahead of us. We're going to create a seamless pattern. It's a pretty intuitive process, so I'm going to show you how I create mine. I want our pattern to look pretty different from the repeat one. This is why I want to change the appearance of the illustration a little bit. As you can see, I changed the color of outlines. That's really comfortable to do using the options we used before. So it's the same color over layer one. I just use another color here and another color for the leaves, so they're alike now. Do you remember we've created different textures? I think I'm ready to add something from them. Let's drag them here and let's see. Obviously, I'm going to use them in the leaves section. Well, I think I'll just delete the background and I'm going to drop some pieces. Maybe here and here. Maybe even transform it, maybe even measure it and transform. So it will cover more and if I would keep that in mind when making the texture, I would definitely create a different form of it. But to hold this. With this temp, I'm going to imitate this texture a bit. All whites to cover the parts I want to cover. So everything should be covered with leaf. Now I'm going to mask it here, holding Alt, you just put the cursor here until these two browns appear and multiply. Super. That's the effect I wanted, to have some bold and bit green effect, but it's too much so I'll keep it right here. I'm not sure. I think I should fix it a bit. Maybe I want it to be a bit more green, so I would use command O for changing the tone, maybe saturation. That's right. That's the effect I want. Now I'm really happy with illustration and I'm ready to go with this pattern. Let's create a new file. It should be a bit bigger than our previous one, so it'd be 5,000. We need additional space for thinking and 5,000 and high resolution. Now let's drag. Of course, let's merge it and let's drag it. Well, since this pattern is a difficult one and intuitive one, usually with such an illustration, I create it like this. I create a copy using command J and put it behind, and maybe to make it a little bit using transform to command T. Well, better not, well no, it's okay. Now maybe a bit higher. Now I'm going to select these two layers and duplicate them also. So with this figure, I'm going to figure out how to fill the small gaps like here, like here, here, here, here, to make it more balanced, just more beautiful. If I could say that. So I'll create a copy of our initial illustration and just cut parts of with like we did the last time and we'll add them to our existing one. Put this right here, put here. Some decisions can be not so good looking, some work really nice, but it's just the matter of taste and your experience, of course. So I'm currently filling the space with different types of elements we've used before. I tried to pick something that shouldn't be a work after working a lot, which is pretty hard to do, because we have a very stylish, but very complicated illustration. I need something to put behind. When you're doing it really professionally, sometimes the repeat is almost unrecognizable. I need to delete some parts I don't want to see, or which are not good. Something is in the corner, which we should-, well that doesn't look very beautiful. We will put it somewhere here. That's really a good idea. Maybe here, and that's our pattern. Something there. Well, leaves, what else? Of course leaves. They are always saving us. Maybe this piece. Tweak it as we need it. Not so bad, it wasn't really awful. This [inaudible] Let's think, maybe our small friend can help match the layers. But I'll delete what I don't need layer on. Here it goes. I'll delete what I find unsuitable and for wiring do this by hand. I can just make it like this. Sometimes my brain just does it's thing without asking any permission at all. Where else can we put our new element? Right here. Over it. But behind [inaudible] even here. I feel something is missing, and here. I think we're almost done. Well, maybe it's too much, maybe I will work a little. But you never know with patterns what's more better. Let's copy, let's duplicate the image, so we won't lose our work. Let's merge everything. Now the most difficult thing, put the rulers. I think we should make it a little smaller. Let's put the ruler here and at the end. So using a rectangular selection tool, let's select the upper part. Using the guide tool, it will stick to it so it will be easier. Now, holding Shift, we're just dragging it to the bottom right. Now, we need to make a side repeat. Let's put one guide here. Well, if you're not sure how things are working, just copy the existing layer, Command J and holding Shift and drag it to the right. You can see how these patterns are going to fill together on the side. If something goes wrong, you can always add additional elements here. But just remember, you should add them to your main layer, not to the copy. I've done it several times and I would see what should I add or what shouldn't. But at the beginning, you always have to add something. We don't need it. Let's get back to our guide, we put it here. Let's choose some place like, I think here is okay. Rectangle selection, it's stuck, and holding shift. Just drag it here. We're almost done. Now, I think we need a beautiful background. Maybe a bit lighter. Well, I get this way. You can add filters, whatever you want. It's really according to your imagination. [inaudible] Now, let's merge it and let's create a pattern. We are choosing this. As you can see, it shouldn't be a rectangle, it can be any form which is comfortable. We go edit, define, pattern. Pattern 20. See how it looks [inaudible] on paper. I'm more trend to this format because it just feels right. Going here, pattern. It worked. Well done, well done guys. Super. Now, this pattern is pretty busy, but as you can see, it's actually seamless. It's beautiful. It's Victorian Style, Willy Morris Style, it can be used as a wrapping paper, as a gift box, even in fashion. I'm pretty happy with the result. Thanks for watching. 11. Part III Analog Pattern: Welcome back to the studio. Now we're ready for a huge challenge. We're going to create 100 percent analog pattern. It may sound scary, but don't be afraid. Remember, you can't make a mistake, so I'll just show you my process. In my favorite expression book, as you can see, I found this wonderful lily illustration. It's black and white, well actually it's a sepia, but for such a pattern we won't use a colored illustration because we're going to Xerox it afterwards. I still want to add some shadows and you can just make a linear drawing, but I'll show you my process. Let's begin. I'll draw a big flower here. You can work directly without pencil, but I prefer to use my little erasable, if such a word exists. It's pretty hard to talk and to draw at the same time, so excuse me for some silly stuff. There's some movement, we are not afraid of any movement. What do we have here? Do remember the pattern rules we're talking about? It's really nice when the flowers are looking in different directions, it creates the feeling of depth and makes the pattern more interesting. Sometimes not very attentive person can even think it's not a pattern at all but of course you would guess. These are two lilies, and I want to add some additional, maybe some bold elements, some thoughts something like this. We are trying to fill the space but make it naturally and not very busy, so we'll be able to add some elements afterwards, but the same ones so the pattern will look native. By the way, I'm drawing it on the Bristol paper. It's just the paper for anything, for graphic, for watercolors, just not to switch everything. I think my rough drawing is almost ready, and I'll try to go forward with watercolors. I'll use brush number 2, it's optimal for any small details and I'll use just black or maybe gray, I don't know. Black seems better, I think. Well, gray. I'm mixing them, it's always interesting to mix. Now, let's draw some beautiful lines. It may take some time. You can use your own style and create something less detailed, but us we're creating William Morris's bright art work. I want to fill it with reasonable details. You see I'm using porcelain a small plate as a palette. It's heavy. It's more comfortable to use than any paper one, well for me, of course. The plastic ones are terrible, really. I know they are pretty popular, but they're terrible. At first, I'm creating the plain outline. Our lily should have over here well, it's not a scientific illustration, so we don't have to be super precise but we won't create something strange either. Here comes the second. This creates some illusion of depth by making this borders and then adding some shadows to it. Oh, it's too thick. Some mistakes you can't avoid them, but it just doesn't matter. It's beautiful. It's okay, I would say it's okay. Now I'd add some over here. I think the good idea is to just add some petals. Maybe I should use another brush for that. I'm going to think about it later on. So some leaves, I want to continue with my Chinese brush. Then you don't do better. Say if I add petals with it, definitely better. You see. It helps to control the depth better. Now we can have here a very beautiful one, but it's good to be natural okay. Okay not so scary. What we want to add here some elements. Some of the leaves. It just holds the water better, so it's comfortable to use. Some different shadows. Gray, I'm sorry. Well, I think we should get some beak, something that draws attention right away. I think this kind of berries are a great example of you can work with fruit base. Meanwhile the whole illustration is getting dry and we can get rid of the pencil. It's good to add something, some forwards. They're all in different directions, that works for us. Let's create some company for these guys. Here we go, some leaves and some round friends [inaudible] around. But that's okay for a hand drawing. It has the touch of the artist, which many people find really attractive in their artwork. So they get really connected with a person. One more, I think something's better here. Some combination tricks, let that space work for you. When you're working just use black and white, it's all you have. You don't have colors like red to get the whole attention or otherwise. Now our artwork is almost dry and I want to add some shadows. So it will add depth to our illustration. It already looks more attractive. Careful, careful, that happens pretty often, I should say. We are not afraid of such occasions. Accidents, occasions where we are bored. Definitely here. Just the dark parts. Just a fourth layer of wash. You can make it more accurate. I'm just showing you the principle. Of course, you can make it bright red. It's not about the drawings, it's about the type of pattern we're creating. So you get the idea. Now, we're ready for a second wash. I think here. Careful with your hand. We're almost done or maybe here some. Don't forget to get rid of the pencil strokes. I'm going to do this, the paint will be a little dry. Okay. I think we're ready to move forward in this very, very scary, but very useful exercise. Of course, it takes some practice to perform this, but it's really help for one and also many such. Okay, let's move forward. 12. Cutting: Well, our artwork is almost dry. I erased all the pencil marks, so it's perfectly clean. Here when we need our new tools, cutter, metal ruler, and a tape. I know it sounds scary, but don't be afraid. We need to measure the half of the page. Well, it's the A4 format European. It should be somewhere, I think somewhere here. Yeah, you've probably guessed that little cutted. I don't want to make any mistakes. Look at these, terrible. Well, it doesn't have to be very precise, but just tried to make it accurate. Cut a knife ready to go. Well my paper is rather thick, so maybe it will be easier for you to perform, if you're using just a copy paper. Almost done. Now when we have two pieces, we just switch them and what's important? We should take them very carefully. Try to avoid any. You can see the small line, I don't want to see. Let's try to hold this line here. I could do her work. Well, after some time you practice it, it being much easier, I promise you. I'm just not very comfortable with cutting stuff. That's why it made rather awkward. Well, that wasn't scary. Now you see we have empty space we need to fill. Let's see what we can draw here. Our water color is almost dry, but we will refill it and go forward. Let's see. I'll start up, because I don't want to know. My Chinese brush is better it holds water. Some elements which you find beautiful. We should think skewed. Our saving, just avoid touching the edges. The edges are forbidden. You work only in the center area. Some nice stuff over here. Some berries, some leaves and berries and leaves and berries. You can see this? That doesn't look where but I think we can fix anything just don't be afraid. What else should we add maybe a big fat berry. Much water we don't need. Here, maybe some any element you'll find good for this ornament. I think just some symbol for stuck in my mind and I use it without any considering what I'm doing. Well, I think maybe something here, something here, and definitely something big here. Not afraid of edge. Some smaller berries, black berries and doesn't look very nice, who care, [inaudible] ,black and here. Forget about the edges. A mental challenge to speak English, to draw and to think at the same time. Some steps not to skip. We're almost done. I'm not very happy with this particular leave, but it's okay to repeat the space. It does its job. Well, I think it's pretty cool now and I think you've already guessed what we're planning to do next and your blades are already sharpened. Now, we need to wait till it's dry, and when they draw with such a brush, it takes, it really takes time for our work to dry, because its whole lots of water. Now, we just wait patiently or impatiently. Well, the next thing we're going to do it is to cut this leaf in half again and again, change the order. It's about, I've measured it and here some. It's dry. We just have to wait. It's almost dry, and we're ready for the next step. We need to measure the half of the page again. It's A4 format, it be around 148 and a half. I think it is somewhere here, holding this might work here. Yeah, it's okay. Its a scary moment and we're ready for it again. We're ready for it, but I'll be brief this time. We are putting our metal helper right here and we're ready to cut. Care for fingers. It's not so very comfortable to do this direction, but still I think we're done. Now, as it was the last time we switch the sides and tape it. Let's try to make everything without noticeable. I prefer to tape the middle first, great.Then continue by the sides well, just easier because the shaking hands and all this stuff, I just want to be sure. Yeah, careful. It's a tough process I must say. Now, it's almost a pattern. Can you see? I already see it. We need to add something to it. Maybe a couple of leaves, couple of elements more, but we know how to do it. Where it got comfortable doing it already, i hope. Here comes the big berry. Strange berry, don't forget about the shadows. Maybe some. You see it's better to cover this. There's too much water on one side. As usually avoid it's edges. They are not for us at all. Some here, whatever you want just to fill the space. Well, of course the elements suits you for designs. Be creative but persistent. Creating the house for people. Here it comes and sound strange colors here whatever. I think that's better now, I think it's enough. We don't want it to be super busy. This one can be, yeah. Solved in this piece scaling yeah. You see that this lines, when you do everything perfectly, they're almost not seen. But it needs to dry a bit. Here's a small well, tip. You see this lines and sometimes when you xerox them, they are still visible. What I find useful is taken at gouache, or anything in all the typical colored liquid, anything super cheap doesn't matter. You can cover it slightly so the xerox wont see it and so will you at the end. I'll just show you how to do this. Well, it's not cheating. It's just improving lots of work we put in it so you see, it really works. I can see that here, for example, some black paint till drawn out and here and here. Our portion is almost perfect. I'm sure it get the idea. If you scan this piece, it's a ready finished pattern in photoshop. You don't have to take anything at all. If you create a pattern. Finished one, one this one is tricky. This one is really tricky. Let's see, let's cover the ones we can and then decide what to do with that after. Well, I prefer to do it with gouache because I always have gouache at home and this correct in liquids state they have such a misty smell, even if it's reasons not so, but they work too. Dries super fast almost eliminated. You can always correct it in the process. You can print a trial version and see if it has this nice to learn or not. I'm not sure about this one but you got the idea. The more often you create such a pattern, better you it's like when painting craft. We're are almost done. Here it is, I should have put thicker. It would probably make things worse. We will see right in the next video because my scanner xerox only one machine. It's almost pretty for our strange creative task. Where it's like a house painting. You know it's a really relaxing process I would say in a strange way of course, but it is. I think it's enough. Here is a finished super pattern, and we are ready to take the next step and go to the xerox machine. 13. Xerox and Taping: I put our pattern into the Xerox machine and now I'm going to print four pages. Here we go. Let's wait till our magic pattern is being baked. The sound is promising. It's almost there. I'm printing four pages. Yes, they are still warm. Here they are. Supper. Our trick with [inaudible] really helped. As you can see here is their white border, of course we don't want it. It's easier when you print the whole page and then cut it together. Well, my Xerox is not very good because it just makes the paper a bit rolled. But who cares. Now we got to get rid of the edges. Four pages here, so we need to cut several times. It was even faster than I expected. Now, another side. Well, I have really small cutting way here. Let's go again. When we right way [inaudible] again can be tricky, be careful. Did I stop up here? I shouldn't have. Come here. Design makes it pretty easy to do. We already have the guidelines to follow. One more time. That way. The last one. I'm so glad it turned out okay without these lines. Often appear in spoil everything. The more you practice, the easier process will be. This cutting parts, you have to be strong to do this. Well, also very accurate. I should say I must submit it can be done better. Maybe you would done, it would be able to better. This goes away. Super. You can see the whole image. You can print eternal number of pages and just make your own wallpaper. Anything. I don't know if you see the whole picture, but you definitely get the whole idea. Well, if you'll be accurate with cutting and then taping it all, you can get the awesome huge work paper ever. But of course, we're super creative and that's why we never stop. I'm going to show you the idea that came to my mind felt drawing. I thought, well, why not printed on the gray paper? Look how stylish it looks. I have really a messy place here, or even on the red one. Cool. Well, I decided the gray one looks really stylish and that's why I decided to create the whole panel with the gray one. I don't know if you see it correctly, but you get the idea. You see, I've added some white inks on the top so we have this beautiful and stylish contrast. I'll show you how I did it and we're done. I have this opec white inks, just the liner. But you can use whatever you like. I just flow may be here, it will look better. I just printed some nice strokes on the design. You see it adds really awesome effect, really stylish in my opinion, of course and you can see the both colors, when you add two dots, everything, it becomes more vibrant. Well, if you could say that well, black-and-white illustration. You can create it without computer. You got the idea. Am very proud of you, I'm very proud of me and we're finally done. Thank you. 14. Your Task: Now you've seen different ways of creating a William Morris inspired botanical pattern, your task is to pick your favorite seasonal flower or plant and create a pattern using any technique from this class. Remember, use your own style and your own rules. Don't forget to share happy essence along the way. I'd love to see your works. If you want to be featured on one of my social media channels, just tag me on your images so I can find them. 15. Final Thoughts: Well, it's the end of the class. I hope I has given you some ideas and techniques you can adapt your own works. Take your time and experiment with your drawings and elements, even if you think they don't just flow together, just try it. Very, very often more striking designs are completely accidental. Thanks again for watching. If you like the class, please leave a feedback in the right corner. It's really important for a class that train very well. Don't forget about the giveaway, I'll be waiting for your works, and see you next time.