iPad and Illustrator Pattern Design | Cookie Redding | Skillshare

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iPad and Illustrator Pattern Design

teacher avatar Cookie Redding, Artist, Designer, Teacher

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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

9 Lessons (57m)
    • 1. Introduction

    • 2. Supplies

    • 3. Adobe Draw Tools

    • 4. Adobe Draw Worktime

    • 5. Adobe Draw Shapes

    • 6. Pattern Making Time

    • 7. Working with source material

    • 8. Class Project

    • 9. Conclusion iPad

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About This Class


In this class you will explore how to use your iPad in tandem with Illustrator to create awesome, hand drawn vector graphics to be used in repeat pattern design.  You will explore the drawing tools on your iPad and then take those drawn elements into Illustrator where you will create your own unique, one of a kind repeat pattern. (basic knowledge of Illustrator suggested)

Meet Your Teacher

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Cookie Redding

Artist, Designer, Teacher



Good hello!

Welcome to my Skillshare page and channel.  I hope you find your spark of creativity!


My name is Cookie and I'm an artist, designer and maker.  My first work of art was at the tender age of 2 and was found underneath my parent's coffee table* (they were *thrilled* about my creation but luckily realized that I enjoyed making even then and fostered an artistic upbringing for me) 


I have been a professor of art and design since 2000 and love seeing that spark of excitement from students, which I lovingly refer to as the "ah-ha!" moment. I am a firm believer in experimentation, trial and error and practice makes perfect.  Skillshare is a wonderful platform to flex those creative muscles an... See full profile

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1. Introduction: welcome to drawling on your iPad. In this class, you're going to learn how to draw on your iPad using adobe droll. From there, you're going to take your creation and open it up onto your desktop and illustrator and learn how to take your drawings and turn them into a repeat pattern. You'll get to explore different line works, different pressures, and it's well, different color schemes that will make your peace is unique and individual to you. I hope you enjoy the possibilities that are out there for your iPad and desktop integration , and I can't wait to see what you create. All right, let's go. 2. Supplies: Let's take a look at the supplies that you're going to need for this class. First off, you're going to need access to an iPad as well. A little extra bonus. If you do have the pencil. This is optional. Just that you can see how it functions with your iPad as well. You're going to need the adobe draw up, which is part of your creative cloud memberships. If you have the creative cloud, go ahead and download that onto your iPad. We're going to be drawling and then taking our images into illustrator to create a repeat pattern So you will need access to illustrator as well. All right, let's get started. 3. Adobe Draw Tools: All right, let's go ahead and get acquainted with our tools. Are tools are going to be found here on the left side? It looks like this sort of tear out. If we were in Illustrator, those little tear off that we get with our tools So it's in the same positioning is that we have. I'll say, like the pencil marker tools. This is a more the sex was more watercolor brush style, more pencil style and Cala graphic. And, of course, our race till because chances are we're going to want to erase. At some point while we're working, I'm gonna tap one time on our first tool. We're going to see we have three categories that we can deal with Within this. We have our size, our capacity and our color. So right now our size, if I was to draw, is going toe. Look around this. If a tap and hold, you can see it's going to enlarge, and I'll get my hand out of the way. It can enlarge if I go up and it will decrease if I go down, so it's going to depend on where you want to be. Let's just go extremes because, as you know, from my other classes, I tend to like to show the smallest of the largest version. All right, there's our largest in the town, dragged down and our smallest so you could get a pretty broad a rate off styles within this for our sizes. Now let's take it back up that way. You know, when we're working, at least for this demo portion, you're going to be able to see it comfortably. Let's go ahead and change our capacity so it's gonna be the same thing. Tap down and you can see it shows like the transparent art board behind it. Those grid patterns that were already used to thanks to our creative clouds are a pass ity . So if we were to work like this, you can see we get our overlaps and it's going to have you know, a little bit more transparency to it. A lightning, even more would that might have been too little. And then you can get more, you know, painterly effects. With this, I'm going to keep the capacity down for now so that we can see even mawr interaction. And I'm gonna attack on color. I'm gonna spend up just a little bit of time here on the color because it has different options that you have to work with our standard. First off, it's going to be the wheels. So if you want it to be a yellowish color, you just tap and drag it around wherever you want it to be. And you see a preview here and right now it's not too exciting because it's going to be all the way to the darker end of the spectrum. Tap and hold and drag it up to get the purest form off that color so that when you paint or drawl or whatever you have and remember, this is still, uh, pretty transparent. So it's gonna be more of a wash. You can get the tone that you're looking for a tap on it again. Let's just, you know, choose a different color agency can see tap one more time and get some blues in there. So we get some nice overlays, an interaction. If you didn't want that, you guessed that tap drive up, take it back to the 100% and then you have the purest intensity of your Koroma in this case . If you see under wheel, there's a little drop down menu. Let's click on that are sorry. Tap all that. You can get your RGB if you're working in the Web style or for screen, or even go through it from your history. And it will remember for this document the colors that you use within this. So if you had a specific color like I'll say this pinkish salmon, then you could go and just, you know, grab the color that you've already mixed did not have to worry about remixing it. You also have themes that you can choose from your app to scroll through this study. Chicken idea of No, the presets that are already picked within this there are a lot, a lot, a lot, a lot, or click on your library. Now these are the ones that you are sync it with with your creative cloud app, and I also use the mobile apse, which I'll show you in a second. But what colors you have remembered there is going to be uploaded within your library here . So let's check it out on our phone as well. All right. Using my mobile device my cell phone. In this case, I've opened up adobe capture and Adobe capture, of course, works on your cell phone. It talks to your iPad and it talks to your computer as well. You can build shapes from your drawings. You can just do a doodle and then, you know, photograph it and will convert it to the shapes for you. You can deal with the types from the type kit. Here's our colors, and I'm just gonna pop it up over here. Also, your colors from what you take in your mobile app, are going to translate into all of your devices that are connected to the creative cloud. So this teal one, I used quite a bit for my brand work, my personal brand work. So this is where I grab it from when I'm working on it. And if you wanted to add a color, you just hit your plus, and hopefully this screens. Okay, I'm just gonna take a photo of our scream so that you can see it tapped to freeze it. Photo it. All right, I'm gonna I'm gonna keep it there and save it. Save to my library, and they should sink up. It might take a second for it to pop up in here, but all of your libraries will talk to your APS, no matter where they're at. In your creative cloud, you can also capture three the materials you can create really awesome patterns with this and again, it will talk to all of your devices and create unique brushes as well. So I always recommend to my students that if you get into your iPad and or using your creative Cloud library also get the adobe capture that so that you can have these extra options to talk to all of your devices with it. All rights are color is now showing up on here. It takes just a couple seconds and voila! There is are, you know, customized theme from just this screen, and, you know, you could take it outside, photograph things if you have, you know, a really nice sunny day or you see a color that you really like on a walk, and it's on a you know, peeling paint on the side of Alec ahead and photograph it so that it will stay within your color library. And again it will update onto your computer as well. So the color library is really handy dandy, too. Especially if you're like me and you have a favorite color like this. Teal All right, so there's our brushes are basic marker, I'll say, and the brushes. And I'm just gonna pop through each of these that you can see. This one is going to give you more of that organic line so you can go thick, then thick, then thick. Then it depends on the pressure, Which is why I like the pen. I was on the fence initially, but because of the pressure sensibility with it, I find it does translate quite well to drawling on this tablet. If we tap on it, Same thing you can change its size If we want a really big thing. I think we can get that we can change its opacity, dragging it down so we can get that interaction from the other layers and have it look really painterly and, of course, change the colors accordingly tapping back. Yep, this line same options are available for here at this stage. Were in the place stage to just go ahead and explore. This one is going to be more of a technical machine line, and this one has more of a kala graphic feel. So if you're into hand lettering and calligraphy, you will be able to create, you know, whatever you wish with this style brush. And you guess that the last two size opacity and color so you have all of the options for these basics, I'll say the basic top five tools that you get and the last one is our racer. So we could up the size and you can get rid of it. You know, if your not liking anything. If you don't like, let's let's say we just booed here like Ooh, but I really didn't want to erase this right here is an undo button, and it's going to step through all of your layers. You can write swap sort of swatch over. It'll Redux left Well, doing on do so. If you didn't want to use the reverse up here, you can do it here also. All right, so for this next little bit and I'm just gonna tap it back so we can go back to where we were play around with each of our drawing tools, play around with the racer experiment with the different sizes, capacities and colors. Maybe if you're feeling crazy, go ahead and upload Adobe Capture and that one's free also. So maybe upload it to your cell phone so that you can use it there as well. So for this next part, play around with each of these tools and I'll see you for the actual drawling stage. 4. Adobe Draw Worktime: All right, let's go ahead and get started on our new drawling Going to go ahead, make that new document. I am going to use the landscape for filming. And let's just zooming out just a little bit because I am going to be using the art. Bored with this Now, here's the part where you need to figure out what are you interested in working with? Do you have a motif that you use in, You know, your drawings of your paintings, your usual design work and how can you incorporate it into here? I'm just gonna stick with the normal first marker that we see. I have my size and presets, and for now, I'm just gonna leave it at the black, the full capacity, because I'm gonna work without lines and then I'm gonna fill in the colors for my work. I do have a lot of floral motifs, so I'm going to start off by drawing a couple of my normal flowers. And if you're doing this, also, let's just zoom it out a little bit. Try a version of each say can see. You know how each of the lines function and which one is gonna work best with your drawling and your design style. Whenever I'm working with us, I'm thinking I want to make a handful of whatever objects it is. So in this case, the flowers. And let me just go back so I can show you. We were doing a design pattern challenge in January and the one it was just four flower doodles. So I knew I wanted, you know, to have a couple flowers. Let's start with, like, the normal ones. Maybe I want that daisies. But what also goes with flowers? Well, maybe some sort of leaf designs or these sort of swirls for the background. So we want to think about what is our main object. Is there some sort of texture in the background? And if we're working on the theme, do you want to have a couple that work within that team and I'll just slide this around so we can see said that you have a couple options toe work with? I always tell my students it's better to have more options than not enough because if then you don't like one of them, just don't use it. But you have four others that you can choose from on. And then we have, you know, like our little leaf patterns that could be functioning within that. So going back to our board that we were just working with, you know, if picking the theme of flowers, then how maney flowers do I feel I need to have a comfortable library at my pattern making arsenal. So for your 1st 1 you know, maybe just and I don't like that and they just make a couple. What if I like the pressure? What if I like pressure? Heavy pressure, like pressure, heavy pressure. Try each of them and just see what happens. Let's do one of the more I'll say daisy styles. So, you know, maybe I want this as a pattern happening in the background. And if you don't like the 1st 1 you know your hands, it has that muscle memory. Make a couple and then that way, if you do say five of, um or 10 of them with that one of actually okay with, uh, do a couple and then just see which one you feel works best for whatever it is that you were working on for this, the more the merrier. And I'm not digging that one for a flower, But maybe that one is going to function better for a leaf. Uh, and I didn't like how that got wonky there. Do I want that little insect there? Do I want to group them? So maybe I have a couple that are just so low. And then when I get into illustrator, I can go ahead and group these in whatever way I'm interested in, um, I'm going to go into the more kala graphic style brush. You can leave these is lion works. So if you want to have my narc, that's fine. But you can also go in and just click and hold, and it will fill in, uh, the area that you're clicking and holding into. So I'll make yellow and purple for this one. And if you change your mind later, it's OK because this is going to be seen as your line and your fill so you can have endless options with that with your coloring. I have fouled that if I don't put that color in there and I do change my mind, I have to go in with illustrator and use my pen tool and add to this empty section cause it's going to be viewing it. If it's just the line like here, it's just going to be viewing it as a nun. So if you want it, you can always change it. You know later to like a white or whatever that you do have some sort of body within this, but it's going to be up to you, Um, but this can be really fun toe also play around with your color themes that you've been building. Um, and you could just have a little bit of color Explorer time with these as well. And you can see this tool, which is interesting as it is going to give you that little bit of transparency to it, which I think, let's use my favorite teal. Why not, which I think is really nice. Whenever you're working with layering styles within this program, let's get this blew in, and maybe I want to grab. Let's go to the Picker and Graham from our history That would be our same one. So let's wheel and make it more of this little lime green and fill in a couple of our leaves. You don't like the tone of that. So I am going to boost it just that little bit. So it's a little bit brighter and you could just go over top of it and it will place what ever is in there. So for this, uh, the drawling section is really unique and individual up to you. Try each of the tools. You know, maybe you want to create some textures for the background. Maybe you don't want it to be just the flower or whatever it is you're working on. Maybe you will draw all in a couple variations so that if you wanted, you would have it. I'm going to go back so you can see one of those that I have been working on of here is here it is. All right. So I always keep this one. I call it like the scribble doodles page so that if I'm looking for just a nice texture within a piece, I could just say OK, I like that little swatch there. Whatever I bring into illustrator than I already has some textures pre made. But if you don't have that sort of system already, just go ahead and start making them. So maybe I did like those. The loops make a couple more. Maybe you'll try somethin. Ones. Same thing. Try the pressure. If you have the pen, See how the pressure impact? Sure. Design. Maybe, You know, let's take it, make it really, really big. So if you did want those variations, you're going to get it with your pressure of your pen. And if you just use your finger, you can get some of that pressure. Also, it's just not gonna have quite so finite, uh, detail ing with that. So for this section, And don't forget, we have our, you know, shapes also. So maybe you want to bring some of them and as well for this section, I want you to just play an experiment and have fun and see, you know, how do your traditional materials that you usually work with whether you be pen, marker, pencil, you know, paint. What are your design motifs and how do they translate into this digital drawling app? Try exploring different colors, see how they work and what we're going to do when we're finished. Let's say you know I'm happy with this, uh, right here is a share, but so you can open it. If you're working by your computer, you can click on this and help to open an illustrator or in Photoshopped. In our case, we will be using Illustrator you can share. It is an image you can send it to your creative clouds or be hands, which I think that this if you're working experimentally, you might not want that one. But Hance, you can put it in your clipboard. For those of you who like the video style, it will also work as a time lapse. And then you can upload that to your computer through your photos as well, eh? So there are a lot of options with this. So for our class, I'm going to assume you're sitting near your desk top up. So go ahead and click and open it an illustrator. So create some mo chiefs, have a variation of them, and open it. An illustrator 5. Adobe Draw Shapes: All right, let's go ahead and take a look at that shape tools before we jump into our actual pattern, making the shape tools are going to be found up under this drop down menu, you can see that there's lines in the basic shapes, French curves, polygons, comics and people. Aziz. Well, if you had shapes in your, uh, library, you could, you know, again make that through your phone app that they would be showing in here. But let's just stick with our basics because they do function a little bit differently than our drawl tools and as well how are used to shapes functioning within our illustrator program. So I'm just gonna zoom it out a little bit. Yeah, basically ends up happening with our lying creation tools and are shaped tools and said You're going to get in this case it would function as a ruler on illustrator reused to the lines. If we were to create a line, it would just go ahead, make the line. But with this, it's functioning as a ruler, so you need to draw like your drawling on the edge off that ruler. And if you want to make another line. You have to move that clear ruler down and drawl over that line and then just keep repeating. So think of this instead, more like a normal draftsman style ruler to get your lines. And then when you're done, you just click the X and X out. All right, let's go ahead and grab our circle tool. You can use your two fingers and enlarge it and decrease it. You can drag it wherever you want on your art or paste board, and go ahead and draw that. If we were going to dio a motif style patterns, straighten it out. You can go ahead and drag that everywhere that you wants. That sort of that then diagram appearance and then acts out. You get the idea? The square, Of course. The circle turns into the oval. The square turns into a rectilinear shape. It just depends on how you're functioning with it. Uh, and how you wish to, you know, use that tool air B, circle of square, you know rectangle. Otherwise, try and go, you know, just keep going. Each tools pretty similar, all right. And as for our French curves out of scrap this 1st 1 Let's say we want our curve to be on an angle. Let's just go with this part and we just trace the parts that were looking for someone we x out. We can get the curves that we want for our drawling or are illustration. Um, so for our shapes, we can function in a sort of template id stencil style. Um, under our comics and our people, these are stamp shapes. So if you were working on a graphic novel and you wanted a speech bubble, when you get it to the size and position that you want, that will click, and it's going to stamp it on to your page, which we do have that rubber stamp style tool within illustrator eso. It does function the same. So for this section, you guessed it. Go ahead and experiment with different sizes. Shapes, tilt them, scale them up, scale them down and see how your shapes and your stamps work. 6. Pattern Making Time: all right. Once you have your drawings created on your iPad, go ahead and import them into your illustrator Creative clout. I have brought in the flower that we made the one cat that we made. And then I just brought in another cat so we'd have a little bit of variety. Whenever we're doing our actual pattern to set up the art board, I like toe work in squares. So I'm gonna go ahead and make a new document, and I already have my presets made I like 1000 points by 1000 points. So go ahead and enter that in to your illustrator and create a new document. I like to zoom out a little bit. As we all know, I like to have a little bit of the art board to work with. And this also helps with the repeats because some of your stuff is going to need to bleed off of the page up, down, left and right. Whenever we're creating this. So I'm going to pop into here and let's just grab all of this and we're going to copy it. That's apple. See if you're on a Mac or control. See if you're on a PC. Um, and I'm just gonna go back into here, or it's also under your edit menu. Copy, Cut. And then we're going to paste it into our new document. So paste, And since I like to work large, we are going to have to right off the bat scale some of this down because right now, if this was to be repeat, this would be way too large, and all you would basically have is a giant blob of a flower on your page. So over here, go over to your free transform. There we go. Um, I leave it to the default, and the default setting is just the free transform you can see. You can also perspective, distort free, distort and constrain. But I find the free transform is exactly what we always need when we're just doing a small scale down. So for this, I'm going to have a couple around oops this size and I'm going to select all and I'm going to group. That's Apple G. Then that way, if I'd be select and move it, it's gonna move as a unit. So make sure you do that step to make life a little bit easier on yourself. If you hold down your option key, it's going to make a duplicate copy for that. So I'm going to get a couple of these flowers here. I'm going to go back to my E that free transform and just make a little bit of variation between them. Well, it's maybe put one up here. Ah, that way. You know there's a little bit of a difference, but enough that it's going to keep consistency through it. So one thing we have is this one's running off the page, and so is this one. What we need to do is copy it because what we end up having to do whatever's on one side has to be echoed on the other side. So if it's over here, it's going to have to also be over here in the perfect position so that whenever we make our actual clipped out, repeat, it's going toe actually tile properly. So if it's over here, copy up, paced in front. That's Apple F, and so what we have now it's two copies, the original a one directly on top of it. What we need to do is we're gonna work with our X and Y coordinates, and this is gonna harken back to our math days are X coordinates are gonna go left to right , And our why is going to go up and down. So what we need to do is get it over here now and I'll show my rulers apple are we know it's 1000 for our board. So what we need to do is tell it Go over. That's a plus 1000. So it's going to be perfectly positioned to make an exact repeat. Now I'm gonna on do that. One made the leap, both of those. And if it was on this side, you're going to copy it, paste it in front, but we need to take it to the left. So instead of a positive, we're going to do a negative 1000. So this is going to depend on your work style. If you want to work on the right, seem, you'll just have to do the negative 1000. If you work on your left, seem you're gonna have to do a positive 1000 just so we don't get that weird overlap up there, I'm going to stick to this side again. Copy Paced in front apple after and again. Plus 1000. All right. And you guessed it. So this guy, it's exact same step. We're going to copy it. Loops. Make sure the right menu copy it paced in front. And this time we're gonna be in the y value. It's going to be a positive plus 1000 to get to the bottom of the art board. And let's just take the opposite one of these and scale down a little bit so that you can see the officer and OK, now that looks pretty good There. Copy paste in front and we're going, Teoh Negative 1000. And this is why I like to work in a square. And this is why I, like the have a nice, easy number to be functioning with, so that it, uh, one. You're always going to remember that the thousands that makes life a little bit easier If you wanted to work with 500 that's fine, too. I have found that the 1000 by 1000 translates well. If you're going to do repeat patterns and sell them on red bubble or society six or put them on spoon flour. It's a more direct correlation to their size, parameters and needs, and you would only need to have a few minor adjustments as well if you're going to create Pattern Pack since they sell them on, etc. 12 by 12 is a normal paper size if you're going to for the scrapbooking community, and this won't take much adjustments to get it to the 12 by 12. So typically what I dio, I'll design it as the 1000 by 1000 adjust accordingly. For whatever platform I'm actually going to put my patterns on. Let's just duplicate our little flowers a little bit, you know, around our pages, it looks like they're trickling around and maybe one over here, we're going to test it just to make sure it's making sense. So, you know, we're not gonna actually finish it until we we look and we go. OK, I like where this is heading because we can tell right now. There's a lot of empty space up here, so let's just temporarily ignore it so we can see what that void looks like whenever we do our actual repeat tile. All right, so let's get some sort of background in here and for this I'm just going to leave it, you know, with the flowers as they are. The cats were gonna a just a little bit in our second hands on. I'm just get click one time and I'm gonna tell it 1000 by 1000. And that way I have the perfect size that I want. It's going to be the same. Size is my art board and I'm gonna zoom and make sure there's a perfect intersection on that and then go ahead, object arrange. Send the color to the back. Now, right now, Obviously, this isn't the color that we'd be wanting because it is blending in a little bit too much. So let's just pop through a couple colors and see if there's anything that sparks. Are I for this? This is when those color scheme generators would come in handy. So if you wish, you can experiment with something that's already in your presets. So I'm just gonna find one that I'm remotely happy with for this demo. And let's go ahead and get this all clipped, because if we were to have this as an actual pattern now we have all these little blobs around it, so we need everything tucked inside. So we're going to copy Come and see our controls or command, um, command, see or control. See, depending what platform you're on. Make that copy and let's just paste it in front. All right? There is and sort of this is gonna be our framework on the select all. And then when I right click, we're gonna make a clipping mask and everything's still there. So if I wanted to change things, I'm I'm still able to you know, it's just it's it's hiding back here, as you can see when I switch into this tool. So if I didn't like this color or this color, I can go in and still change it. But all those little scrabbling bits around the edges are cleared out a little bit to make it easier for us to see what's going on, hold down the option key and duplicate. And what I like to dio is three or four and a row. Let's go with four, and then I just click and drag over it and cooking drag down. So what we can tell is that empty space there. We might need to give it a little bit of more love because we can see that sort of space echoed in each of them. So what you can do is just go back in, release the clipping mask, and I usually toss my click dragging and the leading Just toss what you were working on. And maybe for up here. Let's just drag in one of these more. I'll say the opposite style flower just to give it a little bit more space and let's put it , let's just toss it to the side. I'm actually going to get rid of these quickly because if I put it there and it's gonna mess up the repeat over here. So let's just put it. And the more even space say right there, copy paste and front. This is our Y coordinates, and we want it down. Thousands. I'm actually okay with this right now, so let's just ignore the overlap. That could be actually good so we can get a little bit of variation to it. Let's get another small 1 may be here, and that way we get another overlap. Bring him to the front. All right, you guess that we're gonna copy paced in front and you might have to bring it to the front , Um, with a range, bring the front or the shift command right bracket if it doesn't want to come exactly to the front. So sometimes I'll do that just to make sure clip it. And you guessed it. Let's do three by three this time because we do want to get to the cat yet. All right. And I'm actually feeling pretty good with this. I would maybe go in a massage that space a little bit more. Maybe another little baby one. Um, but overall, I'm really happy with this. So if we were going to go ahead and put this repeat and say a 12 by 12 to sell it on Etsy as a bundle or what have you I'm gonna go ahead and group it and copy it, and let's go ahead and make that 12 by 12. And let's go with inches. You can see it's just a little bit if it's a little bit larger than our regular art board. Now, this is obviously three times the size, so we're gonna have some scaling involved. So when I paste it, I already haven't grouped. Switch to your free transform. If you hold down your option key and your shift key, it'll constrain proportion and bring it in from the center. And then that way we can get it on our new art, bored and ready for etc. Or wherever it's going to be going on. Apple zero will give us our reset for art board view. Let's just get it all nice and line up. And when I do these, I usually save it as a 12 by 12. Uh, let's call it floral poppies. And that's what is the repeat so that if I'm doing the 12 by 12 I usually give them a full repeat, and I will give them a 12 by 12. That's just the solo, and this is for what I sell on Etsy. So let's just have the same size I've copied this just as the solo I'm going to paste it and then let's go ahead. I like to work from the upper right corner, being perfectly in alignment, and sometimes you have to take it off and bring it back in, all right. And you guess that free transform and then bring it up from this corner to perfectly align . And now we're ready to save this. And I just grabbed that last one. And instead of repeat, I'll just backtrack over it and call it so low. And then if I'm going to go ahead and sell this on Etsy or wherever, I'd make it a J peg and maybe a PNG for those who want to use it for the say silhouette cutters. If this was more black and white and then that way they have to file options that they can , you know, possess with this file. Or if I'm going to use it as a shower curtain, say, all in society six. You know, then I know which one to grab. Do I want this one? That would be more of the painting or print style, and this one would be more like Legans shower curtain blanket pillows. So you have two options that you can work with and have stored right off of the bat. Um, and if you're going to go ahead and do that, I actually just do the export save as, and let's just make it the J peg and then that way we would have no issues if we're putting it on those print on the man sites, all right, let's go ahead and close those two and then I do always keep the original. So I'm just gonna call this one original and then that way if I change my mind cause that one space probably would eventually bother me. Then I could go back in and tweak that real quick and get that, you know, flowing a little bit better. All right, let's go ahead and look at changing colors quickly. Let's go ahead. Make that 1000 by 1000 and you can see it will remember your files that you like to use. So it's going to remember the 12 by 12 and is going to remember your 1000 by thousands. Go ahead and create now for the cat. Let's have a little bit more fun with the colors, so copy both of them in and just a side note. Remember, this is the one that we had with the photo. It will bring the image layer in with it, but it's going to keep it turned off if you had that layer hidden. But if you brought it invisible, it is going to be visible. So you still have the same working capabilities with these as you had on your iPad. So if you wanted to go and make some changes, you're going to be able to do so for now. I don't want that layer, so I'm just gonna go ahead and toss it that way. I just have a fresh slate with this one. Copy it and you guessed it, paste it. And I did forget to group the 1st 1 So don't forget to group the 2nd 1 and then just click and drag and group. And then that way, everything moves together. I'm just gonna option click, get a couple of those cats going, and then maybe for a smaller version. And that was just a copy and paste. If you see something, get duplicated. I'm either copy and pasting it, or I'm just holding down that option key. If I want to change one of the colors, switch into your direct select. There we go into your direct selecting and see that baby blue is selected. Maybe we want this one to be more of a green. So let's go ahead, change him to Green, regular, select and then option. Drag him up. Let's create some overlaps with this one. So it has a little bit more energy than we had with the last one, all right, and this guy is a little too big, so let's take him down. And since their colors are pretty much the same, let's just go ahead and change him. Maybe he's going to be more purple if you don't want. That red is that red is a little bit distracting. Zoom in so we can change it. If I click on the red with my direct select, you can see it has the red there under select same you could do fill in stroke or fill color. In this case, I know it's only fill cause there's no line we can go ahead and change that to the black outline, and it's gonna have a little bit more visual, less visual distress than the jarring red. So let's let's go with that. Let's leave the overlap there. Let's just get a couple of these cats and we can change their colors, too. Maybe these two I'm gonna bring their the front that shift command right bracket. So we get a little bit of depth on this one, right? And let's just you guessed it. Place these cats everywhere, and I'm going to change some of these colors. Then this may be a little bit bigger, so it has some scale variety. And then maybe maybe we'll make a really, really tiny kitty. You know, um, explore all of the options. Whenever you're working on it, maybe you're going to go in and reflect. And then when you double click, you're gonna tell it to flip horizontal. So it's preview it. You can see he's shifted a little bit. Then you can get the cat looking in the opposite direction. All right, let's just put a couple more of those guys around. We'll just pepper will popper the page with our kitty cats. Uh, same DeLeo with this one. Maybe we want one now here, which that might and her fear with that guy. So just start moving around and playing with them and seeing where you know, these clusters of cats look good when you start feeling like you got enough that now you need to start making the duplicates. Let's start on that. So remember, it was copy paced in front. Now we're gonna go down. So that's are why so That's a positive 1000. And so now our cat is at the bottom, so anything that touches the top line needs to be echoed at the bottom. And if it's on the left or the right is going to need to be echoed on other sides, let's do the top line first to keep everything in order. So we're gonna copy paced in front and you guessed that positive 1000. So then that one is down there. So these three are looking like a diagonal so right off the bat, that's not ideal. So let's just shift some of these around just so we can get a little bit of variety with that now, these air in a row. So he just might need Teoh disappear for now. And then we can deal with this space a little bit differently. So maybe this cat needs to have a little bit of emphasis and will change his color in a minute. Actually, let's use the reverse for that one, and we could do the same thing with these double click and flip him so that he's looking in the other direction. And that way we have two cats that are a little bit smaller and scale floating around our page. All right, this guy's on it. So we did our top. Now let's do the right side. He's on our right side. Copy Apple C paced in front apple F. And now we need to go to the X. But we're going to the left. So that is a negative 1000 so we could see him over there. So he's now going to get in the way. So let's just don't come often. Decide, not worry about him for now. All right, in our bottom, he needs to come on top now, so copy paste in front. So this is going to go up. So that's a minus 1000. So now he's there, and maybe I'll bring him to the front cause he looks like he needs to be sort of on top of that line. And it won't matter up here, but let's just do it. So it's symmetrical. This one is over there. So now all we need to worry about is this guy copy paste and front, and that's a positive on our X. And he is over there now. All right, So if you want now, you can play around with some of the colors. So the greens looking quite good. Maybe the let's just use watches to make life easier on ourselves. Um, let's see what colors, maybe. What about darker purple? That's kind of interesting. Will make both of those the darker purple. So they sort of blend in together. And maybe this guy since he's touching, uh, maybe these two. A darker green tie in with the other green and maybe one of the smaller guys. Maybe this guy think that was the right green. All right, so we have all these crazy cats looking, Let us right now, and we can start with our background color now that I'm gonna bring him to the front and him to the front, because I sort of like how these were cascading into each other. All right, let's go ahead. Make our 1000 by 1000 which should remember it. No, I had get it to our origin point. Send it to the back. Obviously, this color is not going to be ideal. Let's try a crazy Andrew Warhol style pop art cats. So this is sort of eco Andy Warhol's palettes. So let's just go with a yellow Let's just make sure and you can see how you can create a sort of serious with ease because the backgrounds will influence the style of the piece. I'm gonna go for bold and crazy, because why not? It's crazy cat lady footprint patterns. But toss that little guy off to the side, copy paced in front, Bring it to the front, Select all. You guessed that we're gonna turn this one into a clipping mask also so that we can see what it looks like when it's on that repeat. Zoom out a little bit so we can see that repeat. And let's just do a three by three just to see how that works. I feel like the big cat head is making it a little bit, too. You can see that line if you stare at it, so I would go in and adjust that part a little bit more whenever un sort of on the fence. I'm kind of OK with it hoops, but I'm you know, curious about fiddling. I will just take the first original and just keep it up their chest in case what I change down here when we release it. If I don't like how that looks, that I'm able to go in later and change that. So it's just toss a couple kidneys off to the side, move him around, maybe send him to the back, send this to the back, shuffle things around, bring another one of these, but maybe just a slight scale down and a reverse with our reflect tool just to balance out some of that bold magenta in that one spot. So I'm gonna bring that one to the front. It may be that went there, and this is that sort of massage period. So you might need to massage the piece a couple times. So if you're a person who likes to work and multiples, you might want to start doing like like I either have up here of its different variations or just save the file out each time with a B, C, D. E, etcetera on it so that you can get the exact style that you're looking for. I'm just gonna put that over there and I feel like right off the bat that's probably going to feel a little bit better. Copy, Paste, bring it to the front and we can't do Apple a now to select all cause that will be selected also. So I just click and drag, right Click, make clipping mask And you guess that Let's go ahead and do that. Repeat. We'll just do three by three again just to make sure. All right? Yeah, This feels a lot better right off the bat. I would probably fill in the space here with something and maybe above his head with a couple more the little ones to really help that flow. But it does. You know, I'm just to do a comparison. I'll just do it to buy two on this one. It does have a little bit more of a different feel to it. That's a little bit off, but there we go. You can see one little bit more sparse, but you do get that linear quality, whereas this one is gonna bounce you around the page and your design a little bit more. So for this, I go ahead, save it out as the 12 by 12 for a solo and a repeat. And you know, that way I have it as the original and as well. I have it as a size that is ready for our if we're gonna print it out on fabric or if we're gonna put it on society six A red bubble. 7. Working with source material: with a section. Let's work with some source material in this case, an image. Make a new document of your choice. And on the right side, you're gonna notice a drawn layer and a background layer and a little plus about both of them. Go ahead and click on that plus, and then you're gonna select image layer. This is going to allow you to import an image from a variety of sources and in my case, under use it from on my iPad. Once it comes in, you're gonna be able to resize it. However you wish the size up size down, and when you have it, go ahead and put done. All right, so now we have an image layer with a source photo and let's go ahead and switch to our draw layer and you can see our marks are gonna go on that layer just like an illustrator. If we were working under our tools, I find it best if we go ahead and set it to a really strange bright color. So it's gonna be easier for when we're drawing over our source material. So I choose this garish red and go ahead and start drawing. So for this part, it's pretty self explanatory. Let's go ahead and let's just draw a little bit. Using are actual photo work off you could be is detailed with this is you want or you can style eyes and minimalize it for this one. I'm thinking more, you know, I want to get this scale in proportion, but I'm or interested in the simplification and making it more of a most comic style cat rather than one that's really, you know, realistically represented. So it's gonna It's gonna be a little bit stylized, but the style is going to be up to you as usual. Of course. Go ahead. If you don't like this particular drawing tool, try some of the others to see which one suits your style of for mine. I find just the basic marker for this. What is going to do the trick again? I'm just gonna worry about getting stylized. Look for this, and then once our lines are done, we can go ahead and start adding more details to it. So let's just finish this one up, then start thinking about our colors. So for this, I'm going to just put some fill in and I can change these colors in an upcoming section when we're actually in Illustrator But I'm gonna go with my stand by on our teal. That way it's easy for 60 and you can toggle by double clicking on your layers If you want Teoh, remove the visibility of specific layers. So I'm just gonna go ahead. I'm gonna dump the teal in a color for the nose. And if you're having trouble with this part of the smaller parts sometimes are a little bit trickier to work with, so you may need to zoom in, But again, the Phil is gonna help with the next stage of our drawling. That way we can manipulate the colors even further. So just think of these as placeholder ones and again, small parts zoom in, move around and then you put the colors in that way. So if you are finding it a little bit fussy to zoom in and it should fill a little bit easier sometimes the pencil is a little sensitive. For that part. I'm gonna go ahead, clean up some of those extra marks that I have off your size with the eraser tool and that way, when I do bring it, and it's just going to be, you know, the cat illustration itself. When you have everything finished, can leave the layer on you could trouble it on you can toggle it off up to you, go into your desktop acts and send that to illustrator. All right, so let's do this again, make a new document, bring in a different layered image. And in this case, I'm going to do a flower. And I am going to speed this one up just so that you can get an idea of the layering practice with this. We're gonna try a different tool again. I'm going to be working pretty loosely with this because I want more of a kala graphic approach with this one. Someone has been thick lines, and if you are gonna put filling it, make sure your line touches another line. So it knows to go into that field. Sometimes you will have issues with that. Go ahead, place your colors on that and we're going Teoh the side. Do we want more detail on this? Are not so right now. It's just the blossom part itself. One thing you can do is have some considerations for the textures or the background. So in this case, we're going to deal with our background and we're going to add another layer, and it's gonna be a draw layer for this. Let's put a couple of leads in that way. If we want to put them into our illustration, will have, um 8. Class Project: So for our class project what we're going to do. Let's go ahead and design your motif. So in this case, was it going to be cats or flowers or nature or folk design? What is your sort of typical working style? And go ahead and create a serious of drawings on your iPad using adobe drawl that you can import and illustrator. Once you're finished with those drawings, go ahead and import them into illustrator From there, play around with each of the objects and see how they fit on the page. Play with scale. Play with color, play with your background, play with textures. When you get a design that you feel comfortable with its repeat style and has a good flow, go ahead, save it. As of solos, save it as the repeat and uploaded as a J peg to your skill share class project so we can check out your creations. Remember, have fun with this. Go all sorts of crazy with your colors and your patterns, and I cannot wait to see what you make with this 9. Conclusion iPad: And with that, Now you know how to convert your drawings on your iPad into illustrator and, of course, into a repeat pattern. From here, you can create unique and individual pieces that reflect your drawing style and your color palettes, and you can use these on your own design or art projects. You can even put them into spoon flour, red bubble or society six or any of that style of online print on demand. I look forward to seeing what you create again. Be sure to share in the class project below so we can see your process and enjoy your end product. I hope you've enjoyed yourself.