Transcripts
1. 10 Patterns in Photoshop Introduction: Hello and welcome to
this Photoshop class on making 10 advanced patterns
in Adobe Photoshop. My name is Helen Bradley and
I'm a Skillshare top pager. I have over 270 courses on Skillshare and over 168,000
student enrollments. In this class,
we're going to make 10 more advanced patterns
in Adobe Photoshop, including patterns of wavy
lines and swirly loops, a woven pattern and
a knitting one, a pattern of uneven lines and a hexagon pattern, and more. Every one of these patterns
has been chosen because it uses different Photoshop
skills and techniques. So you're going to grow
your Photoshop skills as you create these designs. By the end of the
class, you'll have 10 new types of
patterns to add to your Photoshop
pattern collection and you'll have learned lots of handy tips and techniques for working in Photoshop every day. So without further ado, let's get started making more advanced patterns
in Adobe Photoshop.
2. Pt 1 - Wavy Line Pattern: This wavy line pattern
can be made in a single color or
in multiple colors. It is a little bit
tricky to make, but it's worth learning
how to make it, because it does illustrate
a key principle for creating patterns out
of unusual objects, if you like, in Photoshop. Now I'm going to start with
a document that is 1,000 pixels by 1,000 pixels in size. I'm going to the
rectangular tool down here, the rectangle shape
tool, it's set to shape. I have a fill which is going
to be one of the colors of my lines and it's
got no stroke at all. I'm going to drag
out a shape that is the width of the document and it's quite a hefty depth. Mine's going to be something
like about 1,000 by 280. It's not exact, but I can make
it exact in this dialogue. It doesn't have to be exact, so don't worry too
much about that, but I'm going to position
it right on the very edge of the document by setting
my X value to zero. This is my starting shape here. In the layers panel, I'm going to right-click
this layer here and choose convert
to smart object. This is going to mean
that the filter I'm about to apply can be edited. That's important if you don't get it right the first time. We'll choose filter and
then distort and then wave. I'm going to apply a wave
filter to this shape. Now I'm setting it
to sign because we want that curvy wave shape. What I want in this
dialogue is at least two of these
bumps at the top. I want two bumps at the top and one and a bit bumps
at the bottom. It's going to make
it easier to get a really nice pattern later on. I've set my number of
generators here to 26. It's not set in concrete, but you will find that changing
that value is going to change the shape of
your lumps and bumps, if you like, on this line. Again, making sure that
we've got plenty of pattern, plenty of element to
create our pattern from. 2025 might be an
appropriate setting. For wavelength, you
want your minimum and maximum to be
pretty much the same. They can't be the
same number but they can be one digit off. I'm dragging on the
minimum because it's always going to be
less than the maximum. You can say that that's
flattening it out. Drag on the maximum
to go back the other way because that takes
a minimum with it. Again, I'm just making
sure they've got plenty of bumps here that I can make
my pattern out of it. Let me just adjust
that a little bit. That's a pretty good amount of bumps to make
the pattern from. You don't want lots and lots of waves here because we're
not going to be using them. You're just wasting the
document that you've got here. Amplitude, I've
got my minimum set to one and my maximum to 70. You can see that the maximum is pulling this into
a different shape. That's not the shape I want, I want mine to be this very
generous, rounded wave shape. The amplitude again is going to change things to the minimum. I'm setting minimum,
as I said, to one, maximum to something
like 70, 71. The scale is 100 on
vertical and horizontal. Once you've got that
and once you're happy with the number of
bumps you've got in here, just click Ok. Now if you look at that
and it's not right, the reason why we created this as a smart object is that, that this wave filter is
editable at this stage. You could just
double-click on it, open the dialogue back up
and make changes to it. I'm happy with this, so I don't need to
use that feature. I'm just going to right-click
and rasterize this, which turns it into pixels. We've lost our shape, we've lost our filter. They're not editable any longer. But that's what I wanted. I'm going to
right-click and choose duplicate layer because I
want a second copy of this. Now with my duplicate selected,
I'm going to flip it. I'm going to choose edit
and then transform. It's really important that you
choose the right one here. What we're going to do
is flip it horizontally. Click flip horizontal and you should end up with something
that looks like this. Set the blend mode of this
for now to different. Just click on
Difference and then just click away from the shape
and then re-select that. Because if you don't do
that and you're on a PC, you're going to start
changing the blend mode, not moving the subject. With this top layer
selected this is going to be the
red one right now. I'm moving it over so that it overlaps the one underneath. Because what I
want to do is even out any inconsistencies
in these shapes. That filter that we
just use does not give you perfect, perfect waves. They're good enough for a lot of purposes, not for patterns. I'm just going to zoom in here. What this difference
filter is giving us is a look at how these
two shapes are out. They're not
overlapping perfectly. The blue bit is I'm
not overlapping, and so is the read bit. The black bit is we've got
pixels on both layers. What you want here is the amount of pixels
showing here to be roughly equivalent
to the amount of pixels showing there. That's it. Just adjust it by nudging it
with the arrow keys until you get approximately the same
number of pixels showing. That's all you need. You just want to line these
up as well as you can. Switch this back to
the normal blend mode, right-click this layer
and choose merge down. What that does is it merges
those two layers together. Now we have perfectly
symmetrical shapes because they've been
joined together. Well, they're symmetrical in the area in which they
were joined together. They're not
symmetrical over here. Next thing is to make sure
you've got rulers visible, choose view and
rulers if you don't. Then you're going to drag
from the ruler line here down and drag a ruler to the very
top of these two bumps. Then go and drag
one to the bottom, come to the side here, and drag one to the
middle of this bump, and then another one to
the middle of this bump. Essentially this area in here
is going to be our pattern, so we need to make sure
that it looks good. Let's zoom in. What I'm looking for here is for this grid line to be pretty much in the middle of my shape. I think it's off by about a pixel so I'm just
going to move it. That looks like
it's pretty even. I'm also going to
drag this down, so it's just sitting on
the top of the shape. Let's go across and make sure things are looking good
on this second shape. Well, it's not quite
in the middle. I think eyeballing it, that's a better position for it. Let's zoom out. I'm using control or
command zero to zoom out. Let's go and just check
the bottom here because we don't want to cut the
bottom of our shape off. Well, it's perfectly positioned. You can see that
the guide is just immediately below the last
pixels in this shape. Everything is looking
good at this point. I'm going to choose the
rectangular marquee tool here. I'm going to make sure that
I've got my snaps turned on. I've got snap turned on and
it's snapping to everything. That's perfect. That's
going to work just fine. I'm going to click and
drag a rectangle that fills this area
that's marked out by the guides because this
should be our pattern. I'll go to edit and
then define pattern, and I'm going to call this wave, and click Ok. Now we'll test
that with a new document. Want to make sure that you
test these straight away, because if there's a
problem with them, you need to know that now. Layer, new Fill layer pattern. Click Ok, and select the very
last pattern in the list. At this point, we can
check and make sure our pattern looks like we don't
need to zoom in very far. We know that the pattern
involve these two top loop. If everything looks fine in this area and in this area
then the pattern is perfect, and it is just that it is
a perfect wavy pattern. But let's go back now
and see how we can create our second pattern
of multicolored waves. We want to leave
everything intact here. We also want to make sure that our pattern is perfect
before we go further. If your pattern wasn't perfect, then you would come
in here and adjust your guide so that you've got a better selection going. Remake your pattern,
go and check it. Don't make your second set of colored waves until you've
got the first one perfect. Then when you've got
it perfect, don't move anything because
we're going to use this marquee that we have for our pattern as
a cutting guide. I'm going to choose
image and then crop. What that does is that it crops the image to the
selection I had in place. I'm also going to
turn off my guides, I don't need them any longer. View guides, clear guides. I'm going to deselect
my selection with select and then de-select. I've got my pattern here, I need to double
this document size. What I'm going to do is choose image and then canvas size. Now it's important to use
canvas size, not image size. We don't want to change
the size of this loop, we just want to space
to add a second one. Right now the height
of our document, the depth here is 477. We're just going to double that. Leave the width as it is
and just change the height. Now you can do the
mathematics in your head or you can
get out a calculator, you just going to multiply
whatever your height is by 2. I happen to know that
that's going to be 954 because I just did
it on a sheet of paper. Then for the anchor, you're going to click here in the top most box in the middle. What that does is it makes
sure that this shape that we're seeing here in the document is going
to stay where it is. When we make the canvas bigger, we have an option
here to move it. We don't want to
move it, we want to leave it exactly where it is. Click Ok. Now we have a canvas which has double the height that it was with our shape in the very top. Let's right-click
this and choose duplicate layer, click Ok. I'm going to the Move tool. I'm going to hold the Shift
key because I want it to be moving in a perfectly
vertical direction. I'm just going to take
this down so it bumps against the very bottom
of the document again, using those guides to
line everything up. We don't want blue pattern
because we already got that. What we want to do is make
this a different color. I'm going to target this
rectangle layer here. I'm going to the fx
icon and I'm going to choose color overlay
because I just find this as a really
nice and easy way to add color to a layer. In the color overlay area here I've set the
blend mode to normal, the opacity to 100%. I've just chosen a color. Just go choose a
color and click Ok. This is another pattern, is a pattern of turquoise
and pink wavy lines. Because we're taking
the whole document, this time we don't have
to make a selection. We can just go straight
to edit, define pattern. Let's go and test it. In our other document, we'll double-click on
this pattern fill layer, click the drop-down list and
go to the very last pattern. There is our pattern. Of course, using the
pattern fill layer option, you do have the
ability to scale this so that you can have a look
at it at different scales. That's how you
create a single or multi-color wave
pattern in Photoshop. You've learned something of
the principles of selecting a repeat swatch from a rather
more complex document.
3. Pt 2 - Argyle Pattern: Argyle patterns like
these are fun to make. They're really
attractive and they're a really good foundation
pattern to know how to create. I've got some single color and multicolor ones as well as
the black and white one. Now, the black and white
one has a trick where the lines over the top
actually change color depending on what color
they are over the top of so watch the end of the video
because you're going to be interested in that trick. I'm going to start
with a brand new file. It's going to be 1,000
pixels by 1,000 pixels. This is pretty
important in terms of getting the pattern to look good so just use
these dimensions. I'll click "Create". I'm going to show my guide, so I'm going to View and then Guides and New Guide Layout. For this, I want columns
and rows enabled. Four columns, four
rows, no width, no height, no data, no nothing. The color, you can just choose
whatever color you want. Just click "Okay". Now, we're going to use
the pen tool for this, but I promise you it's
really just four clicks. Make sure it's set to shape, makes sure that you have the
fill color you want to use, and make sure you
don't have any stroke. You're just going to come
up here and click at this anchor point assuming that your snaps are turned on
so I've gone to View. I've Snap turned on and all
my Snap Tos are enabled. The pen tool is going to snap to this anchor point if I
get it close enough. I'm going to come down
here to this one. What we just drawing here is a long thin diamond basically. You want to finish
off so I'll go back to your starting point, hover over it and
click so that you get a shape that finishes
where it began. Now, if we go to
the layers palette, I'm just pressing F7 so I
can see my layers palette. I'm going to right-click
here and choose Duplicate Layer so that I can
get a second one of these. This one, I'm going
to drag across, so I'm holding the Shift
Key as I drag it across. I'm going to make sure
of its position by using Edit and then Free
Transform Path. Just making sure that the
center of this shape is at 750 and 500 looks fine to me. Let's go to this
shape and again, Edit, Free Transform Path. Make sure that it's at 250
and 500, the center here. If you're not seeing
those nine little boxes then turn on this checkmark. Everything is looking like
it's in the correct position. I'm going to make a duplicate of this layer and it's going to be my lines so I'm going to
target this top-most layer. I'm going to one of
the shape tools, it doesn't matter which one. I'm going to turn my fill off, that's really important
and I'm going to set my stroke to a black stroke. Now, it's way too thick. I think I'm going to
bring down the stroke with two four and
see how that looks. We're going to
click on this icon here to select dashed lines. Now, in more options
you'll see that I've got the dashed lines turned on, the dash set to four, the gap set to two. You can adjust those
settings if you need to, to get longer or bigger
spaces between your dashes, but I'm happy with that. I'm going to the Move tool. I don't have auto
select enabled, that's important because
it's going to make it easier for me to
move this and start moving it and hold
the Shift Key to make sure that it's moving in a perfectly
horizontal direction. I'm going to check
that it's middle is right over the edge
of the document, Edit, Free Transform Path. It's middle is at 1,500
x and y, that's perfect. I'll right-click
and I'm going to duplicate this layer again. This time I'm going to drag it back to the middle
of the document. At this point, the middle of
this shape should be at 500, 500 Edit, Free Transform
path check 500, 500 which it is. I'll click the check mark. I'm going to make one more
duplicate of this and drag it across holding the Shift key so it's going in a perfectly
horizontal direction. Double-check its position,
it's not correct. I didn't think it was correct. I just had that feeling it
wasn't snapping correctly. I've changed its x to zero, it's y should be 500. It's easy enough to change those if you get them in
the wrong position. We're going to turn our
guides off with few guides. I'm just going to
clear my guides, I don't need them any longer. This is my pattern, so I'm going to choose Edit
and then Define Pattern. This will be Argyle 1. We need a document
to test this in. It's always wise to test your patterns immediately
you create them, because if you've
made a mistake, you want to know immediately
that there is a problem with the pattern so that
you can fix it up while it is still
fresh in your mind. Here is our argyle pattern, if you want to make
any changes to it, then go back to the original pattern piece make your changes and test it again. I'm pretty happy with this. Let's go and see how we'd
make a two-color version. Well, for a two-color version, we're going to select
one of these shapes. I'm just going to add
a color overlay so click on the ''FX'' icon
and choose Color Overlay. I've some colors I'm using
for these patterns and this happens to be the color
that I want to be using. Its blend mode is set to normal, opacity to 100 and you can just click in here and just
choose your color, but my colors are
already selected. This is my second pattern, easy as that Edit, Define Pattern, Argyle 2. Go on and check it looking
the way that you want it to look, which it is. Now, that we've got
a two-color argyle, let's go and have a look and
see how we can make that into a black and white argyle. I'm coming back
to this document, I'm going to select my two
argyle diamond shapes. Go back to a Shape Tool and I'm going to set the
fill to pure black. I'm going to use these grayscale
options because I know this is pure black and
we can double-check it, and that's going to
be important because the next effect is going to
work better on pure black. It's zero in the red, green and blue
channels, that's black. Let's go and select the three layers that
are this dashed line. For these again,
select a shape tool. We don't want to
change the fill, but we do want to change
the stroke to white. Again, let's go to this grayscale selection
because this is pure white. Now, we're halfway to
where we want to be. I've got white appearing over the black,
which is perfect. The problem is that
I am not seeing the white over the white because
they're the same color. What I want to do is to put the lines at this
point to be black. Well, you can do that
with a blend mode, so I'm selecting these layers
here and I'm going to set the blend mode to one of two blend modes,
exclusion or difference. It doesn't matter.
They both have the same effect in
this situation. Let's click on ''Exclusion''
and you can see that these white shapes here are now white where
they encounter black, but they're black
when they encounter white so invert process. Interestingly, it doesn't
work if the lines are black. They have to be white so that's why we went
through the trouble of making them white because then this effect
works perfectly. You can see that the
lines are seamless. If they cross over the edge
of one of these rectangles, they immediately change color
so we haven't had to do anything fancy to have the
lines work really perfectly. Edit, Define Pattern
Argyle 3 and let's go and test it. Here we have our black
and white argyle pattern. As I said, argyle patterns are a wonderful addition to your
Photoshop pattern tool kit.
4. Pt 3 - Swirly Loops Pattern: This swirly pattern
here looks a lot more difficult to create
than it actually is. We're going to start
with a new file. I suggest you follow along
with these measurements because it's pretty critical
to getting this to work. I'm doing a width of 900 pixels and a
height of 600 pixels. Ultimately, we're going to have a pattern swatch
that is 600 by 600. We just need to make
it bigger to start off with, I'm clicking "Create". I'm going to choose
View and then Guides, and then New Guide Layout. This allows us to make multiple lines or multiple
guides at a time. I've set the color to cyan. You can use whatever
color you like, it's not relevant at this point. I've set columns and rows on. I have six columns, two rows. I have nothing in the
width or height columns here and nothing in the gutter.
That's really important. You don't want any gutters at
all and just click, "Okay". I'm holding down the space
bar as I move things up so I can see everything
a little bit more clearly. I think I'll zoom in
just a little bit. [NOISE] I want to say this corner of the
document and this area here, I think I'm pretty good. I'm going to the pen tool. Select the Pen tool
and select Shape. I have a fill of nothing at all. I have a black stroke that you need something so that
you can see it at work. I have it set to four pixels that it's going to
be pretty easy for you to see and over here
with this little gear icon, I've got rubber band turned
on that's going to make life a little bit easier
for you because you can see the shape as
you're drawing it. We're going to
start down here in the very bottom corner of the document and you're
going to click and drag, and drag to the right, hold the Shift key down. You're coming all the way
to this grid line here. Once you've got there, you're going to let go the
left mouse button first, and then let go the Shift key. You can see this rubber band is showing you where
we're headed to. I'm going up here to this point here so it's two grid lines in. I'm going to click
and drag to the left this time and I'm
going to add the Shift key, and I'm coming all
the way across to this first grid line here. Again, let go the
left mouse button. Again, let go the Shift key. Now we're coming down here and this is where
you want to watch out because this seems
a little bit too far, but you're going to
come across here from this midpoint here, we're going to come across
two grid lines and you're going to click here and drag to the right and we're
going all the way to the very right edge
of the document. Again, hold down the
Shift key so that you make sure that
you get this perfect. When you get there, let go the left mouse button, let go the Shift key and then go and press "Escape" because that's going
to stop the drawing. You'll see that the shape is in the bottom half of the
document and it only goes out to two-thirds of the way across the document this bit we're going to
discard in a minute, but we needed it to
be able to draw. I'm going to the crop tool. I'm going to bring this in
and I'm just looking for that little tooltip
to tell me I've got to 600 and because
we've got grid lines there, you're probably going to find
it just snaps in perfectly. All we're doing is taking 300
pixels off the edge there, click the "Check mark". Now I have my options here set to the document size
so you can actually change what you see
here and I've got document dimensions
because that allows me to make sure that
I'm on track here. It does say 600 by 600 pixels. I'm going to the
Path Selection Tool. I don't need my
grid lines anymore, so I'm going to
choose View Guides and then I'm just going
to clear my guides. With the path selection tool, I'm going to select
Over my Path and I want to move it to the
middle of the document. Let's go up here to this option. Make sure that this says canvas, and let's center it in
the middle of the canvas. Over in the last pallet, we're going to make
this a smart object. Right-click and choose
Convert to Smart Object, and then right-click
and duplicate it. As with all of
these patterns that follow this design approach, we're just going to
use the offset filter, filter, other offset. Again, the documents 600 by 600, so we're throwing it 300 in the horizontal and
300 in the vertical. Make sure wrap-around
is selected, make sure previous turned on so you can see that
it looks pretty much like mine does,
and click, "Okay". At this point, if you want to change the color or the
thickness of the line, you can do so just double-click
on the smart object. Use the path selection
tool to select your shape, go and give it a
different color. I'm going to make
mine this pink color, and I'm going to take
it up to six pixels. I'll close the document and click "Yes" to save my
embedded smart object. Now I'm just going to save my Pattern, Edit,
Define Pattern. I'm going to call this loops. New fill layer pattern and here's our loopy pattern. If you want to take this pattern one step further, you can do so. What I'm thinking here is to fill these areas with a color. The first thing
I'm going to do is select this shape down here, and I'm going to the
Magic Want Tool here. I haven't set to a
fairly high tolerance, and I'm just going to click inside this shape to select it. Then I'm going to make it
a little bit larger with select and then
modify and expand, and I'm setting
it to two pixels. My line weight was about four, so our two pixels is
just going to tuck this shape ultimately
behind this line. If your line weight
is very small, then you will have to expand at a very small amount or
perhaps not at all. I'm going to add a new
layer to the document. I'm going to move it underneath this shape so that the
color is going to go under and it's still going to have that nice
line over the top. I'm going to choose
orange as my color. I've targeted orange and I'm going to the
Paint Bucket tool. I'm just going to fill that portion of this
layer with orange. I'll choose, select and deselect to deselect
my selection. So far so good, we've got our fill. Now, I want to put
a different color fill in the corners here. I'm going to make a
duplicate of this. Let's just duplicate
this layer and so that it will be a bit easier if I want to
change this color, this one I'm going to
make into a smart object because I'm about to throw
it into the four corners, which is going to break
it into four pieces, making a smart object, it's going to make editing it later on just a
little bit easier. It's now smart object, let's throw it into
the corners with filter other and then offset. The offset values are the same as they were before
they should be. I'll just click, "Okay" and now if we want a different
color here, we can do that. I'll just double-click
on my smart object, and this is the smart object. What I'm going to do is lock the transparent
pixels on this layer. So you can see lock transparent
pixels is selected. I'm going to select
a different color. This one's going to be my pink and because it's the
foreground color. I'm going to press "Alt"
and then backspace to fill this layer
with the pink color. You can also use the
paint bucket tool, but you want to put in a
fairly hefty tolerance because you need to get
rid of that orange color. When you're happy with that, close it, save it. We're back in our document and we've got our pink color in the corners and our yellow
color in the middle. Let's make a pattern from that and here's our
multi-color version. Of course, if you had
1-2 you could have saved the all-orange
version on the way through and that would have
given you another pattern.
5. Pt 4 - Woven Pattern: Creating a woven pattern like
this in Photoshop is pretty easy and it offers us some opportunities for
some customization. Let's see how we're
going to create it. In this case, using the dimensions that I'm using
are going to be critical. I'm going to click on New
file and I'm going to create a document that is 1,000
pixels by 1,000 pixels. I'm using RGB color, 300 pixels per inch with
a white background. Now we're going to
use some guides here. Again, these settings
are critical. I'm going to choose
View and then Guides and choose
New Guide Layout. Now for this I want
to have some margin. I'm going to set margins on. I don't want anything
for the top margins. I'm going to type zero. For my left margin, I want a 50 pixel
margin so I'll type 50. For the bottom, I want
another 50 pixels so I'll type 50 and
for the right zero. Then for my columns, I want to have four columns. I'm going to type
four in here and the gutter is going
to be that same 50. For the rows, the
exact same thing, for columns and a
50 pixel gutter. What this is doing
is marking out the area for us to be able
to draw our shapes and we'll be able to draw them
with extreme accuracy if we have these
set already for us. I'm just going to click, Okay. I'm going to make sure
that snap is set on, so I have view and I'm showing obviously my guides here so
I've got show guide set on. I've got snap turned
on and I have snap to guides turned on. That's important to make sure
that the shapes we're about to draw actually
snap to the guides. Now for this, we're
going to use the rectangle shapes
on targeting it. I'm setting it to a shape. Then I'll set no
stroke on this at all and a fill of
something that I like. Let's just go and get a
light colored fill for this. I have a pink fill. You can choose
whatever you like. Now we're going to
draw some shapes, and we're going to start
here and we're going to draw one across the
three large boxes. Because snap is turned on, I should be able to
just drag out my shape. I'm looking in the
little tool tip at the bottom right corner of my mouse pointer here to make sure that the width and
height are nice even values. I've got 700 and 200,
that's exactly perfect. I'll let go. The next shape
is going to be down here. I'll click in this corner here
and just drag out a shape. Now, this is not the right size. It says to 54 by 200. It shouldn't be that size. Let's just size it correctly. I'm just dragging
it out and in on the edge that I saw
that it was incorrect. Now we're going to
draw a shape here, and it's going to
go all the way down to just above this bottom line. I'm going to click and drag out, check the size, 200 by 700. That's perfect. Now we need one in
here, so again, I'm going to set
my starting point. You might find it easier to actually start at an
intersection here. It might be more accurate sort
the problem I had earlier. This one is 200 by
450, that's perfect. We're going to
draw one here too, and this is going
to be 200 by 450. I've dismissed the edge there. There it is at 200 by 450. We have one final shape to draw and that's
going to be here. It's going to go all the way to the very bottom edge
of the document. Again, 200 by 250. In this instance,
let's just make sure that it is the right size. These are the
elements that allow us to create our woven pattern. We're going to have a wave here. It's going to duck under this, it's going to
reappear over here. This one is going to be a horizontal wave
and then a vertical, then there will be
another horizontal here. We've got everything in place. All we need to do is
to grab our pattern. I'll choose Edit and then
Define Pattern and click Okay. We'll create a
document to test this. I'm going to create
quite a large document, in this case, 3,600
by 3,600 pixels. A number of copies of
my patterns should go in here about 3.5
in the vertical, 3.5 in the horizontal. New Fill Layer
Pattern, click Okay, and go and find the
very last pattern in the patterns dialogue, which is our pattern, and I'll click Okay. As you can see, this is
a nice woven pattern. If we wanted to see
it as smaller size, once we're convinced that
it's working just perfectly, let's set it to 50. Now this is one iteration
of the pattern, and as soon as we've determined that everything is working, let's go and have a look
at a way that we can add a little bit
of variety to it. I'm going back to my
rectangle tool this time. I'm going to select
a black fill, and I'm going to fill in
these little boxes here, these four of them. I'm just going to drag out a square that
will go in this box, and these are going
to be 200 by 200. Again, just trying
to line up with the intersection as
close as I can get. I'm going to be using
that snap feature to snap in and create four
200 by 200 boxes. Everything's looking
really good here. I'm going to choose
Edit and Define Pattern and click Okay. Let's go back to our pattern. Let's go back to
our layers here. Double-click on this
and go and pick up the last pattern in
the pattern's dialog. This is a different
iteration of the pattern. In this case, we've got a cross wave
with a border on it, and we're saying that we have a black space in-between each
of these pattern elements. Of course, you can adjust the colors should
you wish to do so.
6. Pt 5 - Enhance the Woven Pattern: Now that we've created
our woven pattern, it's time to have a look at adding a little bit
of dimension to it. We're going to add some shading. For this, I'm going to be using the Rectangle tool again, but I do want to switch
my colors around. Black is my foreground color, and white is my
background color. That will mean that the
gradient I'm about to use will actually go in as a black
to transparent gradient. I'm going to make sure I have the Rectangle
tool selected, make sure it's set to
shape for the fill. I'm going to the Gradient option and I'm going to choose
the second one of these, and that is a foreground
to transparent gradient. It's going to click away. Now I want my gradient
to go in here, so I'm just going to
drag over a shape and I want it to go about
halfway across my shapes. I'm going to make it 200 by 100. It's going to snap at the top, which is exactly as it should, but not snap at the bottom because there is no
guide near here. That's just perfect. Now the problem
with this gradient is it's the wrong way around. I'm going to open up the gradient box and
I want to set this to 270 because that
will make it gray at the top and clear
at the bottom. That's good for that
first gradient. I need this same
gradient over here. I'm going to click
on this rectangle, hold down the Alt or Option key, and drag a duplicate away. I also need it down here, but I need it in reverse. I'm going to Alt or Option
drag a duplicate away, place it in the exact position lined up to this guide here. Go to one of my Shape tools. I'm just heading back
to the Rectangle tool because that gives me
access to this fill, and I'm going to set
this to 90 because I want this gradient
to go the other way. Just click away. This shape I need over here. I'm going to Alt or Option, click on it and just
drag it over here. There's a pattern to
what we're doing. We're doing internal shading
on each of these shapes. This one's internal
going in this direction, this is internal going
in this direction. We're going to do the
same over here on the gradients are going to
go in a different direction. Let's take this one, I'll Alt or Option drag it, over and I'm going to rotate it. I'm holding the Shift
key so it rotates in a perfect 90-degree direction. Then I'm going to move
it into position. Now, the gradient is
in the right spot, but again, the gradient
is just incorrect. With one of these
Shape tools selected, I'm going to reopen
my gradient and this time I need
either zero or 180. Well, I tried zero
and it wasn't right. Let's try 180 because
that's going to be correct. I'll just click away from this shape because I
want to re-select it and Alt or Option drag it because it's going
up here as well. Then we need one
here and one here that are going in the
opposite direction. Let's Alt or Option drag this, place it in position, go back to one of
our Shape tools. Click on the Fill, set this back to zero because we know that that's going to
go in the right direction. Go back to our Move
tool and Alt or Option drag and place this
one in position here. We're now in a position to choose Edit and Define Pattern. To define this as a
pattern click "Okay". Let's go back into
this document, open up the layers palette, double-click on it, and go
and add in our new pattern. Here you can see now that we've got some dimension
in this pattern. Now we might have done a
bit of overkill in terms of how dark the shading is but knowing that the pattern
actually functions, we can go back and
sort that out. I'm going to select on all the layers that have
this gradient in them. There's going to
be eight of them, so I've selected all of those. I'm just going to dial down
the opacity a little bit. If I drag down the opacity of all the layers
at one time to, for example, 50%, then I'm going to have
less of a gradient effect. Again, Edit Define Pattern, save this as another pattern. Go back and test it. Go back into the layers palette. I just pressed F7 to save
because it had disappeared. Double-click on it and
choose the last pattern, and here is the same
shading effect this time it's just a little
bit more subtle. Of course, we can change
the colors very easily by going back into
our pattern element. Let me just roll down the
actual layers palette. Select all the shapes
that are pink. Go to a Shape tool and select a different
color for them so we could turn them into green or some other bright or dark color. Let's go and get a pure color. Let's go and get a
turquoise-blue effect. Because the gradients are separate and they're
on top of everything, they're showing up,
even though we've changed the color to something
quite considerably darker. Edit Define Pattern,
click, "Okay", go back to layer, double-click on
the pattern layer. This is another pattern. There are lots of
iterations of this pattern that we can use in Photoshop, just working from the basic
pattern that we created. We spent the time creating
the grid and the shapes. Now, we can go ahead and make changes to the basic design. I can see here that I'm
missing a shading area, so I think I might have
knocked one of these out. I have knocked one of these out. I just saw that in the pattern, so after that happens to you just find the matching gradient, the other one that is
the exact same shade. I'm just going to move
that into position. I will need to recreate
those patterns so that they actually have
that gradient in them. This is the one
that actually has the gradients in it correctly. I'm going to right-click
on the one that was incorrect and just delete it so that it's cleaned up and
that I won't have patterns in my pattern swatches that
aren't perfect patterns.
7. Pt 6 - Knitting Pattern: For this meeting style pattern, we're going to see how
we can turn a drawing of a stitch into something that we can use for a knitting pattern. Now, I've already created
the drawing for you, so you'll want to download the knit stitch file and
go ahead and open it. This is the image is on a
transparent background. Now we could use
this image as it is, but it's a little bit rough
and ready so I'm going to trace around it
using the pen tool. I'm going to the pen tool, I'm going to turn off the fill and I'm going
to set the stroke to a reasonable size because this document
is actually pretty big. I'm going to choose
a 12 pixels stroke. I'm going to zoom
into the top end of this shape and
with the pen tool, I'm going to start
drawing around it. I'm going to start here
by clicking and dragging, so it's left-click and drag. I'm going to come down here to this point where there's
a dip and I'm going to click and drag a
little bit there and here, click and drag. Now at this point I want to
move the Canvas so I'm going to hold the space bar
and that allows me to move the art-board around but not affect the
line that I'm drawing. Again, I'm just clicking and
dragging around this shape. Don't really want
to click on the tip of this point down
here so I'm going to create an anchor
point just before it and then create an anchor
point just after it. If I don't get this
perfectly all right, I'm not worried about
that at this stage let's just get these lines down. I'm missing this
one entirely here but as I said,
worried about that. Click and drag I'm
going to hold down the space bar as I drag on the art board so that I'm just moving the canvas
and not the line. Now if I go and make a mistake, I'm just going to press
Control or Command Z to undo that and then
just continue on. You could undo a few steps
if you made a few mistakes. Let's go round here and let's go back to the
beginning just before I click on the beginning
if your not seeing this rubber band
thing happening, go up here to the settings and you can turn on rubber band. But I've got a rubber band, so that's alright so I'm
going to Alt or Option, click on the starting
point and then just drag out and
that just makes the handles work
a little better. I still have my Alt key pressed
down I'm going to let go the left mouse button and
then let go the Alt key. Now I'm going to look
at smoothing my shape. At this point I may want to turn the background layer with
the content on it off. I might also want
to add a layer with a white fill so I've got a
white fill here let's just go and use the paint
bucket tool to drop in a white color behind it
that might let me see the shape a little bit better I'm going to zoom
out a little bit. Now we can just finesse it. I'm going to any anchor
point that looks a little bit untidy and I might want to clean
up just ahead of it or clean up the
anchor point itself. We've got a couple of
that are looking a bit rough and ready here. You don't have to exactly
trace the shape you just want to end up with
something that's pretty much looking like it. That's looking
pretty smooth to me. I'm pretty happy with
that shape so I'm going to the Path Selection
Tool I'm going to select over it because it is a shape when I went to use the pen tool I had shaped selected so this is a shape and
because it's a shape, I can create it
as a saved shape. I'm going to Edit and
then Define Custom Shape. You'll see here that
it's a filled shape. I'm going to call
this knit stitch. Saved as a shape it
means that I've got it stored on my computer and I don't need to worry
about this any longer. I can just trash this file, so I'm just going to close it. I don't need to save it. Now let's go and
make our pattern. I'll create a new file that is 1,000 pixels by 1,000 pixels. I'm using RGB color, white background
I'll click Create. I'm going to the shape tool and I'm going to drop the shape drop-down list down and the very last shape is going
to be your knit stitch. I'm going to grab that I'm
going to fill it with black. Let me just go and get black and I don't want it
to have any stroke at all so I'm setting this up
for success if you like. Now to draw this
shape in proportion. I'm going to hold the Shift
key down as I drag because that's going to constrain it
to the original proportions. What I want here is a shape that has a width and height
that are nice values right now these are
not nice values but as soon as I let go
the left mouse button, I get the chance of altering
the width and height. What I'm going to do
is round off the width to 240 because that's nearly what it was now affecting the width and I don't
have this option locked. If it was locked,
it would be dark, but it's not so that means I can adjust the height as well so I'm going to take that
to the nearest round value, which is 500 pixels. The shape is marginally
altered in size, but not very much. That's just a nice, easy way to get a shape that
is a fixed size and that's going to make
life a little bit easier for us as we progress. Let's open the layers
panel because we need to have access to that. I want to make the other
half of this Knit Stitch because the other half of
the stitch is opposite this. I'm going to drag this Knit
Stitch onto the plus icon here to make a second copy
and then I'm going to edit and then transform path. What's really important here is that you flip
it horizontally. It's probably going
to look pretty much the same if you
flip it vertically, but it's not going
to be identical and that can be a got you. I've flipped it horizontally. I'm holding the
Shift key down as I drag it across and where I want it to be is close to itself
but not on top of itself. If you add the Shift key
as you move it around, you'll drag it in a perfectly
horizontal direction. These two shapes are perfectly lined up and I'm going
to put them together. I'm going to click
on the first stitch, Shift-click on the second one, right-click and choose
Merge Shapes and that gives me a layer
which is my stitch, that's a whole knit stitch. Now, need stitches are pretty
handy because you don't have to select a lot to get a stitch so I'm going
to show you what to do. Let's grab this stitch and we're going to
make a copy of it. Drop it onto the plus icon holding the Shift key I'm
just going to move it up. Now I don't want it to touch
the previous stitch because that's going to make it
difficult to fill in later on. I want it close
but not touching. Let's go and get a
third version of it and let's move that up. Now I want to make sure that the gaps between
these stitches are identical so I'm going to
select over all three sets. I'm going up here
to this icon here, and I want to align to selection and I'm going to click here
on Distribute Spacing. You might see one
of your shapes jump a little bit the one in the middle is the one
that's going to jump. What that's doing is making
sure that the spacing between all three shapes is identical
so that's the good news. Now we're going to start
pegging the bits that we want to use for our
actual pattern. I'm going to click
on this stitch. If you click on your stitch, your guides are going
to snap into position. Let me just zoom in
here a little bit. I've got my Knit
Stitch Selected here, so it's targeted and I'm
going to drag down a guide. When I do, you'll see that
snapping into position because I've got Snap
tone on, I've got View, Snap tone on and snap to is set to everything
it can possibly be set to and so this guy
just snap into position. Now I'm going to pull down, I want to say the top
of this shape here, if I click on the shapes so
it is targeted, as I said, these guides are going to snap into position because
they know where they have to snap and you can see
it just snapping nicely. Now we're going to bring
one in from the side. Now this one, we don't want to be positioned right on top of the shape because we do
want a little bit of space between our knit stitches. I'm just bringing it up to a slight distance away from
the edge of this shape. Now if you want to get your
guide a little bit closer, you can pick it up and you
can hold down the Control key and that will allow
you to move it without the snap taking effect. Because if you snap it, it's going to snap to
underlying pixels. Actually a pixel grid here behind everything it's
going to snap to that and it might get you too far away from the shapes so I think that's a better
setting there. Now I'm going to put one
exactly the same position on the other side again, grab this line here, hold down the Control key
if I need to I don't this time I'm able to
position it really well. Now if you can't see your rulers to be able to drag your guides, you'll choose View
and click on rollers. Rollers are things that you
can just drag a guide off. It's a really handy tool to use. I've got a guide down here just outside the
edge of this shape. I've got a guide
across the top of this shape underneath
got a guide across the top of this
shape and a guide a little off the edge
of this shape here. This area in here is my pattern. It's very small it's
disconcertingly small so let's just go and
grab the pattern paste. This is the pattern pace. With it selected I'm going to edit and then Define Pattern. I'm going to call this knit
stitch and click okay. Now we're going to test it by creating a brand new document. This is going to be much
bigger so that we can see how the pattern behaves in
the document layer, new fill layer, and then
pattern click okay. Then from the drop-down, we're going to select
the last element, the last pattern that
is the one that we have just created and here is
our knit stitch pattern. You can zoom in to make
sure it's perfect. But if you follow those
instructions really carefully, you will find that
you should have a perfect pattern because the snap to guides has
done all the work for you. Now we have a knitting pattern. Now this one has its
background with it. Let's go back to the original and turn off the background. We've still got our
selection in place so let's go and make another
pattern from this. This is going to be knit
stitch transparent. That's a benefit because if you use this particular pattern, you'll be able to put
a colored background behind it so I'm just
going to select it nothing's going to change
because it's actually got a background
behind it already. Let's add in here a fill layer. I'm going to Layer New
Fill Layer, Solid Color, like using the solid color layer because it's very
easy for me to now, experiment with different
colors here that I can use for the
background and we're just dragging into position a color to use for
my background. Now, of course, in addition to adding a color
fill behind it, we could go above
this pattern and we could invert it so we would add an inversion
layer new adjustment layer, and we'll go down to invert and click okay and that just inverts everything so what was
black is now white what was white is now black because I
turned off this blue layer. If I turn the blue
layer on them, I'm going to get a
weird color because the inverse of blue is red. Well, the inverted cyan, and this is more like
cyan is actually red the true inversion of a true blue is yellow but here we've
got something that's a bit more cyan and so it's
inverting to red. But I just want black and white so that's what I've got here. At this point if you have
a look at your pattern and think it's too
close here and I'm thinking this is pretty close this stitch
then I would go back again to my original design I'm going to get rid of my
selection with select, de-select and I'm going to these guides and
I'm just going to move them out a little bit. I think that may be a little
bit close and then I'll go and re-select my Pattern. Edit, define pattern. I'm going to call this
Knit Stitch Version 2 and let's go and test
that in the document. We're still got iron
version layer selected. It's still going to invert, but we're going to
double-click on this and go and get the last pattern. This is a bit further
spaced apart so you might prefer that particular design to the one that we had earlier, but you can finesse this
pattern very easily provided you've still got that
content accessible to you.
8. Pt 7 - Customize the Knitting Pattern: Once you've created
your knitting pattern, you can look at
options that you have for creating things within
the knitting pattern. I've just got this in a
slightly larger document here, but it is the last knitting
pattern that I made. I'm going to add what's called a hue saturation adjustment layer here to change the color
of the knit stitches. I'll choose Layer,
New Adjustment Layer, and then Hue/Saturation
and click "Okay". This is going to allow
me to color this design. I'm going to increase
the lightness and increase the saturation. I'm going to click
on "Colorize". That's going to allow me
to colorize this pattern. I'm just going to drag over
on the hue slider here. I think I'm going to need
to lighten this up a bit so that I can choose
a color to use. I'm thinking Christmas here. That's why I'm going all
the way into the red to get access to the reds for
my knitting pattern. If I'm happy with that, I can just click to close it. Now, I want to limit this hue saturation adjustment
to just this layer here, just the knit stitch layer, because I'd like to put
a really dark color behind this and if I put
a dark color behind it, it's going to get the
color applied to it as well from this hue
saturation adjustment. What I'm going to do is click on the "Hue/Saturation"
adjustment layer and go to Layer, Create Clipping Mask. What that does is it adds this little bent
arrow to this layer, this hue saturation
adjustment layer. What that tells us is that the hue saturation
adjustment layer is now only going to affect the
layer immediately below, which is my knit stitches. That's going to mean that it doesn't impact the
background at all. I'm going to add a
new fill layer here, New Fill Layer, Solid Color, just above the
background and in here, I'm going to put a
really dark red. It's almost black
and click "Okay". Now I have something that's more reminiscent of Christmas colors, but if we want to make
it more Christmassy, we're going to need
some white stitches. At the top of this document, I'm going to add a
new empty layer, so just click on the
"New Layer" icon. It's a transparent layer, it's at the very top
of the document. Now we can use the paint
bucket tool provided that you design the
knit stitch pattern the way I showed you. There's actually space around every one of these stitches. There's black around or transparency around every
one of these stitches. Using the paint bucket tool, we'll be able to make
use of that space. I've got white selected here, that's the paint I'm
going to be using. I'm coming up here to
make some settings. I've got anti-alias set on. I need contiguous
to be set on and I need all layers to be set on. What that means is that
paint bucket tool is going to look at where my cursor is, which is over this stitch here. If I click to add paint to it, it's going to look for the
bounds of this red area. Because we added
black around it, the color is only going
in to that one stitch. I can just click on
stitches to add a design. I could come down
here and perhaps add colored stitches
every second stitch. You'll find that in terms of knitting patterns that
this is a stitch. It's this and this
comprises an entire stitch. It's not this and this, that's not a stitch
in knitting term, so just be aware of that. Now you can design patterns
for your knitting. Before you do that, you'll want to make
sure that you've got your knit stitches looking the way you want them to because if you
make this smaller, so I've got a scale of 20%. I think that this
is too big a scale. I want to take it down to 10. Well, all of a sudden I've
got underlying stitches that are half the size of the originals in terms
of width and height and so these big stitches
and are way too big. You will want to
settle the stitch, look before you start
dumping color into it. Otherwise, you'll have to
go back to the beginning and you probably don't
want to have to do that. Let me just finish this. You will want to go
to the very edges. Just be aware that
there might be half a stitch or something
at the edge of a document. If you make a mistake, Control or Command Z. This is two rows of stitches. It's all on one layer here. If I drag and drop it
onto the plus symbol, I'll end up a second copy of it. If I go to the Move tool, I'll be able to move that down. I can, for example, add it down here to be a second row of
stitches in the design. You could create this Christmas
look if you wanted to. Not happy with that, I could move it up because the stitches are all the same
in exactly the same place, then the white stitches can
easily be moved around. That's a way of customizing
your knitting pattern. Make sure you get your stitches the right size before
you do anything. Then color your stitches with the hue
saturation adjustment, add a color behind them
to fill in the gaps. Darker colors work particularly
well and then start adding some empty layers and
dropping some paint into it. Just making sure that for the paint bucket that you
have the settings up here. If you don't have
contiguous set on, this is what's going to happen. You'll know immediately
because it's pretty obvious that
things weren't working. Well, the problem is that you didn't have
contiguous turned on. When contiguous is turned on, then the paint only goes into
the selected stitch area. Also be careful that you don't dump it over the
black by mistake, or you'll need to just undo
it and start over again.
9. Pt 8 - 50s Loopy Pattern: A mid-century pattern like this is really
wonderful to create. There's lots of things
that you can do with it. Now, it can be a little bit
tricky to create but I've got a way of making
it really easy. But you will want to follow
along with my measurements because they are fairly
critical to getting this right. We're going to start with a
document this time that is 1,200 by 1,200 pixels in size. I'm choosing this
because I want it to be evenly divisible by 6. One thousand isn't 1,200, is. It's going to make life
a little bit easier because we need guides
to help us here. We're going to
choose view and then guides and go to
new guide layout. For our layout here we need six columns and six
rows, no width, no height, no gutter,
no nothing down here just six columns
and six rows. You're looking at a design
that looks like this. I'll click, "Okay." Now, we need some additional
guides we're going to put those in by hand. I'm going to choose
view and then guides and I'm
going to new guide because this allows us to add
additional guides by hand. I'm going to make
the first ones red, so you can see that I've
got blue guides right now. It doesn't matter what color
your guides are but you'll want to choose a
different color here so it's going to be
easier to manage these and the position
for this one is going to be 380 and
just click, "Okay." Then the next two guide of the exact same color is going to be 820 vertical
and click, "Okay." What we've done is
we've made guides, 20 pixels to the right and 20 pixels to the left of
this particular guides. We're going to make two
more view guide, new guide. I'm going to make black
this time so again, a different color because these are going to be
slightly different. I want one at 420 vertical and I want the
next one at 780 vertical. View guides, new
guide 780 vertical. You should have a
layout like this. If you've got a
layout like this, then life is going to
be so much easier. Let's go to the pen tool again, this is really easy stuff. We're going to set this to shape and what you're
going to do is to hover over this point here in the middle of
all of these guides, this one here on this line, you're going to click and
you're going to drag perfectly vertically and you're
going to align the circle, end up here with the intersection
between those guides. As soon as you've got it there, just let go the
left mouse button. Now, I've got my rubber
banding turned on, you can turn it on up
here and that will make things a bit
easier because you'll be able to see
where you're going. We are headed out now to
this black guide and we're going to click there
and drag downwards. It's a click and drag. My left mouse button
is still pressed down. I'm making sure I'm
going perfectly vertically and I'm
aligning this circle at the end of the handle with the intersection
between the black guide and the blue guide, so I'm going to let go. Don't worry about what's
happening up here. it's going to be really
clear in just a minute. We're going back to
this middle guide. We're going to click here on this intersection
between these two guides dragged down until a circle is lined up at the
very bottom here, at the intersection of these guides down here
and you'll see that the top circle of this handle is also over our guide
intersection. We're just going to let go the left mouse button and
then you'll press, "Escape." Basically now what we've got is this shape here and if
you set it up as a shape, it's going to be a shape
in the shapes panel. We're going to grab this shape and we're going to move it out. It's going to line up on its leftmost edge with
this blue guide here, giving us a space in the middle, we're going to make
a duplicate of that. Just right-click the
layer and choose "Duplicate Layer"
and click, "Okay." We're going to start
moving it just so that we can see
what we're doing. We're going to
flip it with edit, transform path, flip horizontal, so it's going in the
opposite direction. Then we're just going
to line it up also. Its left side here is
aligned along this blue guy, the middle of these three here. It's going to be aligned to the rest of the guides
top and bottom, so that it's perfectly
opposite this one here. Once we've got that in position, we need a piece to go
in the middle here. If you've got it right, this is going to fit perfectly. We're going to do a
paste whose width is 40 pixels and whose height
is 800 and click, "Okay." Now we'll just move that up into the middle
here and again, it should snap to
the top guides, it should snap to
the center guide. When I click away basically, I've got this beautiful shape. The problem is in
the last palette, it's three layers, three shapes. I'm going to click on the
topmost one shift-click on the bottom most one. I'll right-click and
I'm going to choose merge shapes because
that's going to put them all together. Then with a shape tool selected, either the path Selection
Tool or the rectangle tool or whatever it is visible
here in your shapes group. Go up here and click on this icon here and choose
"Merge Shape Components". Yes. We're going to turn a live shape into
a regular shape, that's just fine Now, we've got a shape. Now, this shape can be
used over and over again, so if you want to at this point, you could save this as a shape. We just go to edit, define custom shape and we
could call this 50s curve. We could come back and use
that if we needed to in the future but right now
we've also got a pattern. Let's go and get the
rectangular marquee Tool. We're keeping all
our guides in place because these red guides are
now going to be helpful. We're going to select using the red guides, this area here. Now, we are going
to check before we go and make sure that the guide is sitting right
on the top of the shapes. We don't want any pixels
visible underneath here. If there were, we would just
bring our selection down a pixel or two so that the
shape is well inside here. But if you've got
everything lined up perfectly and created
using your smart guides, then everything
should be perfect. This is now a pattern we're taking from the red lines here, the red guides, the outermost
guides all the way across. We're building a little bit of space either side of the shape. That's important
because it's going to balance out this shape later on. We'll choose edit
and define pattern. I'm calling it 50s curve, let's go and test this on a new much larger size document. I'm using 3,600 by 3,600. Yours can be any size you like. Just make it bigger than the
pattern that you created, so it's really easy
for you to see. Here is the 50s curve. Now, this is a really
balanced curve. These shapes in here are the exact shapes
that we have here. It's a lovely basic pattern. But I want to do a little
bit more with this pattern. Let's come back into the
original pattern I'm going to right-click and
choose "Duplicate Layer" and click, "Okay." I'm going to grab this
second layer and I'm going to move it up here but a bit hard to say
what's going on, so let's go and
change its color. I'm going to one of
these shape tools. I'm going up to the fill here. Instead of a solid color, I'm going to use a gradient. I'm going to click
here on the gradients. Now, for this
gradient, I'm going to use a pink gradient. I could use solid color. I just want to play
with some gradients, and I don't want it to
go off at an angle. You need your gradients to
be vertical and they need to go across a shape because otherwise they're not going
to join up together later on. That's just tricky
because we are creating a seamless
repeating pattern. We want our gradients to
be able to repeat as well, we don't get breaks in them because it's just
not going to look good. You can say that my
gradient is going from dark pink to light pink
right across this shape. This is perfect. I can make a duplicate
of this shape, right-click and choose
duplicate layer. I'm going to drag this one down. If you add the "Shift"
key as you drag you'll go in a perfectly
vertical direction, we just need to double-check
in the middle here to make sure that everything
is joining up perfectly, which it is. Again, I'm going to grab both of these layers here that have
this pink shape on them. I'm going to right-click
and choose merge shapes. Then because this is
not really merged, it's only halfway merged, let's go and grab this layer. I'm just going to remove
the selection there, select deselect, so
that's not in our way. Let's just grab this
layer with one of the shape tools we're
going here and we're going to choose merge
shaped components, so that makes this
a total shape. It's going off the edges of the document, that's just fine. Because we may want
to re-color this later on and we're about
to duplicate it over here, making it a smart object's
a really good idea. I'm going to just convert
this to a smart object. Now when I right-click, I'm going to choose
duplicate layer, which is going to give me
a second smart objects. Let's go to the move tool and we're going to drag
this one across. I'm adding the shift
key so it's going in a perfectly horizontal direction just saved me a
little bit of work. Let's double-check
around the middle that everything seems lined
up, which it is. Let's go back and make that exact same selection for our pattern that we
did previously from the red lines all the way
down to the end here. Edit, define pattern
50s version 2. We're not quite finished, I think that this will
look better if we have a gradient in the
middle shape later on. But you may like this, you will probably want to do something about the
green color but that's what it's looking
like with a single gradient. Let's go back here we can
locate this shape again, it's still a shape, so we have the ability to fill it
too with a gradient. I'm going to pick a
turquoise gradient. Again, I'm going to
have to make sure that this gradient is
across the shape. You can see that this later
on would join up with this, and this is a darker blue, this is a turquoise blue. We're going to get a
really obvious line if we don't turn the
gradient around. This gradient has to
run across the shape. It could be zero, it could be 180 but it has to run across. We still have our
selection in place so life is nice and easy, define pattern and this is
going to be 50s version 3. Let's come back in
and just test this. There's another version of
our 50s designed this time, it's got embedded in it a gradient fill on
both of those shapes. If you save this
original document, then you can come in and
create this at anytime, if you need to edit
the pink shapes, you just going to double-click
on this layer to get access to the embedded
smart object, where you can change its
color, do all things. Let's just go and make
it a solid color. I'm going to close
the smart object and I'm going to say
yes to saving it. Because both of
these pink shapes were the same smart object, they've both been
edited together. They have to be if
they're going to be a pattern because half of this shape and
half of this shape makes a whole shape later on. The middle piece
does not have to be a smart object because
there's only one shape there. If you want to save
this selection, go ahead, just choose, select, and save selection and you
could call this pattern, and click, "Okay." You can always get back
to that selection, so you can come in here and
work around your shapes. We can even get
rid of our guides because you don't
need them any longer. We can come in and
work on our pattern, make all the changes we want
when we want to save it, we'll just go to select, go to load selection and we're going to grab our selection. Here's the pattern
selection click, "Okay." There's our pattern, we can just go
ahead and save it. That's a nice way
of working with particularly complex
designs that takes you a little
while to develop. you want to make editing
them and creating other patterns from them a whole lot easier and
that's the way to do it.
10. Pt 9 - Uneven Stripes Pattern: For this pattern, we're
going to make it two ways. Firstly, as a
single-color design, and then we're going
to re-color it to make it multi-colors. We're going to start
with a brand new file. It will help if your files
are the same size as mine. We're starting with a document 1,000 pixels by 1,000 pixels. I'm going to select the
rectangle tool here. It's set to shape and
I have the fill color, the color that I want to use. I have no stroke at all. I'm going to drag out a reasonably thick line or
rectangle into my document. I'm going to the last palette. I'm going to
right-click this and just choose rasterize layer. The benefit of using a shape to start off with
is this is always going to be separated from
the background so you're not going to run into the
background by mistake. However, we do just want pixels, which is why we've
rasterized it. I'm going to the brush tool. I'm going to select a brush. I'm using a hard
round brush here. You'll see that the size doesn't really matter
at this point, but the hardness does you
want 100% hard brush. You want to sample
the color here in case you haven't got this
color already selected, you would go to the
Eyedropper tool and just target this color because this color
is actually coming from this area here, and these two could
be very different, but you want to be painting
in the same color. Making sure my rectangle
layer is selected. What I'm going to do is just try and draw along this line. I'm trying to draw a
reasonably straight line, but I don't have a very steady hand and
I am using a mouse. That's actually working
really well for me because that's giving
me an uneven line. If you're really good
at drawing lines, you might want to get not
so good at it right now. Just going to make that into a nice, somewhat
wiggly line. Now I'm going to
make this longer, so I'm just going to drag
on it to make it longer. I want it to be around
1,500 or 1,600 pixels wide. That's a really
good width for it. Click the "Check
mark". I'm going to place that in this location. The middle of it is well
inside the document. Make a duplicate of it by just dragging this onto
the plus sign. This one I'm going
to move by choosing edit and then free transform. Up here you'll want the
checkmark selected. Of these nine little boxes, you want the middle
one to be selected. Whatever the value is for the x, you're just going to add
the number 1 in front of it because that's going to
move it across 1,000 pixels. I'm just going to click
the "Check mark". Now, this is the shape that
we're working with right now. We're going to put these two together by selecting
both these layers. Click on "One shift",
click on the other, right-click, and
merge the layers. At this point, if you want to do a little bit of
touch-up, you can. I think I've got a dip there
that I don't want to see. I have a really
large shape here. I want to check its dimensions. I'm just going to drag upwards
to see how tall it is. What I want to do is for those little tool tips to show me that the height
is an even number, a number that can
be divided by two without leaving anything behind. Mine is 138, that's a really good number. It's an even number. Now I'm going to do the
same for the width. Again, I want that to
just be an even number. It doesn't matter
what number it is. It just has to be even. It is even. I'm just going
to click the check mark. Now I'm going to place this at the very top middle
of the document. Now, it can be tricky to
get that into position. What you're going to do
is with it selected, go back to edit free transform. You'll see that the
shortcut key here is Control or Command T. Again, you have the middle option of
these nine boxes selected. Don't change that. You're
going to use it all the time. We're going to set the
x value here to 500. If it's not reading 500 already, just type it in. The y value is going to be zero and just click
the "Check mark". What that does is
it puts this shape exactly over the top
edge of the document. I'm going to make
a duplicate of it, just drag it onto the plus sign. Then again, edit free transform. This time the x value is
going to be exactly the same, the 500 and the y value
is going to be 1,000. Now, if your x
value reads 500.5, you didn't have an even number. That's a tale for that. If you don't have an even number for your
height and your width, these values are going to
be out by half a pixel. That's why we're working
with even numbers. I'm setting this to 1,000. Click the "Check mark". Now over here in
the Layers palette, I'm going to label these two. I'm going to call them
half because they are half of what is going to be a
final shape in our pattern. It's just helpful to
just rename them. I'm going to take one of
these doesn't matter which one I'm going to drag
it onto the plus sign. I'm just going to put
this name stripe. With this selected, I'm
going to move it now. I've got my Move tool set
to auto-select so that will check boxes on from
this drop-down list, I have layer selected. It's going to make
life really easy here. I'm going to move
my stripe up and I'm going to move
it horizontally. Doesn't matter where as long
as it fits in a document, but I am going to
move it horizontally. Then I'm going to make a
duplicate of that stripe, drag it onto the plus symbol, and then move it but in
a different direction. I'm going to do it again and again until I fill my document. Now, the fat or the
stripes you work with, the less work you're
going to have to do, particularly the first time
you make this pattern. Later on, you may want to make something with a
bit more detail, but right now while you're
just learning a process, it probably will behave you to make thicker stripes and
have less work to do. I'm just making sure that
everything looks like it's nice and evenly spread across the document
and that I don't have elements that are visible like this bump, really
visible elsewhere. I think this one
might be a bit too visible so let's just move
it out of the way a bit, well let's come the other way because it's not
going to work there. I don't want to say
repeat elements really obviously here right now. Once I'm happy with that, I'm going to the Crop
tool and I'm just going to crop everything else
away in this document. All I'm left with is
these stripes length that they are and the
position that they're in. Now, in the last palette, I'm going to locate and select
the very top element here. Doesn't matter what it is, but just select it. Now we're going to check to
make sure that everything is going to work perfectly
in our pattern. To do that, we need to apply to every single one of these
stripes and offset filter. The easiest way to do that, it's going to be to write an
action to do the work for us so that we don't have
to select it every time. This is what we're going to do. I'm going to select
the "Move tool" with the topmost layer selected. I'm going to Actions. If you go and see them choose "Window" and then "Actions". At the bottom of the
actions panel here. I'm going to click this
little folder icon to create a new action set. I'm going to call this offsets. This could potentially be used for a series of offset actions. We only need one today. Then I'm going to
click this little plus sign to create a
brand new action. Now before you do that, it's really important
that you are set up. You've got the Move
tool selected, you've got the topmost
layer here selected because you don't want to build in a layer selection
into your action. Because otherwise,
it's going to do that every time we're going to work. You have to be in the right
place before we start here. We're going to click
the "Plus sign". Our action is going to be
called Offset 500 horizontal. I'm going to click
"Record" and from now on I am recording. What I want to do is
run my offset filter, so I'll go to "Filter
Other" and then "Offset". This filter is
really easy to use. All we're going to do is type in the horizontal area 500, which is half the
width of the document. In the vertical 0, we don't want to move
our stripe vertically, but we just want to
rearrange it horizontally, half its existing value. We're just going
to click "Okay". Then there is a
Photoshop shortcut, which allows you to use the keyboard to select
this next layer. Don't click on it. If you do, you're going
to build a selection of a layer called stripe
copy 2 into your Action. What we don't want to do is
to select a specific layer. What we want to do is to
select the next layer down. The command for selecting
the next layer down is on a PC Alt and the
open square bracket. I'm just going to
press that now. Now if you are on a Mac, it would be option
open square bracket. You can see over here
in the actions palette, it says select backward layer. In other words, select the layer next underneath, perfect. Before we do anything else, we're going to click
the "Stop" button here, which is this one. Stop
playing recording. Now we're no longer recording, but we have the
next layer already selected that we want to do
this exact same thing on. All we need to do is go to
our Offset 500 Horizontal, click on it to select it, and then click the
"Play" button and it gets flipped and the next
layer gets selected. We can just sit here
on this button and just do it as it goes all
the way down the document. When it gets to the background, we're going to stop playing it. Now, we're just looking at
this area down the middle. Any problems are going to appear right down the
middle of this document. I can see one bit, I don't like this bit here. What I'm going to do
is go to the Move tool and just click here because
remember we selected, always set this to
auto-select layer. When we click on it,
we automatically select the layer
that is the problem. I'm going back to my brush
and all I'm going to do is just clean up
this bit in here. I can double-check any of
these underneath layers. Let's go and just
target this one if you wanted to change
it a little bit, you could go and
just paint on it. But again, all we're doing is checking down the middle
of the document because that's the only place
that problems can exist. What I'm going to do
just to finish off, is run through that exact
same set of actions again, selecting the topmost
layer and just clicking on this all the way until I
get to the background layer. Then just double-check
down the middle to make sure that everything
looks perfect, then it should look
perfect at this point. You shouldn't have any problems. Edit, define pattern, and this is our pattern. To test it, I'm going to
choose "File" and "New", and I'm going to create a
document that's much larger, in this case, 2,000
by 2,000 pixels. I'm going to open up
my patterns palette, and at the very bottom should be the pattern
that I've just created, this one here, I'll
just drag and drop it into my document. I can double-click on it and reduce the
scale, for example, to 50% so I can see what it's
going to look like in use. It is a really nice
pattern of uneven stripes. Now that we've got a
single-stripe version, it's time to go
back and turn this into a multi-stripe version.
11. Pt 10 - Multi Color Uneven Stripes: To create this pattern as
a multi-stripe version, we're going back to
the original document. At this point, you may
want to save this so that you've got a single color
version of your pattern. I'm going to do that and
come back in just a minute. I've saved my document
as single color stripes, and now we're going to make some multi-colored
stripes from it. I'm going to this
layer called half, and I'm going to click here on the fx icon and
choose Color Overlay. Color Overlay is a tool that you can use
to apply color to a layer and it's
just going to make life a whole lot easier for
us to use this right now. You're going to set the
blend mode to normal. That's really important. There's a chance that
it might read color. You want it to be normal
because you want to replace the existing color
with your new color. You're going to click
on the color selector to choose a color. Now, if you want to use your
swatches at this point, you can open your
swatches panel. You can still get
to it even though this color picker is open, and you could go and select
a series of colors to use. Now, I'm going to
use pastel colors. I'm just going to select
the first pastel color, which is near enough to
what I was using already. Just click Okay and
then Okay again. Now, remember when we
made this pattern, we made two of these pattern elements in the
layers palette called half. The reason was that
this is half of this. This color and
this color have to be the same or else the pattern's just not
going to look right. But we're going to borrow the thing that
we've just created, this color overlay for all
of our layers right now. I'm going to right-click and
choose Copy Layer Style. I'm going to select the
second of the half layers, and I'm going to Shift
click on the topmost layer. I'm going to right-click and
choose Paste Layer Style, and that puts that color overlay on every single other layer. Just a really quick
way of doing the work. The two half layers we don't have to worry
about because they have to be the same color and I'm going to make
them that orange. But now I'm going to the first
of these striped layers. I'm going to just double-click
on effect and that opens the Layer Style panel
we're going to color overlay. I'm going to click
on this here now. Then I'm going to select a color to use from my
color palette here. I think I'll go
for a green color. Click, Okay, and then
click Okay again. Then we'll go to the next layer. Double-click on it,
select Color Overlay, click on the color to replace, and go and choose a
different color to use, Okay and Okay. Go to the next layer, double-click on the effects, go back to your
gradient overlay, click on the color to use. Select the color from your swatches panel or a
color from your pickup. Doesn't really
matter. Click Okay, and then we've got
one more to do. Color Overlay, click the color, go and find a color
from our collection of colors here and click
Okay, and Okay, again. Now, this pattern
was perfect when we created it as a
single color pattern, so it's going to be perfect now. All we need to do is go
to Edit, Define Pattern. Make sure that we see
our colors here Click, Okay, and then we can test it in our testing documents on. It's going to open up
my patterns panel. Go to the very last pattern, which is going to be the
pattern that we just made and drag and drop
it into the document. That's as easy as that is to recolor your pattern once
you've actually created it. The work is done in creating the pattern
in the first place. Then you can easily recolor
it using the color overlay. Back in this document here, you could recolor it by choosing Layer and then New
Adjustment Layer, Hue/Saturation, and click Okay. Here, you could re-color up by dragging the hue slider around and just increasing
or decreasing the saturation to get
some different results. The relationship
between the colors is going to be the same, but you could fast-track some additional color for the pattern by just
doing it this way. Of course, if you put this
hue saturation adjustment into the original pattern file, you would have the same result. Just go to the topmost layer, choose Layer, New Adjustment
Layer, Hue/Saturation. Here we can make changes
to the pattern itself. I might make a more
pastel version of the pattern here and
then just choose Edit, Define Pattern, and that will
give me a pastel version, a permanent swatch, that
is this pastel version. We're going to find
that, of course, in the pattern's panel. Here is the more muted
version of the pattern. You can either edit it by adding a hue saturation adjustment
to the document that you're actually using a
pattern in or you can go back and create
the pattern from scratch with a new
set of colors just using a hue saturation
adjustment layer on top of that original pattern
and just save the pattern self into your patterns palettes so
that it will be available.
12. Pt 11 - Diamonds Pattern: A repeating diamond-shaped
pattern like this is relatively
easy to create, so we're going to actually
make it in two ways. We're going to make
just a plain one and also one that has uneven edges. I'm going to start
with a new file, I suggest that you use my exact same values because the mathematics here
is fairly important. My document is 1,000 pixels
by 1,000 pixels in size. I'm going to select the
color that I want to use. I actually have a swatch
that I was going to use, so I'm going to open
up my swatches panel. I'm going to use the blue
out of the pastels here. I'm going to select
the rectangle tool. The fill-up here
is that same blue, I've already selected it, and the stroke is
no stroke at all. I'm working with the shapes, so just make sure you
have Shape selected, that means that it's going to go on a new layer and
it's not going to be applied to the
background of the document. Now, in here we're
going to create a rectangle that's
actually a square that is 707.11 pixels by 707.11, and I'll just click "Okay". The reason for a
square of this size is that when I rotate it as I'm about to
holding the Shift key, so I rotate it a
perfect 45 degrees, it's actually going to fit from edge to edge in this document, the document being 1,000
by 1,000 pixels in size, what I did was I just use Pythagoras's theorem to
work out what the length of this side needed to be and
it's near enough to 707.11. Now that we've got
our diamond shape, what's left is to
color the background. I don't want to use white, I prefer to use a color, so I'm just unlocking
the background layer. I'm going to target a color, I'm actually going to use from the Pastel colors,
this yellow color. I'm going to the paint
bucket tool here. Let me just turn
off this rectangle. I'm on this background layer, or the bottom-most layer, and I'm just clicking to fill
it with my yellow color. Let's turn our diamond
back on and this is our first pattern,
Edit "Define Pattern". Now while we're here,
we're going to make the second version of
it at the same time. Firstly, I'm going to
rasterize this layer, the layer that has
the shape on it, just right-clicking
and choose "Rasterize Layer" because I want to
be able to paint on it. I'm going to my paint brushes, I'm going to select a
hard round paintbrush. You can see the hardness is 100 percent, that's
really important. The size does not
matter at this stage. I'm going to make
sure I'm working with the same blue as I have here. With my paintbrush what I'm
going to do is just come in here and just paint
along these edges. What I'm not going to do is
go over the very edge here, so it's important
that you try and leave the point at the end here, so you may need to adjust the size of your
brush or you just may need to be a little bit careful as you get to the very tip. I could round that
maybe a little bit, but I don't want to go over the edge
because it's not going to be possible for me to
get a good join with that. All I'm trying to do is
make the edges here just a little bit uneven to give some visual interest
to this pattern. You may want to finish
off the corners with just a smaller size brush. At this point, if
you want to test to make sure your pattern is
going to look all right, select this rectangle
layer and go to "Filter", "Other", and then "Offset". In this case, we're
going to offset it half the width and half the
height of the document, so that's 500 as vertical
and 500 as horizontal. When I do that, you can say that
we're just flipping the shape around so that the blue shape is
being broken up into the corners and this
is our yellow shape. Now if you need to make
any changes to it, you could at this stage, just be aware that your
blue shape looks like this. If you want to make changes
to the yellow shape, it's actually going to involve removing bits from
the blue shapes, so let me just go and
see what I've got. I've got a hard eraser here, and I could come down
here and just make some changes to the
edge of the blue shape, which is going to impact how the yellow shape actually looks. That bits is a little
bit confusing, so you may want
to have your wits about you if you're going to be making changes to the
pattern at this stage. But we're ready now to
make it this a pattern, "Edit", "Define Pattern". Let's go and save this artwork. I'm going to make a much
larger size document. Let's go for something that is scrapbook size right
now, 3,600 by 3,600. I'll open up my patterns
dialogue and at the end here are the two patterns
that we just made. This is the very
even one that has very crisp edges and this is the one that has
those uneven edges. Of course, having dragged
it into the document, we can just double-click on
it and change the scale, so if you want to see
it at a smaller scale, you can do so. Before we leave this pattern, let's have a look and see what
else we could do with it, because we've done
the work of actually creating it.There are
some other things that we could do to it and one
of them is to make it less of rotated squares, but something that is more
diamond shape if you like. What I'll do is go back to
this design, I've saved it, so I would have it available later on if I wanted
to make changes to it, but let's go to "Image" and then let's go to "Image Size". Now, in the Image
Size dialogue here, we can change the
size of the image. I'm just going to drop this down so we can say
what's going on. Normally you would do this with this particular icon turned on, so any change that you made to the width was also
made to the height. It's a constraint
aspect ratio setting. In this case, I'm going to disable it because what
I want to do is to bring the width in
and I'm thinking maybe about 600 might be nice. When I bring it into 600, you can see that now we've got a difference diamond shape. Now, this again is a
perfect repeating pattern. It's just that the
pattern swatches 600 by 1,000 instead of 1,000 by 1,000. Let's just click "Okay", we've now got a document that is much narrower than
it was before, but let's make a
pattern out of that, and then let's go and
see what it looks like in our master working document. Out of one basic
starting design, we have a smooth edge version, we've got an uneven
edge version, and now we've got one
where the diamonds aren't square any longer
they're much taller, just giving us a different
look to this design.
13. Pt 12 - Photo to Pattern: For this next set of patterns, we're going to use a leaf
image that we're going to download from unsplash.com. We're going to use that leaf to make a series of really
interesting patterns and just see what you can do with
something that is as simple as a photograph
of a palm leaf. I'm over here at unsplash.com and this was the
image I want to use. It's by Jonathan Castellon. What you'll do is locate this. I just did a palm leaves search. I'll give you the link to
actually download this image and you'll download it onto your computer and then
open it in Photoshop. Let's just go and do that. Here is the image
open in Photoshop. Now, one of the issues
with this image, as it's a little tricky
to make a cut out, because you can see, although we've got
these green leaves, there's a fair bit of
shadowing behind it, and none of the
typical cutout tools are going to work
particularly well. I'm going to show you a
trick for making a cutout. We're going to the
channels palette here. What we're going to do is click on the red
channel first because that turns off the
other channels and just shows us
the red channel. What I'm looking for is a good leaf and not very
much of the background. I want the cleanest
selection I can make. This blue channel
is really good. You can see that the
leaf is really dark and the background
is much lighter. That's a good start for
actually making our cutout. What I'm going to do is drag the blue channel onto
the plus symbol here, because that makes
a duplicate of it. This one I can edit
and then get rid of later on so that I can use
this just to make a cutout. That's all I'm going to
do with it at this stage. This blue copy channel. I'm going to apply a
fixed directly to it. I'm going to image
and then adjustments. I'm going to levels, levels is a simple adjustment. This is a really good one to use here what we want to do is make the darker areas
darker and these lighter areas and particularly
these light gray areas, we want them to be more white. Underneath this chart here, I'm going to drag on the
white slider across because that starts to remove
some of those gray areas. Here I'm going to drag
in on the black slider, which is the one on
the left hand side, to darken up the darker areas, and so you can see that
we're getting more of a black and white leaf and trying to remove
some of the grays. You can just adjust these
settings until you get as black a leaf as you
can with very few, if any, of these gray areas. Once you've got that,
I'll just click. "Okay", and we can load this as a selection by just
control clicking that would be command
click on the Mac, on this thumbnail, and you can see
here that I've got a selection all the
way around this leaf, but at this stage, I've got the blue copy
channel selected. I want to go back to
seeing my original leaf. I'm going to click
here on "RGB". You'll see that the RGB
master channel red, green, and blue are all selected, but so too is my blue copy. I don't want that anymore. I'm just going to
click to hide it. This is my image back again, everything's looking
really good. I'm going to the last
panel over here. Let me just move it out so you can see what
I'm going to do. I'm going to click here on this, add a layer mask to add a
layer mask to this layer. Now the mask is gone
in the wrong way. It's gone in so that it's blocking out the leaf and just
giving us the background. We wanted it the
other way round. I'm just going to click
on the mask to make sure that it is selected. I'm going to press
control and I, that's command I on the Mac. At this point, we
can check and see how good our selection has been. I'm going to click the plus sign here just
to add a new layer, and I'm going to fill
this layer with black. I've got black selected here. Let's just fill it with
black and let's turn the leaf back on and have a
look and see how it looks. I don't want to be seeing any
of the white or gray here. I'm really happy with that. I think that's a
really good selection and that's a really good leaf. At this point you would
go ahead and save this so that you had this to come back to if you need it in future. I'm going to stop the
video and do just that. Now what I want to
do next is to get just the leaf so that I could put it on
another background. I can make a pattern from it and I can use whatever
background that I like. I'm just going to get rid
of this black filled layer, put it on the trash can, and I'm going to
add another layer underneath this leaf layer, because if I merge
these two together, I'm going to get rid of
the background here. I'm just going to have
an isolated leaf. I'm going to select both layers, right click and
choose Merge Layers, and so now I have a leaf on
a transparent background. Now that I've got
this leaf here, I can potentially
do things with it. One of the things
I'm thinking of is actually making a
pattern from this leaf. I'm having a look at the size of my document and
it's just enormous. I'm going to start by
reducing the image size. I'll choose image
and then image size. Now I don't want to distort
this leaf and I want to be really careful about
not distorting it. What I'll be sure
to do is to make sure that this little
icon here is turned on. I'm just going to reduce
the height because I think the height is
going to give me a better idea as to
what's going on. I think that I want my final pattern swatch to
be about 800 pixels tall. I think I'm going to make
the height of this image, this bit here right
now, about 600. I'm just going to make
that 600 pixels and you can see that the leaf
has shrunk enormously, but we've got a copy of
it already saved away. We don't need to worry
about the fact that we're shrinking this one right now
or this document right now. I've just shrunk it. Let's zoom in so we can
see it more clearly. Now this image right now is
600 pixels by 400 pixels, but if we're going to make a pattern out of it, as I said, I thought I would start
with a document that's about 800 by 800. What I can do is go and
make that documents. Let's just go to file
new and let's make a document 800 by 800
that we can work with. I'll go back to the leaf
image and I'm going to take it and drop it into
this new document. It's coming in as a new layer. I'm going to move it about centrally into the
document for now. I'm going to take
a duplicate of it, so I'm just going
to drag and drop it onto the plus symbol. This one, I'm going
to break up into four pieces and throw to the four corners
of this document. The document is 800 by 800, so with this layer selected, I'm going to choose
filter other and offset. I want to offset
it horizontally, half the width of the document, which is 400 and half, the height of the document
which is also 400, and I'll click "Okay". I'm just looking to
make sure that it looks like these pieces are
going to stick together. Sometimes when you do this, you may find that
there's a piece missing or something's
really wrong with it. If that happens to you, what you're going to do
is just undo what you just did and you're
going to the crop tool. Just click on the crop tool, it defaults to what the
image is right now, and you're just going
to press "Enter" twice and that will crop
anything that is there. Sometimes Photoshop
imagines that there's something there, and that means that your pattern just doesn't
get made properly, so just be aware of that. If it didn't look like it got thrown to the corners correctly, undo it and crop it, and then start again
and you'll find that your offset values are sticky. The 400, and 400 that we had a minute ago
is still there. I didn't need to do anything
more than just say, Yep, that's fine.
That's what I want. If I want to be able
to put this pattern on any color
background in future, I'm going to turn
off my background. If I want it to be on white, then I'm going to leave
my background as white, but I'm also going
to be aware that all these leaves are going to be pointing in the same direction. And it might be more attractive if I went
to this middle leaf, the one that's a whole leaf
and did something with it. I'm just going to
flip it a bit into a more interesting
position because I think that's going to make the
pattern more interesting. Let's make the pattern twice. Let's add it as a
white background. I'm just saying in
that little thumbnail that it didn't look
particularly balanced. I think it needs to go
up a bit this leaf. Sometimes when you're
looking at a thumbnail, you'll see something
that's obviously wrong. This looks better balanced now the leaf looks a
bit more central. I'm going to click "Okay". I'm going to turn
off the background and make another pattern. This is a pattern
that could go on anything, any other color. To test this pattern, let's go and create a new file. I'm going to make one that is
the size of my screen here. I'm going to go to the
patterns dialogue, and let's go and find
our patterns here. First of all, is the one that has a transparent background. Let's just make it
a bit smaller and then we can change the
color of the background. I have black as my
foreground color here. I'm just going to press
"Alt "Backspace". That would be option
delete on the Mac to fill the background
with a black color. You can see that it's
patterns looking really good on black and we'd look good
on a number of other colors, I'm sure as well. Let's have a look at the
second version we made. This is the one that has its white background
already in it. That's one of the
things that we can do with that isolated leaf, but we've got lots of other
things that we can do. We're going to do that
in the next video.
14. Pt 13 - Photo to Shape to Pattern: Returning to our
original isolated leaf, let's have a look and see how we could create a
pattern of the leaf, but not actually use the
leaf itself, just its shape. I'm going to Control
and click on this layer thumbnail
that would be Command. Click on the marquee. I'm going up here to the
rectangular marquee tool. I'm going to click
it once because that allows me to get access to a menu of options that
only appears when this rectangular marquee
tool is selected. I'm going to right-click
on my leaf and you can see here that I get the
option to make a work path. What that's doing is it's making a shape of or a path
from this leaf. I'm just going to click that. Now the range or the
tolerance you can do here, I think is between one and 10. Let's just try 11
because I don't think that we can use 11. No, you need to use a
number between 0.5 and 10. The larger the number, the less detailed the
leaf is going to be. Let's just say what
10 looks like. You can see that this is
not very detailed at all. I'm just going to undo that right-click and let's choose
Make Work Path again. Let's try a setting
of say, four. This again is a
very stylized leaf. Now if you like that, use that. I want something that's a
little bit more accurate. This is way not
right for me yet. I'm just going to undo it, right-click and try again. I'm thinking for me, I want
a value of 0.5 or one, that would be fine. I want a very detailed leaf. This is a really intense
selection of our leaf. Now, what I want to do with this selection is
having made it, I want to make it
into a custom shape. I'm just going to choose Edit and then Define
Custom Shape. I'm going to call this
leaf and click ''Okay''. Now as a custom shape, I can use the leaf shape, fill it with some color, and make a pattern from that. I'm going to start with
a brand new document. Again, I want this to be square because I'm going to make
a pattern out of it. Let's just go back to our
800 by 800 pixel document. I'm going to the custom
shape tool here. When I click on it, I can go to my custom shapes. The last shape is going to be the one that I just created. I'm going to select it. Up here on the control bar, you can see that I
have shape selected, that means I'm
going to be drawing a shape into this document. I have a fill color selected, not what I want to use. I want to use something that
is a little bit different. I'm going to fill it
with an aqua color. It has no stroke at all. I'm going to hold down
the Shift key as I drag out a leaf in my document. I want this to be about the
size I wanted in my pattern. When I click away from it, you can see we now have
a leaf in our image. I'm going to make a
duplicate of that. Just drag it onto the
plus symbol here. Then I'm going to send
that duplicate to the four corners of the document exactly as we did before. Because I'm using the same
800 by 800 pixel document, that offset filter is going
to work just perfectly, but I'm going to be
prompted to convert this to a smart
object or rasterize. I'm going to just
rasterize it because it doesn't really matter
that it's rasterized. You can say that the pieces are going to the corner exactly as they did before when we
had an actual leaf image. This time we've just got like a drawing of a
leaf, if you like. Now again, this
one in the middle, I wanted to do something with, because I think I want to add some more visual
variety to the pattern. Let's go and make a pattern from this edit define pattern. Again, I'm having a look at
this little thumbnail again, I don't think it's
quite balanced. That looks fine here, but in the thumbnail it's pretty obvious that it's out a bit. Before I go and save it, I'm just going to move
that leaf up a bit further and let's go back
and define the pattern. I think that looks better in the thumbnail, I'll
click ''Okay''. Let's go back to a
working document, the one that we're working on. Let's just go and drag and
drop that into the document. This is our pattern
of palm leaves, but this time the palm
leaf is stylistic. It's not a photograph, it's an image that
we created from the photograph as
accustome shape.
15. Pt 14 - Photo to Brush to Pattern: We haven't yet exhausted the possibilities of this
isolated leaf image. We're going to use it as a
brush to make a pattern from. We're going to start
by selecting the leaf. In this instance, it's
actually easier to select everything that's not the
leaf then the leaf itself. I'm going to the
Magic Wand tool here. When I click on it, I'm going
to the options up here and making sure that Contiguous
is not selected. I'll click on the layer and
then click on the background. That selects the background. The leaf is not selected. To invert this or
reverse this selection, I'll choose "Select", "Inverse." Now, the leaf is selected
and the background is not. I'm going to set this
color picker here to the default colors by just
clicking on this icon. I want to fill this leaf with black so I'm going to press
Alt Backspace on the PC, that would be Option
Delete on the Mac. If you have any
problems with that, there's another way
that you can do this by choosing Edit and then Fill. From the contents
here you'll see that there's an option
to fill with black, just click "OK" and that selection will
be filled with black. I'm going to choose Select, Deselect to deselect
my selection. Now, I want to make
this into a brush, but I'm about to have
an issue with that too. Let's go to Edit
and you'll see that Define Brush Preset
is not selectable. The reason for this
is that there's a physical limit to brush
sizes in Photoshop. You can't have a brush
that is more than 2,500 pixels in
either direction. This document here I'm
reading off the photo of my screen is 6,700
pixels in size, so it's way too big. I'm going to choose "Image Size" because that will allow me to make my image smaller
so it can become a brush. I'll make sure this option here, this little icon is selected
because I want to adjust the width when I adjust
the height to keep the leaf in proportion. Making the height 2,500, that's well within the
limits because you see I'm not using the area
around this leaf, so it's going to be well
under 2,500 pixels in size. I'll click "OK". Now, we should be able to
make a brush from it. Click on the layer
and choose "Edit", and you'll see that Define
Brush Preset is available. I'm calling it palm leaf. I'll click "OK". Immediately this
selects the brush tool. You can see I have a brush. I'm going to make a document into which I'm going
to build my pattern. I'm going to make
something that is 2,000 pixels by 2,000 pixels in size. I'll add a new layer
to it because I want a brush onto a separate layer. Let's go and get
our brush option. If you don't see your
brush already selected, it should be in the bottom
of this brush's panel. Right now, this is
how it's painting. For a start, it's too big, so I'm going to use the
open square bracket key to adjust its size. It's also painting
as a solid stream. We'll go up here to this icon, it looks like a folder
with a brush on it, and this will allow us to
make changes to the brush. You can adjust the size here, but I suggest that you just
learn those keystrokes, the open and closed
square bracket keys, they're much easier to use. Spacing will allow us to separate these brushes
from each other. We'll go to Shape Dynamics, make sure it's turned on, make sure it's selected. I'm going to increase
the size jitter so I get big and little leaves. You can also select a minimum diameter to
adjust the smallest one, and select "Angle Jitter"
to rotate the brush. Now, the leaves are
going in all directions. You can also use
Roundness Jitter, that's just going to change the shape of the
leaves a little bit, again for more variety. Right now the brush is going to paint with a solid color, so I'm going to select a
different color to use. I want a lighter pink. But again, every single one of these leaves is the
same pink color. We can get some variety into this by using a second color. Right now I'm going to set it to blue because I
just want to show you a few things before
we get to work with it. You're going to turn on Color Dynamics and
select "Color Dynamics." Now by default, your settings
probably look like this, so we're not seeing any color change in
the brush here at all. But if we adjust the
Foreground Background Jitter, then we're going to
get some color changes between the pink and the blue. But right now if I paint with
a solid line, if you like, I've just got my left
mouse button pressed down, you'll see that every
single one of these layers, although they're a
different color, they're all the same
different color. If we click on "Apply Per
Tip," then when I hold my mouse pointed down and
brush over the document, the leaves are going
in as a variety of colors as between
the pink and the blue, so you will want to
set Apply Per Tip. You can also adjust
the hue a little bit, that will add a
little bit of variety into the flip between
these two colors. I like to add a little
bit of a hue jitter. But I'm going to change
this color because I want actually to go between a pink and red rather than
use blue at this stage. This is what we're going to get. I'm pretty happy with that, so I'm ready to start painting. I think it's better to
click rather than paint at this stage because
you don't have a lot of space to fill up. If you want your leaves
to all be separate then don't have any leaves
going over each other. But what is very important, regardless of whether you want your leaves to be
separate or not, is that nothing at all goes over the edge
of this document. Nothing can go over the edge
or it won't make a pattern. Now, at this stage, I want to get things
a bit closer to the edge, but I can't. But I'm going to use
what's called an offset filter to be
able to do that. We'll choose "Filter", "Other", and then "Offset". Now, a lot of people freak
out over this filter, but it's actually
extremely simple to use. Remember the size of
your original document, mine was 2,000 pixels
by 2,000 pixels. You're going to take the
number 2,000 and divide by 2, and that gives you 1,000. You're going to set that
1,000 value as both your horizontal and your
vertical because we're working with
a square document. It was 2,000 by 2,000, so our offset is going
to be half of that. 1,000 by 1,000. Just type them in there, select Wrap Around,
and click "OK". This opens up this middle area, and so now I can add
some more leaves. Now, if I put down a
leaf that I don't like, I'm just going to
press Control Z to undo it and then go and
put in a different one. You can do your filter again, but just make sure
that the leaves that you add are all
inside this area. There are some leaves
over the edge, but they were from the previous iteration
of this pattern. Just make sure that
anything that you add is not over
the edge or again, you're going to
break that pattern. "Filter", "Other", "Offset", exactly the same offset. Again, I can add a
couple of layers, just making sure they do
not go over the edge. I'm going to use the open
square bracket just to size my leaf down a little bit because I
want to put one in there. Again, I'm going
to run the filter. These settings are sticky
so all you have to do is come in and click
"OK" because they're going to be the
exact same settings. I want to add something in here, but this leaf is not going
in the right direction, so I'm just going to
put it in and undo it. I don't want that one either. I don't want that one either. It might off me at this stage to actually flip this leaf myself, so what I'm going to do is adjust its positioning
and see if I can get it in the exact position that I
want using this angle here. This is the one I want, so I'm just going
to add it here, making sure it doesn't go over
the edge of the document. Let's run our filter again. I think this is
looking pretty good. Let's make a pattern out of
this; edit "Define Pattern". Let's test it with a new file. A new file has to be
larger than our design. I'm making mine 6,000 by 6,000. I'm opening my patterns panel. You can get to that by choosing
Window and then Patterns. I'm just going to drag and drop my pattern into my document. The pattern, as
you can see here, actually is bringing
with it its background. We could go back to
this image here. Let's open the Layers panel, let's turn off the background, and let's make a pattern out of it without the background. Let's go back to
our document here. I'm going to drag
this new pattern in. It's going to look exactly
like the last one. But if we go to the
Layers palette, we'll be able to
add a layer in here between the pattern and this white background
that has color in it. The way I like to do
this is choose Layer, New Fill Layer, and
then solid color. The reason for this
is that I can now adjust that color layer in situ. I can see my pattern and this
color background that I'm building into this
pattern as I'm working so I can decide
what I like and don't like. It's much more efficient than trying to work out
the colors that you want to use using the foreground and
background colors here. I really like this color, I'm just going to click, "OK". So we've got a pattern with
a transparency behind it, and behind that, we can put any set of colors that we like. Now, once you've got a design, if you like it and
you think it's a good and nicely
balanced pattern, we could go back into this pattern area and I could
add a hue saturation layer. "Layer", "New Adjustment Layer", "Hue Saturation", click "OK". What I'm going to do
is adjust the color of my pattern just by dragging
around on the Hue slider. So I really like this
pattern as well. I'm going to turn off
the background because I don't want to bring
in a background, I want to be able to
add my own background, make a pattern out of that. Make sure that
you've got a layer that has content
on it rather than the adjustment layer
selected when you go to make your pattern or you
won't be able to do that. Now, you can also make it with a white background
if you want to. Just turn your Background
on and just make that as an additional pattern. Let's go back into
this document, go back into our patterns. This is the one that
is transparent. So we're seeing that background that we built into
this document, this new background behind it, of course, we can edit
that if we want to. Go to the layers palette, double-click on the
thumbnail here, and you could choose
a different color for this background. Then of course we have the version of the
pattern that brings in its own background here that has that white background
built into it. There's lots that you can do
with this palm tree image. It's just the case of
looking at the possibilities and determining what patterns
you can make with it.
16. Pt 15 - Hexagon Pattern: This hexagon pattern is a
little bit tricky to make, but it's lots of
fun and I've got a system that's going
to make it pretty near foolproof to get it right. But I do suggest you use my values because that's
going to be important to the success of this given
that we're going to be making guides and shapes that
are of fixed size. Let me click "New File" and
I'm working in pixels so I have a shape that is
2,000 by 2,000 pixels. If you're working in
some other value, just choose "Pixels"
from this option here. Now we're going to start with our guides so we're going to "View" and then
"Guides" and then go down here to "New Guide." We need four guides, we need two vertical
and two horizontal. I'm starting with the
horizontal guides here and the first one is going
in at 303 pixels. Now, if you're working in
inches or some other value, you can just type
px to make sure it goes in at the right
number of pixels. The second guide "View,"
"Guides," "New Guide," and this one is going
in at 1,515 pixels. Again, type px if you need to. The two vertical guides
are now going in, we'll choose "View,"
"Guides," "New Guide." The first vertical guide
is going in at 650 pixels. I'm not going to
type pixels because I'm working in pixels already, you'll type it if you need to. The final guide is going in, it's again a vertical
that's going in at 1,700. These guides are
going to help us line everything up as we
make our pattern. We'll go now to the
tool we're going to use to make our hexagon, that's going to be
the polygon tool. Choose a toolbar position
with the rectangle tool. You'll need to come up here to the control bar and
make sure that you have "Shape" selected here
and no stroke at all. It should have a
line through it. If it doesn't, just click it and just select this option to put a line through so that
you don't have a stroke. Now, I'm going to be using
some pastel colors here so I'm just going to make my
pastel colors available, and let's go and get a
pastel color to use. I'm going to click once in the
document because I want to control the size of my hexagon, and that's going
to be 700 pixels by 700 pixels width and height. It's symmetric, number
of sides is six, corner radius zero, star ratio 100 percent, from center is not selected, and we'll click "Okay." Now, we asked for a hexagon that was 700 pixels by 700 pixels. It's not. That's fine. There's a reason for this. Open up your properties
panel which you can get to by choosing "Window"
and then "Properties." Here in the Transform area, you can see that your hexagon is going to have a
width of 700 pixels, that's what we asked for. But the way hexagons are in shape is that they're
always wider than they're tall if
the sides are even in length and we need the
sides to be even in length. But, this is a really
nasty value, this 606.22. It is a fraction of a pixel and it's not going to work particularly well for a pattern. So what we're going
to do with our shape selected is make
sure that this icon here is not selected so it should be the same color
as its background. Shouldn't look like this,
should look like this. What we're going to do is
just make this 606 pixels. Again, if you're working
in inches or something, just type 606 px and you're
going to be good to go. What we've done is
we've marginally stretched this shape,
only a smidgen. It's not going to
show up in the shape, but it is going to make
things easier to line up. Now, I want this
to be lined up to the top center of
the document which I can do with my guides, but you'll also want
to double-check it so click these
three dots here. Make sure align to reads
"Canvas," and then click here on the center option
and the top option. We want to make it
aligned to the very top and to the center
of the document. We're going to show our layers pallet because we need to have our eyes on this to make sure that everything works properly. Of course, you can get to
your layers palette by choosing "Window"
and then "Layers." We're going to make a
duplicate of this polygon. I'm going to drag and drop the layer onto
the plus symbol. This polygon, we want
to change its color so we need to select
one of the shape tools. So that's this tool here, the path selection tool, or back to the hexagon
tool, it doesn't matter. We can change the color of this particular shape so I'm
going to make it a green. In the layers palette,
you'll see that we've got an orange shape and a green
shape on top of each other. I'm going to the
path selection tool, this is going to be a
really important tool to use so just
click on the "Path Selection Tool" and then drag this shape
down and over here. It should snap into position because we've
got our guides there. The next move is really important and it's a
little bit tricky. You're going to
make sure you have the path selection
tool selected. You're going to hover
over this shape, in fact, you can select
this shape with it. You're going to hold down
the Alt key on a PC, and that would be the
Option key on a Mac. You'll see that to the bottom right of that little
arrow is a plus symbol. That tells you you're about
to make a copy but it's a very special copy
because if you hold the Alt or Option
key as we move this across and keep holding
it until you let go, you've not only made a
duplicate of this green shape, but here you can
see that they're in the exact same layer
in the document. Now that's important because ultimately this bit here is going to join up
with this bit here. These are the same shape and they need to
be the same shape, and the reason I'm
putting them on the same layer is this. If I change the
fill color of them, the rules of shapes
on layers are that both of them
are going to change their color so let's
make this a blue. You can see that they're
both going to change color and that's going to
work to our advantage. We've got the two shapes
on the same layer that need to be behaving as if
they were the same shape. I'm going to grab this
layer and drop it onto the plus symbol and
I'm going to change the color of these to another
color I'm working with. Let's choose this color. Then we're going to move them. The problem is as soon
as I click back on them with the path
selection tool, I end up with only one selected. So I'm going to hold
the Shift key down, select the other one, and then start moving. It's a little bit tricky,
but you'll get used to it. This is going to snap in
down the bottom here. These two shapes
on the same layer, they're ultimately
going to be pieces of the same shape
in our pattern. Now this polygon here at the moment we're only going
to get half of that in the pattern because
this little area in here is going to be
our pattern swatch, so we need an orange
shape down here. But before we actually go
and drag this down here, we're going to make
a duplicate because we're going to need something
in the middle here. Let's just drag this polygon
onto the plus symbol so we've got one that
we can hold for now. Then let's go and get the
one that's on the top here. Hold down the Alt option
key and drag this down. We should have a
lab that looks like this with two shapes on it. Now, I'm just going
to show you something that you might do by accident. If you use the move tool, you can also make a copy of a shape by holding
down the Alt key. But this time, you're going
to get a different shape, black arrow and
it's going to have a white arrow behind it. It does just as what
we asked it to. It does move a duplicate
of this shape. It makes a duplicate
and it moves up. But look over here
in the layers panel, you end up with these two
shapes on different layers. Not what we were
supposed to be doing, but this can be saved. What you can do is select
both of these layers, the bits that have these
two shapes on them, right-click and just choose Merge Shapes and that puts
them back on the same layer. If you find at the
end of this that you've moved things
around and all of a sudden things aren't
on layers together, that should be on
layers together, well, you can solve
that problem. Now, I'm just going
to turn this layer off for a minute because we need to deal with this
particular shape which needs to be in the middle. Obviously, it needs to be a different color so
we're going to on the shape tools and let's
go and get a color for it. Then we'll turn the orange
ones back on again. This is not everything
we need for a swatch for a seamless
repeating pattern. We're going to the
selection tool and I'm just going to drag over using these
guides as a guide. Now, everything should snap into place because that's why we had the guides in
the first place. We'll go to Edit and we'll
go to Define Pattern. I'm going to call this hexagon
1 and I'll click "Okay". To test this, we need a new document so I'll
choose File, New. I'm going to make a document
much larger in size. In my case, 6,000
by 6,000 pixel. We'll come across here to
the patterns collection. You'll get to those by choosing
Window and then Patterns. You can just drag and drop your hexagon pattern
into your document. I'll double-click here and we're just going to
change the scale down so we can see how nicely
our pattern works. Now, we're going to
zoom in here and just double-check and make sure
that there are no spaces. They shouldn't be spaces because we set this
up to be successful, so it should be a
perfect pattern. Now, there are a couple
of things that we can do with this now that
we've got our pattern. Provided you're happy
that everything works, then this is what
you're going to do. Firstly, save this document so that you've got
the swatch saved. But I'm also going to save this selection because rather
than having to make it each time we know what
works so it would behoove me to save it
so I can just grab it. I'm going to Select and then
I'm going to Save Selection. I'm going to call
this hexagon swatch. I'll click "Okay". Now, I can turn it off because
I don't need it right now. I'm going to de-select. I don't need the guides any
longer because they're fine. Everything is perfect. I've got my selection.
I don't need my guide, so I'll go to View, Guides
and I will clear my guides. Now, I'm going to put some white borders around this pattern. I'm going to select everything. I'm going to the
path selection tool, I'm just going to drag over all the objects in this pattern. I'm going up here to the
Stroke and I'm going to click on the Stroke and
I'm going to make it white. I'm going to make the
size of it fairly narrow. Right now, let's do
a 10-pixel stroke. Then we're going to
this little icon here and you're going to align and you're going
to make sure that this is the middle of
these three options. What that does is
it puts the stroke over the edge of the shapes, so there's half in and half out. It's important to
have half in and half out and it's
important to have an even number so that you
have half in, half out. It's not like
five-and-a-half pixels in and five-and-a-half pixels out as it would if you had
a stroke weight of 11. It has to be an even number. This is a new pattern. We need to get our
selection back. We'll go to Select, Load Selection and just here is our hexagon swatch,
we'll click "Okay". That just loads the
selection back in. It's the selection that's marking out the area
that is our pattern. If it was right before, it's going to be right now. Edit, Define Pattern,
hexagon 2, click "Okay". Let's go back into our patterns panel and drag
and drop our pattern in. We're going to zoom
in and just make sure it is perfect which,
of course, it is. Because it was
perfect originally, it should be perfect this time. Now, this time, we're going to enlarge the width of the stroke. I'm going to de-select
my selection. I'm going back to the
past selection tool. I'm going to select
everything here and I'm just going to increase
my stroke weight. Again, make sure
it's an even number. This time, it's going
to be 30 pixels. This is a chunkier design. Again, Select, Load Selection, come back in and
load our hexagon, make a pattern out of it. Hexagon 3, and go test it. This is a chunkier
version of our design. Now, before we finish up here, there is a potential for
creating a two-color version. I'm going to de-select
my selection. You will want to save this file at this point
because what we're about to do is going to change the colors of pretty
much everything. I'm going to leave the purple
one the color that it is, but I'm going to select every
other one of these layers. I've got three layers
selected with the blue, the green, and the orange. I'm coming up here to the Fill and I'm going to
change the fill color. I'm going to make
this a blue color, maybe a slightly
different blue color. Now, I'm going back to get
my selection load back in my selection and go and
make a pattern out of this. This is still the
same hexagon pattern. This time, you've
got a purple hexagon that is surrounded by
similar color blue ones. Again, a different
variety of pattern. This design, this pattern, once you've made the
basics for the design, can be re-used over
and over again to re-color it and do
all sorts of things. Enjoy that hexagon pattern. Once you've got, I would
save it so that you can use it over and over
again as required.
17. 10 Patterns in Photoshop Project and Wrapup: We've now completed the video training portion
of this course, so it's over to you. Your project for
this class is to create one or more
of these patterns in Adobe Photoshop and
post an image of your completed designs
as your class project. I hope that you've enjoyed this course and that
you've learned lots about making more advanced styles or patterns in Adobe Photoshop. Now if you did enjoy this
course and when you see a prompt that asks if you would recommend this class to others, please do two things for me. Firstly, answer yes that you
do recommend this class, and secondly, write even in just a few words
why you enjoyed it. Your recommendations help
other students to say that this is a course that
they too might like to take. If you see the Follow
link on the screen, click it and you'll be alerted when I release new classes. If you'd like to
leave me a comment or a question, please do so. I read and respond to all of
your questions and comments, and I look at and review
all of your class projects. My name's Helen Bradley. Thank you so much
for joining me for this episode of Graphic
Design for Lunch. I look forward to seeing you in another class here
on Skillshare soon.
Helen Bradley, Graphic Design for Lunch™
