Transcripts
1. Introduction to 3 Awesome Patterns in Photoshop CC: Hello and welcome to
this Class 3, Awesome Photoshop Patterns; a graphic
design for lunch class. My name's Helen Bradley and
I'm a Skillshare top teacher. I have over 270 courses
here on Skillshare and over 170,000
student enrollments. In this class, we'll
deep-dive into making three awesome patterns
in Photoshop. I've chosen those three patterns because as well as
looking wonderful, they'll all add interest to
any pattern collection and they showcase a range of handy Photoshop tools
and techniques. The patterns include a
Japanese-inspired pattern, color pixelated pattern, and a Turing pattern
based on the work of the English mathematician,
Alan Turing. I'll show you step
by step how to make these patterns,
and along the way, you'll extend your
Photoshop knowledge with lots of handy tips and tricks. Without further ado, let's get started making these patterns in
Adobe Photoshop.
2. Make the Japanese Inspired Pattern: This Japanese inspired
pattern looks absolutely gorgeous and I know that you're going to
have a lot of fun making it, but it is a little bit tricky. So word of warning, for this pattern
do it exactly to the measurements that I'm using, because otherwise you're setting
yourself up for failure. If you want to later on
you can double everything, but let's just go with my
sizes to start off with. I'm creating a
document 600 pixels by 600 pixels, I'll click "Create". I'm going to create an ellipse, so I'll go to the ellipse tool. It's going to have
no fill at all. That's pretty important because otherwise it's not
going to work. It's going to have a stroke of whatever color you
want to use for your pattern and
the stroke width I'm using is six pixels. I'll click in the
document and I'll create a ellipse which is 200
pixels by 200 pixels. With the properties panel open, I'm going to move it up to fit it in the top
corner of the document. The x and y value should
read here zero and zero. We'll choose layer,
new layer via copy. We're making a duplicate of this shape and the
duplicate is selected. We'll come over here to
the y value and we're going to move it
down 150 pixels. Then we're going to
do that again, layer, new layer via copy. For this one, the y
value will be 300. We'll do it once more, layer, new layer via copy. The final value
here will be 450. You should have this arrangement
of overlapping circles. We'll select the every one of these, and we'll
choose layer, new layer via copy, we'll shape layers via copy. That's made a copy of all
four of these shapes, and the copy is selected. We'll come over here
to the x and y values. We're going to
move it across 120 horizontally and 80 vertically. We should end up with
this overlapping look. We'll select over everything
and we'll do again layer, new layer via copy. We'll shape layers via copy. Over here for the x value, we're going to move
them across 240 pixels. At this point we'll select everything and move
everything up so that the middle part of
our arrangement is in the middle of the
document because the actual location at this
point now doesn't matter. The location of the shapes
relative to each other did, but the location in the art board or the document
area doesn't matter. Now we'll go and
create a rectangle. Now the rectangle can have
whatever fill you like. I just suggest you
choose a pale color. It's going to not have
any stroke at all. You're going to click
in the document and go to create a rectangle that is 240 by 150 pixels in
size, and click "Okay". For this in the last palette, I'm just going to reduce
the opacity down so I can see everything through it. I'm going to position it over the middle
of my pattern area. What I'm concerned about
is that these circles here that are underneath this
shape are complete circles. They've got full overlap. I'm really happy with
its positioning there. I'm just going to lock it down. If you want to, you
can also just drag it down to the very bottom
of the document. In this case, I'm putting it
just above the background. Now the reason for
this shape is that it is the size of our pattern. This is the only area in the document we
have to get right. All the bits that are
outside this area don't even have to be correct. Next we're going to select
over all of the shapes. I'm clicking on the bottom most one and shift
clicking on the top. We don't need these to
be shapes any longer, so I'm going to right-click
and choose rasterize layers. I'm going through the
very top of the document, and I'm going to click
here to add a new layer. I'm going to the
paint bucket tool. I'm going to set my
foreground color to black, and up here in the toolbar, I'm going to make sure it's
set to 100 percent opacity, the tolerance is 200. It needs a really
high tolerance level. I have anti-alias, contiguous, and all
layers checked on. Again, that's really important. Now I'm going to identify these little rounded
triangle shapes. I'm going to click
in each of them. It's the all layers setting here that is allowing me to identify the shapes as being the combined result
of all these layers. It's very easy for me to
just click to fill them. The ones that I'm
most concerned about filling are obviously
the ones that are where this pink shape is
because that is our pattern. Now everything is done there. I'm going to add a new
layer to the document. I'm going to the
paint brush tool. This time I'm using a round paint brush
and I'm going to set the color to something that
is brightish and easy to see. I'm going to zoom in. This is where you need
your wits about you. We're going to look
at this circle here. I'm going to position myself in this area just at the
top of the circle. Let me go and get
my paint brush. I'm going to drag down
with my paint brush. That's marking this line
as one to be removed. When I come down, I'm going
to swing to the left. This is going to be removed. Going back to where I came from, and let's come down and
swing to the right. That one's done. Let's have
a look at this circle. I'm going to the same
starting position. I'm just going to drag down. That line is going
to be removed. I'm going to come down
and swing to the left. Go back to where I came from, come down and swing
to the right. This circle here, I'm going to come down and drag to the left
and to the right. Now, none of these lines are actually impacting the pattern, so we don't have to do
anything with them. Let's go to this circle here. Same starting position. This line goes, come down
and swing to the left, come down and swing
to the right. This one is impacting
the pattern, and potentially this one is too, so I'm going to make
sure I remove them. Coming here to where we would be in this
similar position, we would get rid of this
line and this line, none of these are
impacting the pattern. Here, we'd be getting rid of this line and this line again, nothing is impacting
the pattern. Here there are things that we need to be concerned about, so let's go to the
starting point, drag down, and then
swing to the left, go back to where we came
from and swing to the right. We're just going to do
this last one here. Imagine that this is
the starting point, we come down here and swing to the left and there's
nothing on the right. We've got a lot of
things marked out here, not all of them we're actually going to
do anything with; the ones that we're concerned
about is anything that has a blue line through it that is over the top of this pink shape. Let's go and find
out where we are. I'm just turning these
shapes on and off, clicking on the layer
and then turn it on and off and noticing if there's something
on this layer that has actually got a line
through it and this one does. Let's go to the eraser tool. Have the eraser set
to a round brush. I have a smallish size
mine is 21 pixel, something like that's perfect. What you do need to do is have hardness set to 100 percent. It's actually critical that
you have a hard brush here. Again, let's focus
on what we're doing. This is this circle here. We're just going to
come around and erase anything that has
a blue line on it. Now the way that
we're doing this by working with separate
shapes means that you don't have to be really really accurate
with your eraser. You just can't go into the shape the
other side of the line. But provided you
are on the line, you'll be able to
erase really neatly. Design this so that it would
be easy to do this erasing. Let's have a look here to
see if there's anything that we need to be aware of
or possibly this line, not a 100 percent sure it's
impacting the pattern, but I'm going to make
sure it's removed anyway. Nothing up here is
impacting the pattern. Select the next shape. Nothing here is
impacting the pattern. Got a few things here
that are impacting it. I'm going to travel
around this circle, just erase the bits that we need to erase
come around here. This would be going, but it's not actually
part of the pattern, so we don't have to do anything. Let's go round. This is probably not
impacting the pattern. I'm going to remove it anyway. Let's go to the next shape. Nothing here has
lines through it, so I'm just going to ignore
that one. They show here. Nothing has lines through it. Something here is important. I'm going to go here
and remove this. If you're trying to
remove something from a circle and
it's not erasing, it's because you've got
the wrong circle selected, so just be aware of that. There's potentially things
here that need to be erased. Let's just go around
this circle, check it. This one's really important. I'm going to
continue on and just speed up the video as I do this, I'm going to come back once I've finished all the erasing. Now that we've done last, let's just turn off the blue layer and just see
how things are looking. Well, I can say that there's
a problem here immediately, this line has not been removed, so I need to locate this circle
before I go any further. Here it is. At this point, we should see in this area, the general pattern here
is a complete y-shape, here's a complete y-shape, here's one of those
y-shapes again. It's complete as far as it appears over the top of
this pink rectangle. I think we're pretty good here. I'm pretty happy with this. At this point I'll hold
down the Control key and click on the rectangle here. That's marking out
the pattern area. I'm going to turn the
visibility of that layer off because I don't want it to be a pink and black pattern. If I didn't turn
the visibility off, I would end up with
pink and black. I'll choose Edit and
then Define Pattern, then we're going to make
this a Japanese inspired pattern. We'll test it. Layer, new fill layer, pattern. Here's our completed
Japanese style pattern. As I said, it is a little
bit tricky to make, but provided you follow
the instructions and use the same values as I
have used for the sizes, everything should
work out just fine. If you want to double the size, then just make
everything twice as big and make your
moves twice as big. If we moved, say a 150 pixels, then make it twice the
move it read 300 pixels. Let's see what
happens when we use the pink background because that's another possible pattern. If you wanted to have
a colored background, then you could include that rectangle in
your pattern pace.
3. Japanese Inspired Pattern - Save the Swatch: Before we completely finish up with this Japanese
inspired pattern, let's clean up our pattern file because this would be useful later on if we wanted to create other versions
of this pattern. But right now it's a little
bit hard to maneuver, and in six months' time,
it's going to be near impossible to remember
exactly what we did. First of all, I'm going to
get rid of this blue layer because that was just marking
out the lines to remove. We don't need that any longer. I'm going to target
the pink rectangle, because this is my pattern
piece I'm going to control on a PC control click on
this thumbnail on a Mac, I would command click and that just selects
this pink area. This is where our
pattern pieces, I'm going to choose
Image and then crop. That just crops everything to the size of my pattern piece. The next thing I'm
going to do is to put together all
these black layers, all the layers that comprise the black
part of the pattern. I'm going to click on
the top most layer, scroll down here and Shift click on the bottom one
of these layers. All of these comprise
this black area. There are some empty
layers that's just fine. They're going to be
removed in this process, I'm going to right click
and choose "Merge Layers". What this does is it merges
the selected layers, so the pink is not being
merged into the design. Just the black areas are now
in a layer by themselves. There's transparency
here so we're seeing through to the
pink layer underneath. I'm going to deselect
my selection with select and deselect. Or you could press
Control or Command D, depending on whether
you're on a Mac or a PC. Now, I've got this
rectangle here. I would like to invert
this so that black becomes white and
pink becomes black. Let's go and do the black
becomes white bit first. I'm going to target this
black layer and choose layer, new adjustment layer and I'll choose invert and click "Okay". Now this has made
black into white, but it's done something a
bit funny with the pink because pink when it's
inverted becomes green. What's happening is that
this inversion layer effect is affecting everything
in the document. We want to limit it just to the layer immediately
underneath it. I'm going to target this
layer and choose layer and then create a clipping mask. That just clips it so that
the inversion effect only affects the layer
immediately underneath so it's just flipping
black into white. We've got our pink
layer still here. If we want it to be black, we're going to have
to undo some things that we did earlier. Firstly, I'm going to
unlock this layer. Secondly, I'm noting that this layer has reduced opacity. I'm actually going to do what. There's a good
chance that you're going to do so that you can see the problem and identify
it and fix it in a minute. I'm just going to
double click on this layer thumbnail to bring
my color picker back up. I want to fill this with black. Black is 0, 0, 0 in red, green,
and blue channels. This is black, but
of course it's showing up in the image as gray. At this point you're
probably going, I have no idea what's
going on here. Well, the problem
is that this layer still has that opacity
of 57 percent. I brought the opacity down so that we could
see through it. Now we need to take
it back up again. When I take the opacity
back up to 100 percent, I end up with true
white and black. Of course, this is
another pattern. This is an inverted
color pattern. This is going to give
us the ability to use this pattern piece
over and over again. We can re-color it. I could turn off
this black layer. I could turn off the
inversion layer, and I could add, for example, over here, a color layer. Let's go to layer, new adjustment layer, and
let's choose hue saturation. I'll click, "Okay". I'm going to colorize this. I'm going to click on colorize, going to increase my saturation. I'm going to increase
my lightness. Then I'm going to walk
around my hue to make a different color version
of this pattern so I can choose whatever
color I want to use. Of course we could do the same if we'd left
the inversion on and simply changed the
background so we would have white on
some other color. White on red, white on blue, white on green,
whatever we wanted. Once we've cleaned up
this pattern file, life's going to be a
whole lot easier in terms of using it to
make different patterns. Obviously, it's a lot more
easy to understand and to work with now that we've reduced it to just the
elements that are needed. Of course, at this point, this is where I would say that. That's another attractive
version of the pattern, made very simply by just adjusting the original
pattern swatch.
4. Make the Pixelated Pattern: For this exotic pattern, we're going to create it as a series of smart
object so it will be easy for us to alter it by
simply altering a gradient. I suggest that you stick with the values that I'm using for my files because it's going
to be more easy to reproduce. I'm using a document that's
1000 by 1000 pixels in size. It is RGB color mode and
it is a white background. I'll click "Create". If you want to increase
the size of this, I would suggest that you
just double everything. So what I'm going to do
here is select the base colors the black and white by just clicking on this icon here. Then I'm going to flip them. So I want white as my foreground and black
as my background. I'm going to double-click
on the white and choose a color to use. So I'm looking for something
that is in the region of about 240, 239, 240. I just think that this
is a pretty good color. So I'm just going to
choose something. It is relatively light. It's probably lighter
than you imagined that it should be by the
looks of the pattern. So right now, my color values here are in the
region of about 239, 69 and 76, but just something in that
blue will be just fine. Now the reason why I've made this a foreground
color and black the background color
is that when I grab the gradient tool here and
click the drop-down list, the very first gradient is a foreground to
background gradient. So we've actually got our
selected foreground color here and our selected
background color here. So we don't have to set
up a gradient because it is actually a
built-in gradient. So let me just click in the
top corner of this document, shift-click to drag down, so it's light at this end
and dark at this end. We open up the last pallet. You'll see that I've got just a single layer that's
filled with the color. I'm going to click
here to unlock it. I'm going to add
another layer to it. Just click on the
plus sign here, just drag it underneath. Because that's going
to make the rest of this work a little bit better. We're going to make this into a smart object because we're about to apply a filter to it. So I'll right-click and choose
Convert to Smart Object. Then we'll apply our filter. Now it's important to convert these two smart
objects so that we can alter it again later on. Filter, Pixelate and
go down to a mosaic. This was one of the
reasons why it was important to have a
fixed size document. Mine's 1,000 by 1,000
because I want to make the cell size equal sizes. So I need to select
the cell size that divides evenly into 1000 with nothing left over so that I've got nice
even size cells. Now I can use anything
up to 200 if you want lots of cells and
you could use 100, that would work too. But I think 200 for this is
going to be just perfect. So I'm just going
to click "Okay", I'm going to tuck this away so I don't see
the smart filter. There's no point in seeing it, I just need it to be there. Now I'm going to add
another smart object. So I'm going to
right-click and choose to Convert to Smart
Object a second time. If you don't do
this, this next step is not going to work. I'm going to choose Edit
and then Free Transform. If for some reason that
option is not available, you may want to press
control and command T to get into free transform. Sometimes that just
short circuits that, but with edit free transform, that will take us to
these options up here. Click on the check mark
here and make sure the middle of these nine
squares is selected. I've got the icon
here between w and h, width and height
clicked so you can see that mine is selected as black, so you want that to be the case. We're going to select
the width and we're just going to type 707 px. Then we're going
to set a rotation. Now, I want this to put
the light over this side. So I'm actually going to go in a negative 135 degree direction. You can use whatever
rotation you like provided some multiple
of 45 degrees so that you end up with
this diamond shape and whatever color you want
at the top being there. So I'm just going to
click the check mark, that's looking good to me. Now I'm going to make
a duplicate of this, just right-click and
choose Duplicate Layer. It's really important that
you do it this way because we want to actually
duplicate that smart object. Otherwise, the next steps won't work when we come to
actually edit this pattern. I'm going to apply a
offset filter to this. So with this top
most layer selected, I'll choose Filter,
Other, and then Offset. Going to have to do
this twice because of the way that this
document is designed. So we're going to set
the horizontal and vertical to half the width and half the height
of the document. So in this case, the document is 1000 by 1000 so we're setting
it to 500 and 500. You have to do this
twice. The first one will be negative and negative. So just set it to
minus 500, minus 500. Wrap around and click "Okay". Going to tuck that away, let's make a second copy
of this duplicate layer, click "Okay", filter,
other, offset. This time they're
going to make it a positive 500 and positive 500. Click "Okay". Now, because of
the measurements, this may be slightly off. You may be seeing a slight pixel like line
around the edge of your shape. If you're using really
light gradient, you probably won't see that. This is what you're
going to draw. You're going to click on this
bottom layer that we made, and we're just going to fill it using the paint bucket tool. Just grab the paint
bucket tool and fill it. I think with the black is probably going to give
us the best results. I'm just going to fill it with black paint bucket
tool layer selected, click on it and filling up
with black just darkens those edges and it just
makes it look perfect. Now, this document
is pretty big, so we're only talking about
one pixel as a maximum there. So the fact that
it's black there is just not going to show
up on the final result. We're ready to save this; edit, Define pattern. I'm just calling
this blue spectrum. Let's go and test
it with File New. We're going to create a
document 3600 by 3600 Layer, New Fill Layer Pattern. Click "Okay", drop-down list down, and
pick up our pattern. At this stage, we
can reduce its size. We made it at quite a large size so that it can be
easily reduced. There's our finished design. If we want to alter the pattern, we can go back to the
original document. Let's display our
layers palette here. I'm going to one of
these smart objects. It doesn't matter which one. I'm just going to double-click
on the thumbnail, that opens up the first
embedded smart object. We need to double-click on
it again to get the second. Let's go and lighten this
pattern a little bit. Let's go and get a
slightly lighter color. I'm going back to my Gradient
Tool which is hiding here. Let me just go and
grab my gradient. This one is going to be
a little bit lighter. Let's close this, click "Yes" to save
it and close this, click "Yes" to save it. This entire pattern
is now updated. We'll go to Edit and
then Define Pattern. This is our second one. I won't bother
naming it right now, but let's go and add
another fill layer with our new pattern
so that we can compare the lightness
of these two. Let's just drop this down
to 50 percent as well. Click "Okay" and here
are the two patterns. So just by lightning that color, we're able to lighten
up the pattern. Of course, we could change
the colors entirely. It is just the case of
double-clicking on this layer, thumbnail and
double-clicking on it again, and then choosing a gradient. So this time let's go and choose a very
different gradient. Let's choose a gradient out of the gradient collection here. This one's interesting. Let's just drag
that through here. We're going to close
it and save it, and close this one and save it. And here is our pattern. We're going to save our pattern, and we're going back
to our document. For comparison purposes, let's just add another fill layer. Let's drop this
down to 50 percent. There is another
version of the pattern. So setting it up as smart
objects makes really good sense because it means that it's
editable very easily. You just have to drop another
gradient into the design and you've essentially got your pattern sitting
ready there for you.
5. Make the Turing Pattern: This pattern that
we're going to create is called a Turing pattern. It's based on some work by the English mathematician
Alan Turing. It relates to how
liquids can diffuse together but we'll just create this as a
two-dimensional pattern, but it's cool to know
where it comes from. Now for this pattern, it's really important that
you stick to the sizes we're going to use
because of the way that clouds filter that
we're going to use is actually, a repeat if we
created it the right size. I'm creating my document
at 1,024 by 1,024. I've got a white
background here, which is going to
work just fine. I'm also using the
default colors, black and white. That's
really important. We're going to apply
a clouds filter so we're going to
filter and then render, and we're going
to choose clouds. Now, this clouds
filter at this size of 1,024 by 1,024 is a repeat. You see over here, this element would repeat
over this element here and that's going to really
help us in this process. At this stage, I'm
going to display my layers palette with
window and then layers. I want to make three
copies of this. I'm just going to
right-click and choose duplicate layer or you can choose new layer via copy. I'm just selecting both of these and duplicating them basically. I want four copies
of this document. The next thing I'm
going to do is make my document much bigger
image and then Canvas size. It's important that you use Canvas size because that's
going to allow you to change the size of the
Canvas but without affecting the actual size of the elements that
we've got on the Canvas. I'm just typing 2,048 and 2,048. That's double the width
and double the height of the original document again so that we can fit
four of these in. They're going to
repeat seamlessly. Just going to click this
anchor point over here so that all of these shapes are going to appear in that top corner. Now I'm going to each
of them in turn, and I'm just going to move them across so
that they line up. Now I've got my smart
guides turned on. If you go to view and snap, make sure snap's turned on
and then snap to guides. With those smart guides enabled, everything is going to
snap into position. I'm just going to
select these other two and just move them down. Well, I just got one, not two, but that's fine. That's the last of
them. What we want to do before we go any further at all is to just make sure that there are no seams
but they should seamlessly repeat
because we started them at 1,024 and 1,024. If you wanted to make it bigger, you could do it at 2,048 and
2,048 to start off with, and then just make
a document that is twice as large when
you go to join them together because these
are the dimensions that when you fill them with different clouds or with clouds, they're going to
seamlessly repeat. Back to our layers palette, what we're going to do now is to create a combined
version of this. I'm just going to select
over all four layers, right-click and
choose merge layers, so they're merged into what is now a seamless
repeating pattern. We're going to do the
things that allow us to develop this Turing
effect and there are three steps in this process. The very first one
of these steps is to apply what's called
a high pass filter. We're going to filter and
then other and high-pass. We're just going to set this to something like five or six. It doesn't really matter
what you use here, but five or six is
going to be perfect. Then we're going to apply
a threshold adjustment. Which is going to convert this
to either black or white. Let's go to image
adjustments threshold. It's very important that you use image adjustments
threshold and don't add it as an
adjustment layer because we need to bake
this into the image. The default value here is 128. Just select that and click "Okay" because what
that's done is now is extracted the pixels in this document as
either black or white. Now we're just going
to blur it up again. Filter, blur, and then Gaussian blur. For our Gaussian blur, we're going to set a
value of somewhere 4, 3, 6 something that's going
to blur our image nicely, and then just click "Okay". To develop this Turing effect, we're going to repeat those
steps over and over again. In case you don't want to
have to do that by hand, let's make a very quick action. Go to window and then actions. I've got a group here already, but you could click to create a group to store
your actions in. Once you've created your group, you can just click to
create the action. I'm going to call this Turing
and I'll click record. I'm now going to record those
exact steps over again. Luckily the filters will keep those values so we don't
have to enter them again. Filter other and
high-pass and just click "Okay" and then
Image Adjustments, Threshold, sine value
as before click "Okay". Then I Gaussian blur, filter blur, Gaussian blur, and just click "Okay". There are three steps
that we need to repeat over and over again. Down the bottom here,
click on the square, because that stops the
recording from happening. Now we can go to the Turing, just click on the word and
click the play button. But because we need to do this
over and over again we can also create another action which does it over
and over again. Let me just click the plus
sign and I'm going to call this action Play
Turing and record it. The recording is to click on this Turing action
and play it once, and twice, and three times, and four times, and five times for example. Now we're
going to stop it. This Play Turing
action is going to play this action over
five times in a row. It's just a little bit quicker
than doing it by hand so I'm going to play
this a few times. As you can see things are
developing in the image. We're getting more
of what we saw in the beginning of
this Turing effect. You can do that until you've developed something
that you like. Let's just have a look in here. But you'll say that it's
a little bit fuzzy. Well, we can unfold that by
adding a sharpening to it. I'm going to filter
and then sharpen. I'm going to choose something
called unsharp mask, which sounds
counter-intuitive, but it is actually a sharpening process. For this, we're going to just adjust the amount
and the radius. You're going to set the
threshold to zero and use quite high values for
the amount and the radius. You can see in here what
it's doing to the effect. Just sharpening it up
so I'll click "Okay". Now, once we've got our
sharpened effect we need to extract our seamless
repeating pattern from this. The bad news is that this over here is not going to join
up with this over here. But because we put four of them together
in the first place, if we take a 1,024 by 1,024 slice out of the middle of this document, that
will be a repeat. Let's go and select on
the rectangle tool. Let's make it set to shape. I'm going to set a fill for
it and no stroke at all. I'm going to click in the document once and
I'm going to type 1,024 and 1,024
and click "Okay". While I'm here I'm just going
to drop the opacity down on that and we can do a
really quick check here. I'm having a look up
here and you can see this bent V-shaped with
a little dash on it. Well down the bottom, just inside this 1,024 by 1,024 square is
that exact same shape. Over here we should see a
little line across the edge of the shape and over here we
see the corresponding line. We can see that it
looks like we've got pretty much a seamless
repeating pattern. Let's control or
command-click on this rectangle so that you
see the little marching ants. We're just going
to turn off that. We've still got
the marching ants in place and we're just going to choose edit define pattern. This is our pattern. It is the selection
here that we have. I'm just going to click "Okay". Now let's test it with
file and then new. I'm going to create a
document 3600 by 3600 pixels. A pattern is going to fit in
here at least three times. Fill layer pattern, click "Okay" and now we're
going to find our pattern. I'll click the drop-down
list and the pattern should be the last one in the
patterns dialogue. I'll click "Okay" and of
course now we need to check and make sure that
everything looks alright. The original pattern
pace at 100 percent is 1,024 pixels and
this document is 3,600. Any mistakes should be
in about this area. They're going to
show up in about this area and about here. Let's just zoom in. If we've got a problem
in the repeat, we're going to see it. I'm not saying any problems
in this repeat at all. It all looks perfectly good. If we wanted to create this
effect as a different color, let's have a look and say how we would make the black
a different color. We're going to use a
different process for this. What I'm going to do is just
target the background here. I'm just going to choose layer, new fill layer, and solid color. I'm going to choose a color
to use at this point. I'm going to go for a
nice turquoise blue. One of the ways that we can recolor when we've
got something that is solid black and white because that's what we designed this as. We've got black and white. Well, we can poke through the black areas to bring the color in from
the layer underneath. I'm going to target our
pattern fill layer. This is the pattern layer here. I'm going to target
it and I'm going down to this fx icon, and I'm going to choose what
are called Blending Options. Here we've got a thing
that says blend if gray. What we're going to
say to Photoshop is if there is black on this layer, you can see it says
this layer here. If there is black on this layer, start poking a hole through it. I'm just going to bring
that across and you'll see that what is happening is that we've got a
whole being poked in our pattern in the shape of the black objects
and not the white ones. Now, if we have a
look very closely, you'll see that
there's a slight haze around the edges of this. We can get rid of that by
holding down the Alt key on a PC and option on a Mac and you can split this little
indicator here. When you split it, you can drag one side of
it all the way across pretty close to the white
end and the other one for this particular
illustration quite a bit closer but that
gives us a bleed if you'd like so around the
very edges of the shape are some not perfectly
black pixels. They're a little bit gray. Everything that is
pure black is going to be picked up here. Anything is between black
and almost white is going to have that color applied to
it on a graduated effect. That's going to give us
this smooth-looking edge. The edges are much smoother now. At this point, if
we're not happy with the color of the
patent then I can just double-click on the
color fill layer and choose a different color
for the pattern itself. Of course, the pattern can be resized really easily because
it is still a pattern. Let's just double-click on it. For this, let's make it 250% and click "Okay" so we can see
it a bit more clearly. This Turing pattern is
really exciting to create. It's wonderful to
see it develop. Once you've actually
created your actions, they're going to be in
your actions palette. It's very simple to just create a starting Clouds document and then start applying the
shearing actions to it. Every time you apply the
clouds filter to a document, you get a different
set of clouds. You're going to get a slightly
different iteration of this pattern every
time you create it. Of course, over here we still
have our marching ants in place and they are over a
selection of this pattern. If we wanted to save this as a pattern pace
that we could use, again, I would just choose
Image and then crop. We are cropping it to
that pattern size. I'm going to delete
my color layer because I don't
need it any longer. if I go ahead and save this, this is the seamless
repeating pattern. Of course, it's in our
patterns collection but we may want to come back and do
some other things to it. We can do so because we
have the pattern watch selected and save as
an actual document.
6. Project and Wrap Up: 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 Photoshop and to
post an image of the completed design
as your class project. I hope that you've enjoyed
this course and that you've learned lots about working
in Adobe Photoshop. Now, if you did enjoy this
course and when you say a prompt that asks if you would recommend this class to others, please would you do
two things for me. Firstly, answer yes, that you do recommend the class. Secondly, write even
in just a few words, why you enjoyed the class. Your recommendations will
help other students to say that this is a course that
they might like to take. If you see the Follow
link on the screen, click it and you'll
be alerted when your classes are released. 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 your class projects. My name's Helen Bradley. Thank you so much
for joining me to this episode of graphic
design for lunch. I'll look forward
to seeing you in another class here
on Skillshare soon.
Helen Bradley, Graphic Design for Lunch™
