Create Repeating Patterns with Photoshop | Peter Bone | Skillshare

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Create Repeating Patterns with Photoshop

teacher avatar Peter Bone, Designer who mentors marketers

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      1 - Introduction to repeats in Photoshop


    • 2.

      2 - Create a basic Pattern Repeat


    • 3.

      3 - Create a more complex Pattern Repeat


    • 4.

      4 - Apply a pattern to a product


    • 5.

      5 - Create a specific sized complex repeat [1/4]


    • 6.

      6 - Create a specific sized complex repeat [2/4]


    • 7.

      7 - Create a specific sized complex repeat [3/4]


    • 8.

      8 - Create a specific sized complex repeat [4/4]


    • 9.

      9 - Complex repeats using cutout photos [1/4]


    • 10.

      10 - Complex repeats using cutout photos [2/4]


    • 11.

      11 - Complex repeats using cutout photos [3/4]


    • 12.

      12 - Complex repeats using cutout photos [4/4]


    • 13.

      13 - Consolidation & goodbye


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About This Class

Even though Illustrator is the program mostly widely used to create repeat patterns, I'm finding that a lot of designers I work with at fashion companies want to make them with Photoshop. In this class you'll learn tried and tested techniques to create beautiful and accurate repeats just using Photoshop. Along the way you'll learn some advanced Photoshop selection and masking techniques. The exact images that I've used are available for you to download from

Meet Your Teacher

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Peter Bone

Designer who mentors marketers


Peter Bone has worked in graphic design for 25 years. During that time he has taught thousands of people to use Quark Xpress, Indesign, Illustrator and Photoshop – at every level from complete beginners through to experts in their field. He has taught designers, marketing people, creative directors, writers, editors, illustrators, fashion designers and photographers for companies as varied as the BBC, the British Museum, Condé Nast, Paul Smith, Price Waterhouse Coopers and The Designers Guild.

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Level: Intermediate

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1. 1 - Introduction to repeats in Photoshop: Hello. I'm Peter Bo. I'm a graphic designer and software trainer from the UK Part of the work that I've done in my training has been working with fashion brands and helping their designers to get the most out of illustrator and photo shopped to create the kind of things they want to create . For many years, I helped people create repeat patterns in illustrator. But what I'm finding these days is more and more people using photo shop. Now I find that more challenging, and I suspect they do as well. So I've developed this course to help you if you're in that world to navigate, how to create accurate on good looking repeats in photo shop, so you don't have to be in fashion. Diddly this this comm beautiful for anybody, But it's particularly useful for people working in fashion or surface design, that kind of thing. We learn plenty here about repeats but also things like selections, landmarks and some great photo shop tricks. So coming in, let's see what we can do together 2. 2 - Create a basic Pattern Repeat: The first thing we're gonna do is to create this simple regular pattern. We're gonna do that by going file. Yeah. So this is simply 1000 by 1000 pixels. 300 pixels per inch using no outboards press create. In terms of my set up, you can see I'm using Adobe Photoshopped CC 2019. I'm using the essentials workspace, so we'll default stuff. I'm using the default colors down here on. I'm simply using theological mark. It'll hidden under the rectangular marquee tool. I'm simply going to click and drag holding down shift. I want to let go of my selection. I think I go at it, Phil, I'm gonna fill with my foreground color press, OK? And then I'm gonna go select away to select the whole canvas on. Do at it. Define Patton. Mr. School, This basic. That's okay. So to see that in action action is too much action. But to see it, you probably know about adjustment layers if you don't, these air adjustments that nice and flexible. But above those, we have got solid color grading and patent layers, and it's a pattern layer weakening years. So well, everything about these I could just press OK there and you wouldn't see much. But if I was toe change the scale of this. You can see this is actually a repeating pattern. Now, an easier way to control this. If you put your cursor in the box there, if you proceed up, arrow gets larger down, our gets smaller. You hold down the shift key with it. You can go down in down or up in 10% units at a time so that there's a basic pattern film. 3. 3 - Create a more complex Pattern Repeat: This is where we're going next, A much more complicated and precise Patton. So that's before gonna do. A new document should pick up the same settings is before, Although my machine, it's really slow. There we go, 1000 by 1000 pixels 300 resolution, no art boards. Then you should have rulers here If you don't you relis. Then if you right click on one of the rulers, you should try to change it from whatever The setting is 2%. This could be quite useful. Let's room. So now can you drunk from the Rula a guide? What you should be to see here is that we're measuring in percentages. If you hold down the shift key while you do it, you can keep it exactly toe hopes, images. So we'll do 1 to 50% there that another one again holy downshift to 50% there. So this will neighbors to draw a circle right in the middle. Before we do that, let's create a brand new layer. So down here, press this button to create a new layer that's allowed one. We can see we're using it. We're on it because the white frame there so them with our elliptical marquee tool, start a drag and then hold down Ault and also shift that keeps it perfectly circular. And remember, when you let go of your mouse Mitchell, the keys are still down. So then you look for the keys. Finally, you got your perfectly circle perfectly aligned in the center. Now and then you can only edit fellas before fill it with the foreground. Color will shortcut for that. His old back spice. So there, that is on a new life. So now let's select the whole layer. So edit, select all sorry, select or or command A will control on the PC before do anything else, We're gonna duplicate the layer. So because you haven't done that before, you want to drag that down onto the new layer? I come. So we've now got layer one copy, and that's when we're gonna change So we can use his wonderful command here in the filter menu, filter other and offset. And I have done this previously, so it's remember the settings. So notice I'm doing it's exactly half the distance. So this was 1000 pixels by 1000 pixels, so I'm gonna offset it exactly half of that. So 500 right? 500 down. So if at this point you realize you didn't get your measurements exactly beginning you need to go back and do that. So with those settings exactly like that press, OK? And now we've got these two layers. We got this one with the edge like that, and then this one in the middle. So if you again make sure they're all selected, so it should be selected. All that that and then again edit define Patton. So that's so let's call this precise parking one at this time because of the transparent pixels that we got here on these layers we created from scratch To be to see this properly , we need to hide thes. Let's hide those and then create another pattern layer. Andi. Yep, that's the pattern we've chosen there. And then if we just do shift down arrow, every guy that is our very, very precise come. So just to remind it to do that we used rulers. We used rueda set percentages. We use guides and we also use the offset filter 4. 4 - Apply a pattern to a product: in this video, we're gonna use the pattern that you already made on enhance an existing product. So here's the finished one. The start is this image here which you confined from unspool Ash, zoom in so you can see the photographer on the number. But if you search on special commissions, find that, okay? And then with the quick selection tool, I'm gonna click and drag To make a rough selection doesn't need to be absolutely perfect. And if that doesn't work, you can enhance it by using plus or minus and clicking toe get a slightly more precise result. This course isn't particularly on selection, so there are new wrestle of places you can find better selection techniques, but this will do this for now. So with that selection made, we're not gonna touch the background where we're going to go straight to creating a pattern layer. Well, this is gonna do it allows us to use our pattern. And there we go. There's the patent Phil again. Shift down arrow to get it to look sort of size you want says something like that, I think and, uh, notice that it's only affecting the area that we selected. It's doing that because what it added here automatically is a single layer mask. If you haven't seen layer masks before you like these, the combination of layer masks on these adjustment title airs give you an immense amount of flexibility. So what's going on here is that the area that is white is revealed. The area that is black is not revealed. So these come up all kinds of all kinds of ways and Photoshopped that one photo shops best features are suggest so there again, there's the pattern you might be thinking yet great, but where's the bag? So the reason we can't see the bag because we're using so called normal blending mode. That means that the pattern in this case just replaces what's underneath or is if we change that to something like Darkened would only see the pattern where it's darker than the originals. There we go there would conceive the black spots, and we can't see anything else, So that's perfect. If you wanted to make that slightly less strong again, you could lower the A passage e there. But I'm not going to, but you saw the one that I have there was had a different color in it, so we can do that easily. To weaken, use another adjustment layer going to use hue slash saturation. Andi, let's press colorize and then you can, jeez, whatever color you like. So I'm gonna go with that kind of turquoise color, But notice that what this is doing, it's affecting the whole image. Now you might like that, but I wanted to just affect the bag. So what I need to do is click on my lamb, ask hold on the key and the or key very often makes it duplication. That's what is going to hear. So Ault drag onto here, notice that black and white curse of that again means duplicate. So when I let go there, the dialogue box appears somewhere saying, Don't want to replace the lamb. Ask notice. The lamb ask is completely white at the moment, which is why the color washes affecting the whole thing. If I say yes, you'll notice it then has the same mask as the one underneath. So, in other words, it only effects the bag. So what we've got now is something great. We can turn these off to reveal the original, or we can have the pattern without become a patent with the color. If you wanted to change the color, we just click on a little button there and that. And I was just a just further and folded to change the pattern We can double click on. We can adjust the scale or, if you want to, you can click to look at other patterns. So if you've created other patterns and no doubt you will during this course on, uh, in future, you can change those two. So there's an awful lot you could do with patterns rather than just what we've done so far . 5. 5 - Create a specific sized complex repeat [1/4]: It's all very well. You might be thinking to create generic repeats that sort of work on a little in a bag or something, like we don't. What about if you do have to do a serious once, it has to be a very specific side for your supply. Your manufacturer. So this is a preview where we're going, You got to documents open here at the same time, side by side. This one on the right is the larger one. So this is the actual size of the finished repeat we've also got is a smaller one. Now, this is actually in several sections. If I show you this with guides on, you can see this money to see this is repeated in this case I eight times. So we're going to do this in several different videos. First thing we're gonna do is create something this size, the exact size we want to create. Secondly, we're gonna create the smaller one that's gonna go inside it. And the third thing you're gonna learn how to take is in a way, that you like this. I hope if you change this, what's carefully? When I say that it updates that wasn't ready for my sake. Let me do that again. Save it again. You can see the repeat changes. So gives you kind of like a pretty how it's gonna look. And then, you know, at the end of the process is exactly the right side. That takes a bit of doing quite a bit of measuring, but that's what we're going for the next few videos. 6. 6 - Create a specific sized complex repeat [2/4]: from the Prius leader, you seem where we're going, we're going to create a smaller document which we can repeat into this larger exact size document. So for this to work, the sizing fairly obviously has to be exact. So this is the tricky bit we need to do is make sure that the large size that we've been given breaks not only into thes sections. So in this case, two by four. But also to make these all a bit work, we need each one of those to be at a break in half again. So this is where we need to get into some numbers. So let's say, for example, that our supplier is said to us What we need is a document that's 60.96 centimeters wide on 148 centimeters tall. That's our start point. So let's create a new document of that exact size. So I've just done this previously. I'm using a resolution of only 72 because bridge in real life you might want to use a larger one, but that would take a lot longer to process. So I'm going to stick with that so it looks, you know, size looks OK, Looks pretty similar, but let's check it in detail. Gonna go image, image size. So when we look at an image size, it shows in the exact number of pixels. So the question is, will that number of pixels break down so we can divide the height by four and then also in half again On also, can we divide the width in two on also and off again Don't wear. If that's a little bit confusing, it will hopefully make more sense as we go through. But anyway, the way we're gonna do that is with a calculator. So I've got a calculated program on my Mac. If you haven't got one on your PC or your Mac, then find other calculator from somewhere you know, do online at anyway. You need you need a calculator. That's next. But I would suggest so the number of pixels we have there I could just get that back. So 17 to 8 by 4195 So 17 to a. That's the way it doesn't divide in half. So we can do it across like that? Yes, it does. Okay. And then when we got one of those smaller squares. Well, that divide in half. We need to do that to get the repeat exact to Let's try that. Perfect. So 17 to 8 pixels is gonna work. What about 4195? So for 195 can I divide that by four? No, I can't. It's close, but it's not exact. And the reason this is important is because Photoshopped works actually in pixels, you kind of half a pixel, so this will not work as a perfect repeat. So what we need to do is adjust decides to something that will work. I've obviously played with this to make sure that it will work, but the number we're going to go for is for 200 because I could divide that by four to get the four piece going downwards. And also, as you might see from the numbers, I can divide that by two. So that's the closest I think I can get that toe the size I've been given that works in pixels. So ultimately, we've got this size of 17 to 8 pixels by for not for 195 but for 200. So that's what I'm gonna change it to. So with a re sample on four to 100 pixels on press, OK, and I finally toe at the guides. I'm gonna go view new guide layout. This may not be. If you're not using the current version, it may well be in your document, which, cause you can change the guys to percentages and as we did in the other video. But new guide lower is nice, because, as you can see, you can break it in tow. Let's say two by four. Okay, So these whatever second use here and this is the way it has to divide up. So that's press. Okay, there. So that's what we're gonna do for the larger document. Now, we're gonna work on the smaller document. 7. 7 - Create a specific sized complex repeat [3/4]: So, as you know, we're in the second of three videos looking to create this. We've already created the larger file. Now we're gonna create the smaller file. So to do that, we need to get off, See the size exact. So I will repeat unwto eight here. So once again, we're gonna do a new document. So if I type in the number of pixels of the original so 17 to 8 boy screens the umpire of that for 201 way of dividing that down is I could do forward slash four, then hit the tab Key. The museum in the left waist. I could see that again. So forward slash to in this case and then tap. And there we go. So we could have done with a calculator, or we could do it that way. But we got exactly the right size. So then place create, then, as we've done before, right Click on rulers changed 2% and then dragging down with the shift key held down create a pair of guides middle and then on you Blunt Claire. I used the elliptical marquee till how down the whole key. Sorry. Start dragging hold on the okay. And the shift key. And then old back spice. And then I'm gonna dio de select. And then I'm gonna select the whole layer, duplicate the whole layer, and then filter other offset. They might have wondered why we need to be a to divide those numbers in half. Then in half again, it's because we're gonna do this bit now. So we had 864 We're gonna divide that by two. So I'm gonna do that in my head. So that's 43 243 TC 86 4.5 on down. That's gonna be 10 52 Alibi, too. So that's 525. So let's change that 45. And that looks great. So press OK, Okay, so that's where we got to last time. But now, to make it a bit more interesting, I'm gonna duplicate this layer again. And then with the move tool making sure that auto select is featured. What a shit bility as old drag and make some copies. There we go. So made some copies, like see, this is gonna be a lot more random than are other Patton I trust him enough That on, then I'm simply gonna save it. So file same eyes. We'll just call this pates test. 8. 8 - Create a specific sized complex repeat [4/4]: So in our final video, we're gonna look how we can create this. That's close, that one down. So we've got this file on. We got this far when they're gonna create this inside here. So to do that file place linked and linked is important, as you'll see shortly. And we'll bring that Photoshopped file inside the other one. It should drop perfectly into place. Press the tick box up here to prove that. And then I'm gonna bolt drag, and it should each time I walk Dragon, I'm creating a new layer you might see down the bottom right of my screen. There were all lined up perfectly because they have to because of all the work we did before, my battery's about to run out. So let me finish this quickly. So the whole links and now if I do file open recent and I opened that file head, I want to see it next to each other. So I'm gonna go window, arrange to up vertical. So looking at this, I'm thinking I got a bit of a space here, so let me try creating dragged down here, something like that. And then watch over here when I do save. So I'm gonna do command or control s. And there we go. There it is. And we just do something up here. So what? Drag and again? Command control s. And there we got. That is how you can create a small repeat to get inside a larger, exactly size Repeat and get a nice preview. What you doing it? 9. 9 - Complex repeats using cutout photos [1/4]: We've reached the stage in the course now where you can create some pretty complex repeats really accurately. So if you look at this image on the left here, this is a more complex example, and it uses again several of these smaller repeats. And as you can see, it uses these three initial photographs, so we haven't gone here yet. So if you're looking at this and thinking, Oh, I could easily do that with the skills. I know I'm really good at selections on about layer masks. I'm really happy. Then that's great. Then you're probably at the end of the course. But if you'd like a bit more guidance about making advanced, more complex elections, particularly using layer masks and then taking those results and turning those into a flexible repeat, then that's what these next few lessons are about. So if you're not gonna work through these, then let me just say that the final thing I want you to do to finish this course is to practice what you've learned and put them up on to the website so everybody can see what you've done. But if you want to keep going this plenty or learn in next few videos 10. 10 - Complex repeats using cutout photos [2/4]: in these next few videos. Then we're looking at more complex selection techniques, making use of layer masks. So I'm gonna cut this pup flower out and you can use this exact file from unspool ash. So thank you to Steve Gomez for uploading their see if you type in the information, you will find this image that you can work on if you're used to working with selections. No doubt you're used to using the quick selection tool if you're not used to using it. Here it is here. And the idea is you can click and drag over an area on get a selection pretty quickly, and it works great when there's good contrast on the contrast here is reasonable, but something you may not be accustomed to doing is looking at the channels panel so that channels show the different pixels in the image. So each pixel, because this is an RGB image, contains an element of red, green and blue. So we used to looking of the RGB channel here, But notice also we've got the red and the green and the blue actual channels. Can you see how the contrast in the Blue Channel is much greater than in the the green, for example. So if we look at the Red Channel by clicking on it and then the green and the blue, you get the most contrast with the flower against the background in the Blue Channel. So what could help sometimes is toe click on there and then use the quick selection tool, for example, with that? So this is working great. Just a few clicks and that gives me the selection. I'm not saying you couldn't necessarily get that on the RGB Channel, but it can be much more useful to work on a specific channel in some occasions. So now I've done that. I could go back to the RGB channel and I could just cut that out, and for years I would have gone layer new layer of I copy on that does work. The chop with that is you can't really edit it that well afterwards. So what I do most the time these days is a duplicate the background layer and with my selection intact, I press this little button down here to add a layer mask. So we've looked at Les masks already in this course and you can see for high the background laugh. This is Thean Midge here and the mask again. The black is hidden, the white is showing on. This is OK, but the haven't put the mask and it does reveal that we've got a slight issue with the edge . This is not uncommon when you're working with selections, so we're going to look at some ways. Next videos how we fix it. So first we're gonna dio and is used a feature that's called in the C C 19 version. Photoshopped Select and mask. So it's called other things in previous refine edges. I think it's called previously, but let's call this click on select and Mask. You do that by clicking on the mask first my way. So I've been using this previously, and its remember the settings I've used. The setting that is different to what you might be seeing is that I'm viewing this on black , so I'm viewing the cutter image against a black background. But there are other ways you could use that I'm gonna stick with on Black. The first thing today, which is gonna make a little bit of difference, is down here. I'm going to shift the edge. I'm gonna move the edge of the selection in a little bit. Now it's hard to see what it's doing, but it's making a tiny bit of difference, but still not a huge amount of difference up here, for example, where you might just be able to see a bit of gray. So the way you can adjust that is by increasing the feather a little bit. So I'm gonna bring them up to run about there, and that's fixed out pretty well. But with with feathers, you might know that softens the edge so I can counteract that by increasing the contrast. So a combination of shifting the edge on applying a bit of feather with encounter acting that, with contrast, what could be, as you can see, a much nicer cut out? So then, when I press OK, that's edit the mask on again because its a mask, it's it's really flexible. Suffered did want to go in and manually adjust that I could, and you'll be seeing a manual adjustment in future videos. So the bigger there's a way of getting a selection using a channel and then using a layer mask and then tweaking the layer mask using select unmask 11. 11 - Complex repeats using cutout photos [3/4]: in this video, we're gonna look yet mawr selection techniques again using masks and a few other tricks. Again, this image comes from unspool ash. So thank you to John. Now, John, I'm not even gonna attempt to pronounce John, sir Labia. But if you type in those details, you'll find that image. So previously we've looked at how we can use channels on notice here. The Blue Channel has got much more contrast on the other, so that's good. But I still want to get more contrast between the white and the black for the technique I'm gonna use. So to do that, I'm gonna duplicate the Blue Channel. This won't affect the image. This is purely used for the selection. So on the Blue Copy channel, economic and a very aggressive levels adjustment. So I tried the black slide out here. Can you see how the black in the background? But the break in the background is getting darker and darker, and every pickled to the left of this point here becomes absolutely black. It's That just means the contrast is stronger. I can also do the same from the other end, making the image whiter. That's not gonna make too much more of a difference. But it's the other end that makes the most difference again, if I want to, I can drag this gray slider and that just shifts the gray mortar Blackwater White. So something like that would give me really good contrast which will make the next bit work in better. So when I Okay, that I'm not gonna use my lips tool, start dragging from the center, hold down the key, make a selection like that. And then what I want to do now is get rid of all the black inside this area and this is an old trick, but a really good one. Use the much 12 You can see the settings I've used previously that the trick want The tricky thing here is I turned off contiguous. So that means that it's gonna go for a little black in that area, regardless of whether it touches another pixel or not touch is a picture of the same tolerance or not. So if I click that will subtract the black from the area and that great So it's subtracted all of that. Now you might find it. There's the old spot of black like here. If I zoom in, that's been, um, not included. So I need toe factor that back in. So use one of a selection tool you want to do on shift collector. Add that back in. Okay, so it looks like a pretty good selection, so I only use that of the basis of my mask. Now, I need to get back to the RGB channel, and then I'm gonna make a Jew picket layer, hide the original and mask as we've done previously, So that looks reasonably good. But again, I'm going to use select a mask, tighter that up. So again, click on selected mask and you can see the edge. It isn't great here. I don't think we need to do do quite so much with the last time. I'm gonna just try smoothing this. That looks pretty good. Maybe a bit of shift edge as well. Maybe a tiny bit of feather again. This is, you know, fine details, but you can see this is gonna work. Fine. So I'm gonna press OK, so a really strong set of selection techniques there, so duplicating a channel, modifying that channel, and then using that as a basis of a selection 12. 12 - Complex repeats using cutout photos [4/4]: So for our final look at selections, we're gonna work on this image which comes from splashing. It's from any sprats. I thank you, honey, for creating that image for us. Onda, uh, we're not going to use channels this time. We're gonna use the magic wand with a fairly low tolerance because the Lilly is pretty close to the background color we're gonna have contiguous on so that it should hopefully make a nice contiguous selection around it. So obviously I tried this before, so settings work pretty well. Then I will select the inverse and then duplicate the background layer on the mosque. So let's just take a quick look at the mask by clicking on select and mask. And you can see the issue that when we ve against black, you can see that this white line here is something we might tweak. Now you already know we can use feather in contrast, and that would work to a certain extent. But there's another technique I'd like to show you, so I'm gonna cancel that. Okay. So, making sure I want to see this against a dark background there, So let's create a solid color layer should do nicely. So if I select my mask again, then, as you know already that the white hair on the mosque is visible, the dark Harry is not visible. There's a filter that you can use toe increase. The black said to bring that black in a little bit, and it's called Filter. Have a minimum maximum goes the other way, by the way, so I use that is gonna work quite subtly and slowly, and it's quite takes a while to years site. I've used it before, so I know roughly what settings to apply. So I'm gonna go pretty near so something like about nine, and hopefully when the previous kicked in, you can see that what it does exist nibble away at that. So then, with my cursor in there, I can press the up arrow to get a tiny bit or shift up to go even further so I can take that as far as I want. If I do want to soften that, then of course I could go into selecting mask and do it that way. But that's the main thing I want to show you. And then the other thing I would like to show you this is a bit more labor intensive. But of course, sometimes if you want to sort of soften the edge more manually again, I'm making sure I'm working on the mask. It's again Black hides white shows so you can actually use the Dodge or the burn tool to do this said Dodge lightens burn darkens these air old darkroom techniques as these tools here dodge that would lighten, burn with darkened. So as I'm working on the mask, the bit I want to make dark is the white area just around the edge here. So what I would do is make sure that I the ranges, the highlights and then I would choose an appropriate size brush with an appropriate hardness. This might take a bit of doing to kind of get this right. So I'm gonna try maybe a slightly larger brush. I'm gonna click and drag on there if we can just see it softened the edge just a little bit . You got so a good way to use this when you got a straight line like this is to click once and then shift and click somewhere else, and it draws the line so you can see that is working possibly a little bit too well. So if I had a bit more time, I might soften my settings. But let's just do that one more time. Click and then shift, click, and that is doing a pretty good job. So if I had more time, I would spend more time, and I would paint up and down there to get the results I want. So in summary, then as well as duplicating channels as well as using a variety of different selection techniques using the magic wand on the quick selection tool. Once you got a mask, weaken, tweak that in different ways. So we've done selecting mask on. We've also used the minimum filter, and now we've used the Dodge Tool. Sorry, the burn tool to do that, too. So plenty few toe explore. So now we're gonna take those images that we've cut out and turn them into a complex repeat 13. 13 - Consolidation & goodbye: so well done for sticking with us right through to the end of the course. So in this final video, I'm not going to recap anything. They already know. You know, already how to create something like this. But what we're gonna do is bring together the cut out images that we've made on. Let me just show you a few different techniques. You might need toe incorporate to correct something like rest. So the cutouts that we've done, I will see, saved this one of a za psd on its ah, on a transparent background there. So firstly, to bring that into this sort of partially finished small repeat a good way of doing that. Is that you right? Click on the layer you want to bring in and you choose duplicate layer and then you name it . Let's say police now and then you choose the document. So in my case, this is gonna be video 13 small when you press OK? I don't need that anymore, So I'm gonna close it down. There it is. It's there. The layer isn't blue flower. So that come with really, really well. So that's how we can move though one way of moving images into the final document on then, As I'm sure you know already when you're using your move toe, you've got the option of auto selecting layers had also showing transformed controls. So with auto select, that means I can just click on, hopefully drag the later that I want and then with a transformed controls. Yeah, OK, that the Children transform controls here is that the layer is just is just too big. So I'm not seeing them. So this is actually what I wanted to show you. What I need to do now is to crop this image. So this is something you might find happens from time to time when you are bringing a larger images in tow a montage. So I'm gonna dio image on Sorry, select all notice the's selection boundaries here and then do image crop might take a while Today this is a fairly high resolution image that Aiken de Select and then we just re select this layer. They're I guess so. That's now the boundaries off that layer so I can click and drag, so just that So that could be an issue. Sometimes if you're doing the offset, like, have done here with the original purple flower. That's only gonna work if you haven't got any extra pixels outside the size that you can see. So you may need to crop the whole image like I've just done, if that gets tricky. Okay, so that's how we can bring images in. That's how we can start to transform them. So I think you know enough about most the rest of this to be going on with, but just just to finish with in terms of working with background colors, a nice trick here. If I just click on the layer underneath this one, I'm gonna do a solid color layer. And what's nice about doing it underneath is that now I can click on different bits of the image. So the sort of Lana key color Maliki color lily color. Well, this color will this color, and obviously it's gonna go because you're taking images that your second colors are already in the images. So actually, that wasn't where I was gonna go, But I think it looks pretty nice. So I'm gonna stick with that. So that's solid colors. The beauty of that, of course, to is that you congee duplicate them. You can add it them by double clicking again I might have. Ah, I believe version. So what's nice if you combine this with the other one? The's are These two are linked, so this is gonna make any difference. But of course, I could save this with different ones, showing that I can quickly get some different color ways going on. So Okay, we've covered a awful lot of stuff in this course, and I hope much of it has bean useful. There's a lot of stuff toe practice on. Really, You will need to practice to get the most out of this. What I'd love for you to dio is toe create some good examples of repeats either using these images or others that you can find show everybody what you can do with it on that will give you a good chance to practice these techniques on to just hone your skills and making repeat. So thank you for sticking to the end of the course on very best of luck.