Affinity Designer | Surface Pattern Design Mockups From Vector Shapes | V2

1. Welcome to Class!: Have you noticed there aren't a lot of mock ups out there created in the Affinity suite. For the Affinity suite. And while mock ups created in that other app using smart objects will work, sometimes it takes tweaking and time to get them to work the way they're intended. So let's change that and make our own. Harry I'm Tracy, an artist and educator from the Chicago area. Designer and the rest of the Affinity suite are my go to set of applications for everything from surface pattern designs to illustrations and other graphic design projects. I enjoy sharing my knowledge and love of these apps, and I've had the privilege of being named an online educator to watch by Serif, the makers of the Affinity Suite. In this class, I'll show you how you can use designer to create realistic mockups for your surface pattern designs from scratch, using vector shapes and free textures. Mock ups are an integral part of the surface pattern design process. They allow you to share single designs or collections on social media in your self sheets and online portfolios. When you create your own mock ups and designer, not only do you get exactly what you want, no more, no less. But you know with certainty, they'll work in all of the affinity apps, designer, photo, and publisher. This is the first in a series of classes I called mock up workshop where we'll be starting with the basics and creating three mock ups, a full canvas swatch with multiple realistic gathers in different directions that are great for sharing close ups of your motifs, a swatch card with gathers and realistic warping. And finally, a three fabric stack complete with realistic folds so you can easily share a small collection of designs. By creating these three mock ups, you'll learn how to create multi directional gathers using a combination of the gradient tool and appearance panel, how to add realistic texture to your mock ups using no cost images from the stock studio, and other free use image sites, how to create realistic fools and fabric to create a stacked effect using the gradient tool. And finally, how to work non destructively and save your mock ups as reusable templates that can be used time and time again quickly adding new designs for maximum efficiency. Plus, the process and tools you learn about in this class can be applied to other projects that you create in designer from illustrations to graphic design. Now, I'm going to be using the iPad version of the app. However, if you're on the desktop version and you know where the tools are located, you should be able to follow along. Just note, I'll be utilizing tools that can only be found in version two of the app. This is intended for intermediate users, as it does assume some familiarity with the layout of designer for iPad. So if you're new to the app, I recommend taking beginner classes that will walk you through version two's user interface and give you an overview of the tools. So are you ready to dive in and create your own realistic mop ups with some simple vector shapes and beautiful textures? If so, let's get started. 2. The Class Project: The project for class is to create one or all of the following mock ups, the full Canvas swatch, the swatch card, or the three fabric stack. Have fun with your mock ups and use the basics you learned to create something that works well with your design style. Okay. I'd love to see what you create. And of course, sharing your project allows prospective students to see what they'll learn when they take the class. So please consider sharing your project here in the projects and resources section. The easiest way to share your project from the iPad is to take a simple screen grab of your mockup. Once you're ready to share, click the Create Project button. Create a cover photo title when prompted. Upload your screen grabs, add any comments you'd like and hit publish. I can't wait to see what you share. Next up, we'll take a look at how you can create multi directional gradients on a single object using the appearance panel. I'll see you there. 3. Full Canvas Mockup Part 1 | Appearance Panel & Building Layers: In this lesson, we'll take a look at how to create folds in fabric with multi directional gradients using a combination of the appearance panel gradient tool. By the end of the lesson, you'll have a swatch mockup that's perfect for sharing close ups of your motifs. Let's get started. This is a mock up I created previously, and while the difference is subtle, it has folds tilting at slightly different directions created by multiple gradients at different angles. Now, in the affinity suite at a base level, you can only have a single gradient per object in one direction. This is a rectangle that I created, and I've already dragged out a linear gradient. As soon as I add a second one, even though it's at a different spot on the canvas and a different direction, it knocks the first one out. For the mock ups, we'll be creating in this lesson, we're going to use the appearance panel to add multiple fills to a single object, in this case, a rectangle. And use those to add multiple gradients at different angles. Before we get started, let's take a closer look at the appearance panel and how it's laid out as well as how it works. The appearance panel is located on the tools side of designer, and the icon looks like a box with an eye on it. Now, if you ever can't find a tool, just tap and hold the question mark at the bottom of the screen and these labels will pop up. I do want to note my screen is flip for a left hander, so your tools might be opposite of mine, but of course, everything works exactly the same. Now, the gradient tool needs something to add a gradient to. So I have two rectangles here, the bottom layer that's bringing that gray color, and then my second one that has the actual gradient on it. If I go to the appearance panel with that gradient selected, you'll see I have a fill and a stroke, and you're always going to start out with one fill and one stroke. If I select one of these, you'll also see these three dots at the top. This is going to allow me to cycle through the blend modes for that particular fill or the stroke if I had that selected. And that's something to take note of. We're not going to be using this particular feature in the class, but the appearance panel allows you to treat the stroke NFL separate from one another and change the blend mode of each individually, which is something that you can't do on the overall layer level. You'll also notice two plus signs at the top. One is the outline of a circle and the other is in a filled circle. These are going to allow you to add additional fills and strokes to your shape and then treat each one of them separately. As you add a filler stroke, it's going to add the new one on top of the existing one, but you can drag them in any order that you need. Now, as I mentioned, you're always going to have one fill and one stroke. But as you add additional ones on top of the existing ones, you'll notice this trash can pop up. And that's going to allow you to select them and delete them. Now, it's really important that you use that trash can to delete and not the one down here at the bottom, because that's going to remove your entire layer. I want to add my second gradient. But again, I can't just add it to this fill as it is because it's going to knock out my original one. Instead, what I need to do is with that layer selected, go to the appearance panel, and I'm going to add a second fill. Just make sure that you tap it with your pencil. That's going to engage that fill layer. With my gradient tool, I'm going to drag out a new one. And at first glance, it's going to look like it deleted the other one. But it's simply because this one is fully opaque and it's sitting on top of it. If I turn that off, you can see the other one is still there. I just need to adjust this one so that you can see both. So again, with that one selected, I actually have a swatch setup for Mgradients. I'm just going to tap that. And now, if I close this, you can see both gradients are showing up in two different direction. Now, as I mentioned, you can use the appearance panel to change blend modes at each level, no matter how many fills and how many strokes you have. And that's a handy tool, but in this particular class, we're actually going to do it at the layer level. So if I wanted to adjust this, I could go up here and just change the blend mode. I could change the opacity and I can control both at the same time. Now, for this lesson, we're going to be creating two separate layers. We're creating a layer for our shadows and one for our highlights, because while you can adjust the blend mode of each fill separately, I do find having the shadows and highlights broken out a much more flexible approach. So let's go ahead and create our base mockup and then begin to add some of the shadows and highlights using the gradient tool. We're going to be saving the mock ups we create in this class as reusable templates so that we can pull in a clean copy whenever we need them and quickly add our latest design. So we want to think ahead how we might use our mock ups so that we can create our initial canvas to be as flexible as possible. So, for example, I've set up a 3,000 by 3,000 pixel canvas at 300 DPI. And the reason I've chosen this is because I'm going to be adding textures. And that gives me the option of printing without any issues should the need arise. Now, I can always export at a lower resolution for screen, but starting with that higher GPI means that I don't have to worry about pixelation from textures if I do print it. I've also set my color space to RGB, because for the most part, I will be using these on screen, and the printing companies I use actually use RGB over CMYK, but you can always export with a different color space if you need to. I've set up an artboard because I like the flexibility of being able to add additional artboards and take a single mop up and make variations that I can see across one canvas. But it's entirely up to you whether you want to work on a regular canvas or an artboard. So go ahead and think about how you're going to use your mop up and set up your canvas accordingly. Now that the canvas is in place, I want to begin building up my layers so I can add my pattern fill, texture and my shadows and highlights. So I'm going to create a series of four rectangles. I'll start with my rectangle tool and just use this light fill. I don't need a stroke on it. And I'll just start dragging out a rectangle. I want to duplicate this three times. So I'll just use my quick menu to do that. And I'm going to go right to my layers and start making changes to these. So the bottom most layer is going to be my pattern fill layer. I'm going to change the name of that. Everything is going to end up being clipped inside of this. And I'm going to keep it that gray color. It doesn't need to change. The top layer is going to be either the highlights or shadows. It doesn't really matter which I'm going to make this pure white, and I'll change the name to highlights. The second one is going to be shadows. I want this to be mid tone gray, and I'll explain when we get into the shadows and highlights why I specifically choose pure white and mid tone gray. So I'll tap that, and you can't see it because it's sitting beneath the highlights, but I'll go ahead and rename this shadows. And then finally, for the texture, I'm actually going to be replacing the fill there with the actual texture. But I'll go ahead and make this black just so that there's a difference between the layers, and I'm going to rename this fabric texture. So I want to turn off these top three layers. I'm going to turn them on as I add them so that I can see the layer beneath. I'm going to select all three. And again, I want to clip them inside the pattern fill layer. Our layers are in place, and we're ready to begin adding some texture and dimension. We're going to do that in the next lesson. So I'll see you there. 4. Full Canvas Mockup Part 2 | Texture, Shadows & Highlights: In part one of this lesson, we created our canvas and then built up our layers to get them ready for the shadows, highlights, and texture. So let's start adding those beginning with our texture. I'm going to go ahead and turn that layer on. As I mentioned in the previous video, I'm going to be replacing this with the texture, and I'm going to use the gradient tool to do that. This is going to allow me to easily swap the texture out with a different type of fabric should the need arise. So I'll make sure that layer is selected, and I'll go to my gradient tool. I want to choose Bitmap. So I'll just engage the contextual menu up here and find bit Map. Now, mine are in my files, but you can pull them from photos as well. I'm going to be using one of my favorite fabric textures from texture lab.org, and I've linked to that site in the PDF. These are free textures that you can use for commercial and personal use. So I'm going to go ahead and tap that one, and it's automatically going to replace that black fill with that texture. Now, you can see the lines because it's replaced it at the size, it's downloaded. So I'm going to scale this up by using these sliders. And I also want to drag this over to the right a little bit because I know there's these little poles in the fabric. This is actually why I like this particular one. It has those tiny little details that lend to the realism of the mock up. I'll go back to my layers, and I want to change the blend mode to overlay. Now, the thing about using overlay is that it can adjust your colors. It can actually lighten the colors of your pattern. So what I want to do is add a non destructive curves adjustment so that if the need arises whenever I put a pattern in place, I can either darken it or lighten it as needed. So with the fabric texture selected, I'm going to go to the adjustments and just tap curves. I'm adding this directly to the fabric texture, so it's going to lighten or darken that rather than my pattern layer. You'll see this little box pop up, and you're going to notice that this is automatically clipped inside because the texture layer was selected. This is a completely non destructive adjustment. So if I don't need it, I can turn it off. I can reset it by tapping that icon, or I can just go right into the spine and just make any adjustments. So I'm actually going to leave this as is for right now and only adjust it if I need it for the pattern that I pull in. All right. With our texture in place, let's start adding some shadows and highlights beginning with the shadows. Common thought in digital art is that black set to multiply is perfect for shadows, and that might be the case in individual scenarios. But in some cases, a black gradient, especially set to multiply, can be a little too harsh. It's also not neutral enough to be able to organically blend into a wide range of colors across designs. For these mock ups, we want our folds, our shadows and highlights to be subtle. Mid to gray set to either multiply or linear burn, which I find I use the most can be a more neutral alternative because it varies well with just about any color, and you may just need a few tweaks to the opacity and luminosity. And this is the reason that I set the shadow layer to mid tone gray. Whatever color you start with is the color the gradient tool is going to pick up and then create the two initial color stops out of. Now, before I add my gradient, in taking a look at this with the texture, I'm actually going to go to my pattern fill layer, and I'm just going to make it a little bit darker. That's going to help us see the difference between the shadows and highlights a little better. I'll bring that too out there. And I'm just dragging down on the color dot. I'll engage my shadows, and I want to bring this above the highlights. That's going to help us later when we add those. We'll be able to see where our shadows are at. So again, this is set to mid tone gray, which is one of the swatches in the quick colors. You said at the top of that one. I'm going to grab my gradient tool, make sure that layer is selected, and I'll just drag out my first gradient. Whenever you create a gradient, it's going to start with two color stops. The first one, which is the lighter one is going to be the color of whatever object you're placing it on. So in this case, mid tone gray. The other is within the same color range, but a few stops down on the luminant scale. It's always going to go light to dark, but you can always swap its direction up here in the contextual menu. Now, I like to use the HSL slider to adjust my gradients because most of the time, I'm only adjusting the luminance and opacity. And to do that, you'll just tap on a color stop. It's going to become the larger of the two, and then you can make whatever adjustments you need. I want to add a color stop in the middle of this gradient. That's going to become the shadow itself, but more on that in a moment. I'll just tap to add one, and that's going to add it mid range between the two existing ones. And I can adjust all three of these as much as I need to. The other thing that you're going to notice on the gradient, are there are these small handles, and these are mid range sliders that are going to allow you to control one color versus the other between two color stops. And as you add color stops, additional handles will be added. These are going to come in handy with our shadows and highlights because they're going to allow us to create smoother gradients on either side while also controlling their depth. I want to adjust these three color stops along with the midpoint sliders until I have a shadow I feel comfortable with. Now, I've done these enough that I have some numbers I feel comfortable dialing in, but adjust yours as needed. For the darkest one, which is going to be in the middle. I'm going to tap that, and I want to change the luminance value to 50. So again, I want that back up to mid tone gray. Remember, it automatically adds it mid range between the two existing ones. I'm going to bring the opacity of that one down to about 70%. I might change it, but that's a start. For this top one, I want to bring the luminans up to 100%, so pure white and the opacity all the way down to zero. So that's going to pull that texture through, and now you can see beyond it. For the one on the bottom, it's going to be slightly different. I'm actually going to keep the luminans at 50%, but I'm going to bring the opacity all the way down to zero. It's a subtle difference, but if I bring the luminants up to 100%, you can see it adds a lot of white, and that's not what I want. For this particular shadow, I want it to look like it peaks and then it has a nice fold. Remember, you can also adjust the opacity and blood mode of the overall layer, not just your color stops. So speaking of which, I'm going to go to my layers, and I'm going to change this to linear burn. I find most of the time that actually works better than multiply, which kind of gives it a gray cast. Now, in this case, because I have gray underneath, multiply is working better. I don't actually have a color, but just play around with the two whenever you add a new design. There's really no right answer. You're going to adjust these color stops, blend modes, and opacity until you like the shadow that you've created and feel it's creating a nice fold. So I'm going to change this back to linear burn. And just bring the opacity down to about 60%. I also want to adjust my mid range sliders here. I'm going to pull this kind of tight to the shadow. Again, I want it to look like a peak, and then I'm going to pull this out a little bit. I think I'm going to bring this one down. Now that I've done that, I feel like the opacity could come down a little bit more to maybe 40%. These are all non destructive. They can be adjusted at any time. I want to add my second shadow in a different direction. But of course, I can't add it to the existing fill or it's going to knock this one out. So I need to add a new fill to that layer within my appearance panel. But here's the thing. The gradient tool will remember the colors I last used within the same fill or across two objects, but it's not going to remember it across two fills on the same object. I don't want to have to start over again, though. So what I want to do is create a swatch out of my original one. Before I do anything with this one, I'm going to reselect that I'll go to my layers, and I want to make sure that my move tool is engaged so the entire layer is selected. I'm going to go to my swatches, and I have an application wide palette setup here that has shadows and highlights in it. I'm going to tap the burger menu at the top and choose Add current fill to palette. You can also use your quick menu to do it as well. So now I'll go back to my appearance panel. I'm going to tap to select that fill. You can see the dot there. Grab my gradient toll, and I'm just going to drag out my gradient. Now, you can see I've dragged it out top to bottom. So it's actually going to create this flip, but I'll show you how to take care of that. I want to go to my swatches and I'll tap that swatch. Now, because I drag top to bottom, it actually reversed it from this one. And I want my shadows going in the same direction. So what I'm going to do is go up to the contextual menu at the top and just choose reverse. And now all of my shadows are in the same direction. So all I need to do here is adjust the placement, the overall angle, and maybe adjust some of the settings. But even if I have to make minor adjustments to the opacity and luminosity values of the color stops, it's still far better and more efficient than having to start from scratch. So I'm just going to make some adjustments to my placement here. Maybe I'll move this one like that. I think I like the depth of both of these. I'm not really going to touch those. I might make that a little bit less deep. So just looking at this, I like this. I may end up changing it after the highlights are in place, but this is a good start. So with our shadows in place, you can begin to see the dimension and the fabric, but we're missing the highlights where the highest point on the fold would have light hitting it. So let's go ahead and add those next. We're going to follow the same process with the highlights as we did the shadows. And again, I've added them on a separate layer because I want to use a different overall blend mode and opacity. These are just going to be subtle highlights at the peaks of the fold just to give them some added dimensions. So they're not going to be as strong as the shadows. Then that's part of the reason I want them on their own layer. So I'm going to engage that layer. And the reason again, that I move the shadows up is so that you can see where those are placed because I want the highlights sitting at the very top of them. I'll select the layer, go to my gradient tool, and I'm just going to drag out a gradient. And this time, I'm purposely going top to bottom. So just like with the shadows, I'm going to tap to add a second highlight there. I want to change that so that the luminance is 100%, and I'm going to bring the opacity down to 65. I may end up changing it, but I'm going to start there. For the top one, I'm going to keep the luminans at 100%, but bring the opacity all the way down to zero. And then for the bottom one, I'm going to keep the luminans at 70%, which is what was automatically set when I dragged out the gradient, but I'm going to bring the opacity down to zero. The reason that I did that is it keeps it slightly gray. Because these highlights are going to be sitting on top of the shadow. Having a slight gray tint there is going to help it blend a little bit better into the shadow, so it doesn't look as harsh. Now, obviously, this is too much. I'm going to make some adjustments, and then I'm going to go into the layer. And change my blend mode. Just like with shadows where multiply is the G two. With highlights, the G two tends to be screen or ad, which works most of the time. But for this purpose, I actually find that soft light is a better, more neutral option. So I'm going to change this to soft light, and then just take a look at where we're at. All right. So that knocked it back nicely, but it's a little too heavy. So I'm going to bring the opacity down just to touch. I don't want this to look shiny. Again, I just want to give the impression of the light hitting the top of that fold. Now, once again, I want to add my second one, but I don't want to have to start over again. So I'll select the overall layer. Go to my swatches, and I'm going to save this one to my palette. I'll make sure that's engaged, and I'm going to add the second fill and make sure that it's selected. I'll grab my gradient toll and just drag that out. I don't need to add the color shop. I just need to go to the swatch, and it's automatically going to add it for me. And in this case, because I knew I wanted to go top to bottom, I don't need to reverse it. I just need to make some adjustments as to where it's placed. The amount of depth you have in both is going to determine how high the folds look. In this case, I actually like the height on this one. This would work really well with a lighter pattern so that you can really see it. But again, with each pattern design that you add, you may end up adjusting these. And that's why it's great to have these broken out. You can just go right in, make sure you have the right fill for your highlights or shadows selected, and then just make any adjustments that you need. So, my shadows and highlights are all set. My texture is in place, and I want to save this as a mock up. But there are a few final tweaks that I want to make before I do that. I'm going to stick with two folds in my fabric. You can add as many as you'd like in whatever direction you'd like. You can also try some of the other gradients like the elliptical or radial if you want a slightly different look. But for the purposes of this one, I'm going to call it done. Again, I just want to make a few final tweaks. The first is if you feel like the shadows and highlights are still a little too intense, even with using the midpoint sliders to feather them, a gcianm blur can help with that. So I'm going to start with my shadows. I'll select my shadow layer and go to FX. You don't need to have a particular fill selected. You just need to make sure that the entire layer is engaged by using the move tool. I'll tap to turn on Gusciumblur and then tap the name to engage it. And I'm going to bring this up to about 30. It's a really subtle difference. That's a little too much, but you can see it's knocking back the harshness a little bit while maintaining that gradient. So I'm going to bring that down. I might actually go to about 40. Now, normally, you can copy an effect and paste that effect to another layer. But for some reason, when you have two fills on a layer, that actually doesn't work. I find that it actually knocks one of the gradients out. So I'm just going to start over with the highlights. I'll select that layer, make sure my move tool is engaged. I'm going to turn on my gaussianm blur, and again, I'm going to bring that up to about 40. I'll step back, maybe make it a little bit smaller and just take a look and see if I like it. Now, one thing I do see is that the gaussian blur is making human pull away from the sides. So I'm going to go back into my VAX studio, and I'm going to engage preserve Alpha. That's going to snap them to the edges so that any of those gradients aren't pulling away and you don't have an empty space here. The other thing that I want to do is to turn on scale with object. If I were to scale this up and down, I want those effects to scale with it. So I'll go back to my shadows. Go back to that other layer. And I want to do the same thing. I'm going to preserve Alpha. And I'm going to turn on scale with object. You may not need to turn on preserve Alpha, but again, if you do see where your shadows or highlights are pulling away from the sides and you have an empty space, you can turn that on to prevent it. The second tweak that I want to make is to decide where I want my texture layer to sit in the layer stack, whether it's above the shadows and highlights or below it. If you have the texture layer above your shadows and highlights in the layer stack, the texture is going to be applied to those layers as well. So you might get a slightly different look than if it was beneath them. When it's on the bottom of the stack, those shadows and highlights are going to sit right on top of the texture. And while it will show through from beneath, in some cases, depending on your design, especially when you have a lighter one, it might end up looking a little fake. I try it both ways on any new design just to see what works. So all you're going to do is just grab that fabric texture, go to move it forward twice. And you can see It shift slightly when I do that. So the textures being applied to both. In this particular case, I like that better. But again, if I add a pattern where I feel that's not working, I can always change that. Now that I have everything in place, I want to save this as a blank template. So I'll head up to the documents menu, which is the burger menu at the top, and I'm going to choose port as template. Just name this, however you want. I'm going to call this two gathers diagonal. If you hit save, it's going to ask you where you want to save it and it works like any other export at this point. Now, I've already saved this, so I'm not going to do that here, but just follow the steps just like you would exploiting any other document. Now, whenever you pull this in, you can make your adjustments just by going in selecting the pattern fill. In this case, I would select that, select my gradient tool, go to my assets, and just pick whichever pattern I want to add to this. And then from there, I can just make my adjustment. So I think I'll pick the one from earlier. And if I feel like the shadows and highlights aren't working well with this, I can move them around just by going into each one. I can change the opacity of the texture layer, if I feel like it's too harsh. Again, because all of this was done non destructively, you can make adjustments to any of it. Once you're done making your adjustments to your design, you can follow the normal export function, either by going up to the documents menu and choosing export or by using the export persona. It works like any other illustration or document. In the next lesson, we're going to take a look at what we've learned in this one and create a swatch card mock up complete with pinking shear cutouts. I'll see you there. 5. Fabric Swatch Part 1 | Building & Organizing Layers: A swatch card is a great way of sharing a single design on social media or your online portfolio along with your design and contact information. In this lesson, we're going to non destructively create a chipboard pattern spotchhlder with editable type so you can swap out your designs and update their info quickly and efficiently. Now, just like the previous lesson, I want to ultimately save this as a reusable template. So I want my initial canvas to be as flexible as possible. So I'm going to create a canvas at 3,000 3,000 pixels at 300 DPI. That's going to allow me to print this without any issues with pixelation from my textures. Now, if you know you're only going to use it online, you can certainly use a lower DPI if you'd like. Once again, I'm working with an artboard so that I can create variations of this and see everything in one place. But again, it's up to you whether you want to work on an art board or a regular Canvas. You can always change your mind and add an art board by going up to the documents menu and choosing art boards. Now, I am going to export my template with a transparent background, but for now, I'm going to leave the standard white background in place. Now, just like the previous lesson, I want to create all of my flat shapes first. Then I'll begin adding my shadows, highlights and texture. It's much easier to keep track of what you're doing when you do them in a certain order. So I'm going to start with the backing and the top holder. The color of my shapes don't matter because I don't plan to use blend modes. The texture is going to completely replace the color. If you do want to use blend modes with the color underneath, then just make sure that you're choosing your color here. So I'm going to grab my rectangle toll. And I'll just use a sort of light. Gray, I guess. And I'll just drag out a shape. And that looks good right about there. I'm going to center this up, and I'll use this to create the top card. So I'm going to hold my finger down and duplicate it, and I want to make this a little bit lighter. We're not adding any shadows or highlights yet, so you can't see the difference unless you change the colors at least slightly. So I'm going to drag this up. Now I can always adjust this if I need more room, but I think that looks good right there. The next thing I need is the shape from my fabric swatch, and I'm going to use this back shape to do that. Again, I'll duplicate it, and I'll change it to this mid tone gray color. Now, instead of sizing this down using the move tool, I'm going to use the contour tool instead, because that's going to allow me to maintain the aspect ratio very easily so that I'm not wasting any space. I'll grab my contour tool and I'm going to tap and just drag to the left, and you can see it's just sizing down. Now, I don't want to go too far because the pattern design is the star of the show. Everything else is background information. So I don't need a lot of space showing. I'd rather have more space for my design. So I think that looks good right about there. Now, one important step with the contour toll is that you make sure that you bake this in place. So we're going to convert this to curves by tapping at the top here, and that's going to set the corners. If you don't do that, as you scale this up and down, you're going to end up having different contours created as you size up and down. Now, I could leave this layer as is, but I actually want to create triangular cutouts on the sides and the bottom as if this was cut with pinking shears. Now, I've actually done this previously, so I created an asset that I can just pull in set on top and use as a way of subtracting that. But I'll show you how I created it. I'm going to turn off this top layer for now. I'm just going to use a series of triangles that I power, duplicate, and then use the geometry functions. So I'll select my triangle. And I'm going to use I'll just use black so that we can see it. I'm just going to drag out a small triangle. And I want to rotate this. So I'll just rotate clockwise. And this is a little too small or big rather. I'm going to move a little bit smaller, and I'll just pop it up into the top left corner. And now that I'm backing out, I think it actually was a good size before. So I'm just going to drag it up a little bit. Now, normally, I would have a bluetooth keyboard attached to my iPad so that I can use a keystroke to do this. But I'm going to power duplicate by two finger tapping and dragging to get that first shape, and then I'll use my quick menu to get the rest. Okay. Okay, don't worry if it goes past. I'm actually just going to select all of these shapes. So the first one selected, and I'll two finger tap to select the other. And I'm just going to drag this up and pop it into place. So I don't want multiple curve layers. I actually just want one curve layer. So I'll go up to my geometry operations and choose ad and that's going to create a single shape on the side. Now, I need to duplicate this and flip it to the other side. There's a really quick and easy way to do that. So I'm going to duplicate it. And I'm going to select that fabric layer. I'll go up to the top and I'm going to choose flip horizontal. That's going to automatically flip it and place it exactly where I need it with no dragging. So I need my last shape on the bottom. So again, I'll duplicate this, and I'm just going to rotate this clockwise. Now, this is too big, but I'm going to place it where I want it, and then I'm going to use my node tool to select these end nodes, and I'll just delete those. And then I'm just going to center this up where I want it. Right. So once again, I just want one shape because I want to use this to subtract these triangles from my fabric layer. So I'll go up to the top and choose Add. Now, at this point, this is what I would save to my assets so that anytime I'm creating something like this, if I need to create shapes like this, I can just pull it in, place it and use the geometry functions. But now I'm going to go ahead and select both of these. It's important that the black triangles are on the top. I'll tap the geometry and choose subtract, and I'm all set. Now, finally, with my main shapes in place, I wanted to create a hole in the top with a little metal grommet as if it could be hung up. Little touches can go a long way in making a mock up look realistic. Don't be afraid to add them. Go to grab my donut tool for this. And I'll just drag out a doughnut shape. I'm going to hold my finger down so I get a perfect circle. And I think that looks good right there. I might just bring the whole radius down or up a bit. So what I want to do is first center this up. I'm going to select my top piece here, and I'll just use my alignment options to align center and middle. And I want to punch a hole out in the middle of this so you can see straight through to the back. When I add shadows, if I place anything underneath this, like a piece of wood grain that's like a table, you're going to see straight through to the bottom. I'm going to use my shape builder tool to do that. So I want to select all of my shapes because I want the hole punch through all the way to the white background layer. I'll go to my shape builder tool and I'm going to select the subtract and all I need to do is just tap in the middle, and that's going to punch that hole out in the middle of all of those shapes. We have all of our shapes in place, and we're ready to begin adding our texture shadows and highlights. But before we do that, I want to do some final housekeeping things specifically in the layer studio here. So, I want to rename everything, of course, but I also want to make some copies of my fabric layer for my texture shadows and highlights, as well as clip some things inside this bottom layer, which is going to become our pattern fill. I'm going to start with renaming this guy. This is going to be the Gromet This curve layer is going to be the top of the card. I want to take this one, which is going to be the fabric, and I'm going to duplicate it three times. There's going to be one for my texture, one for my shadows, and one for my highlights. So this one is going to be the highlights. I'm going to start with pure white. And I will change this to highlights. And I'm going to turn that off. This one is going to be the shadows, and this is already set to midtone gray, so I'm going to keep it there, but I'm going to rename this layer shadows. This one is going to be our texture. Again, I'm going to be replacing this with texture, but I'll change this to black for right now. And I'm going to change the name of the layer to fabric texture. I'm going to turn these two off, select all three of these, and I want to clip them inside of my pattern fill. I'm going to rename this one. Pattern fill. And then I want to take all three of these and clip them inside the back of the card. We're going to be adding a drop shadow to this. And in order to prevent the drop shadows we add to these from spilling over, I'm going to effectively keep them inside by clipping them in the back. So let's name this back of card. So we have the back of the card. We have our gramt top card, and our pattern fill. And I want to make sure that my gramts on top. I have the top card, and then the pattern fill. So I'm all set to start adding the texture shadows and highlights, and we're going to do that in the next video. So I'll see you there. 6. Fabric Swatch Part 2 | Adding Texture, Shadows & Highlights: In part one of this lesson, we set up our canvvas built up all of our shapes and then made sure to name our layers, clip things into place and make duplicates where we needed them. So we're ready to start adding our shadows, highlights and texture, and we're going to start with all of our drop shadows first. When adding shadows for realistic effect, you want to think about what the real depth of the object would be that you're adding them to. So, in the case of this top card, for example, this is a very thin piece of chipboard, probably about 2 millimeters. So the drop shadow here, just above the fabric would be really minimal, just enough to show one. So I'm going to make sure the shape is selected. I'll go to my FX studio. I'll toggle on outer shadow and then tap to get my contextual menu. And I'm going to go up to the top here and just start to drag down slightly. Just a touch. And then I'll bring my radius up. Now, again, I've clipped this inside that background so that anything on the sides doesn't add additional shadow to the drop shadow I plan to add underneath this. I really just want it above the fabric. Now, I may end up changing that once I get a pattern fill in place, but for now, I'm going to call that done. I just want enough that you can see a shadow. I'm going to skip the drop shadow under the fabric for right now because we're going to be creating some warps in this and adding some deeper shadows, and I don't want to add that until that's done. So let's go ahead and add the shadow under the grommet. I think I'm going to change the card or the color rather, though, to this maybe this lighter gray. Now, technically, all I really need to do is grab the top card. I'm going to copy it. Select the gramt and paste of X, and I can just adjust this as I need it. So the offset on this is actually incorrect because I want all of my shadows to go the same way and I plan to create my drop shadow, so it's down into the right. So I'll go into my FX, tap to engage it, and I just want to bring the offset over. And now that I'm looking at this, I feel like the radius on both of these isn't quite high enough. So I'm going to go back to my top card here and just adjust the radius on that as well. All right. I can always bring it down if I need it, but I think that looks good. Again, I'm skipping the fabric one. I'm going to add the drop shadow behind the back of my card. So I'm going to go up to this layer. Now, this is going to be a much deeper shadow. For the most part, you want to think about what the actual thing would look like in real life. But this mock up is going to be seen at either a small size on social media or on a website. Or in the context of something you print. So adding a slightly larger drop shadow to the largest part is going to give it a little bit more depth when you're viewing it at that smaller size. I don't want to go overboard because this still isn't that thick, but I do want it to be a bit more visible than the drop shadow under the other pieces. So again, I'll engage the drop shadow. I just to make sure the layer is selected. I'll grab the contextual menu, and I'm having my shadows come down into the right. So I'll bring it to right about there, and then I'll bring the radius up. Oops, I just changed the angle. So I'm going to two finger tap to bring that back. Bring that back down. Make sure that radius is on, so I'm going to tap. And I'll just bring that up. And let me just back up and see how that looks. I think that's good for right now. Again, I may end up adjusting it. I may adjust it further if I use it with a background of some sort, but for right now, that's a good start. Alright, With the dropshad in place, one final thing I want to do before we move on to adding the texture is to add a three D effect to the garmet. I'm actually going to make this a little darker because it'll be easier for you to see it. Let me just bring this down. I'll make sure that layer is selected and go back to the FX studio. I'm going to toggle on three D, and I'll tap to get its contextual menu. And what this does is add a highlight to the outer edge. And if there's a hole in the middle, it's going to add it here as well on the same side. And then it adds an opposite shadow. The problem with this is all of my shadows are running down into the right, and I need everything to match. So I need to change this angle, and that's called the Azmth. You can find that in the contextual menu at the bottom here. Just tap until you see Azmth and I'm just going to drag this up. Until I see that highlight on the left, here and here, and I see the shadow on the right, here and here. And may end up adjusting it once the metal texture is in place, but for now, I'm going to call that done. We're ready to begin adding the textures. And just like previously, I'm going to use my gradient tool for the most part. Again, that allows me to easily swap out textures wherever I need to. Now, I mentioned earlier, my texture is going to replace the fill completely, and I'm not going to use blend modes. But this is the point where if you add texture and want to use a blend mode, To have both a color and texture, make sure that your shapes are set to the color that you want them to. Mine doesn't matter, though. So I'm going to go to the top card, grab my gradient tool, and I'm going to pull a texture from the stock studio. So there's a particular one I like, craft paper. And I'm going to pull it here from the Pexels gallery. With the gradient tool selected, I'm just going to tap, and it's automatically going to add it to the shape I have selected. Now, I need to scale this up a little bit. So I'm just going to pull this handle up. And this is actually really off because of another fill that I created earlier. So I'm going to unlock that. If you ever get this, just unlock the aspect ratio. I can drag this handle in Lock it again, and I'm all set. I'm just going to drag these two up. I want the texture to be seen. I can go ahead and grab the back of my card and do the same thing. I'm just going to tap to add the texture. And once again, I just want to make sure these handles are roughly at the same spot. And I'll just drag up. So the back of the car is all set. Again, I don't need to make any adjustments to the blend mode. I'm going to go up to the top here to the grommet. I'll make sure that's selected. With my gradient tool, I'm going to go back to the stock studio, and this time, I'm going to type in metal. And I like this one right here because it has some nice grittiness and texture to it. And I actually like how that laid it out. But let me just drag this up just a bit. I'm just going to unlock this side. All right. I really like that. And in looking at it, I think that the three D effect is still fine. I don't want this to look rounded at the top. So if I made this softer or brought the radius up, it would actually make it look more rounded. This is something that would be rather flat. So I think that the three D effect I have in place is just fine, and so is the drop shadow. Okay, I want to add my texture to my fabric layer here. So I'm going to turn that on and engage it. And I'm going to use that fabric texture from texture labs. So with my gradient tool, I'll go up to the top and choose Bitmap. Go to my files and select that texture 1202, and again, just drag this up. And I want to make it big enough that you can see those little poles. And I'll just move this over a little bit. And again, I want to change the blend mode of this to overlay. And then I'm going to add a non destructive curves layer in case I need to adjust when I place a pattern. So with that selected, I'll tap to add curves. And I don't need to adjust it right now because I don't have a pattern in place, but that's in place and non destructive so I can adjust it at any time. All of our textures are in place, so let's go ahead and add our shadows, highlights, and our non destructive warp. In the original lesson where we added slight gathers to the fabric, because we worked at the full size of the canvas, we didn't see the edges of the fabric swatch. So the shadows and highlights alone were enough. But here, we're seeing the edges of the fabric swatch. And since that fold implies that the fabric is gathered or bunched up, we want to add a slight warp to the fabric to lend the realism. Additionally, we're going to want to add more intense shadows at the highest points where the folds would create deeper shadows and add them to the very edge of our fabric. We're going to work completely non destructively so that you can pull these in and easily duplicate your artboard to adjust the direction or amount of the folds, as well as the warp without having to start all over again. In the interest of time, I'm going to stick with a pretty basic shadow. However, you could easily adapt whatever we cover here to create more complex gathers. I'm going to create a fold that runs diagonally from the right to the bottom, and I'm going to do it the same way that we did in the first lesson. In fact, I'm going to use the two swatches I created for the shadows and highlights. I'll turn on my shadow layer and grab my gradient tool. I'll just drag out a shadow here. Go up to my swatches and I'm going to select this one. No, this is not quite where I want it. The first thing I'm going to do though is change my blend mode to linear burn just so that I can make adjustments and see what I'm doing. And I think I'll drag this one out just a bit. Maybe feather that up a little bit. And the next thing I'll do is turn on my highlights. I'm going to bring my shadows above that layer so I can see where I'm at. I'll select that layer. And again, I'm going to drag my highlight out. Go to my swatches and tap to add that. So I want to drag it down to about here. All right. I'm going to change this to soft light and bring the opacity down a bit. All right. So I want to add An effect to both of these, just to blur them up a touch. So I'll turn my gaussian blur up. And again, I'm going to bring this up to about 40. And I'll do the same thing here. So, these gathers would imply that the fabric at the bottom corner here is pushed up or gathered. So with the shading in place, we want to use a non destructive vector meshwarp to push this corner up into the left. So I'll go to my layers and select the pattern fill layer. So that's going to include my shadows, highlights, and texture. And that's why I wanted everything in place first. So that's all included in this non destructive warp. I'll go to the top and I'll choose mesh. That's going to create this grid. Now, since I'm going to be keeping this group in place and leave the mesh warp non destructive so it can be changed at any time, I want to go into my layers and rename this pattern fill. Now, this mesh warp provides this basic grid with these intersections that you can use to create your warps. Now, in this case, we're keeping it pretty basic. So the mesh grid provided is going to work just fine. But if you needed to, you could add additional intersections by tapping anywhere on these vertical or horizontal line. Sometimes that's handy when you want to create a really detailed warp. In addition to being able to use the lines themselves, each of these intersections, known as junctions have nodes, and those nodes have handles. So I'm just going to take this one and start dragging it up. And I'll use this handle to pull this in. And I'm being really careful to not go overboard with this because I don't want the triangles or the cutouts to get too warped because it's not going to look realistic. If you ever find you need to start over again, remember this is non destructive, so you can just bring it back by tapping this icon to reset it. So I'm just going to continue to push this up just a bit. Again, using the handles to move it. Maybe bring this up a little bit more. And I'm just going to back up. I think that looks fine. Again, this is completely non destructive. So if I need to, I can adjust it more, but this is a good start. Once you're done creating your warp, whether it's using the meshwarp or one of the others, you have the choice of maintaining that warp group so that it's non destructive and can be altered or reverted back to the original state. Or converting it to a curve by tapping convert to curves at the top. But that's destructive, which means you're no longer going to be able to make any changes. Now, we want the ability to either make changes directly to this one or to create duplicates and set the folds in multiple directions and strengths. So I'm going to leave this as a non destructive mesh warp. So we have one final step that we want to take, and that's to create our drop shadow under a fabric. I'm going to start with the actual drop shadow. So I'll select the pattern fill layer so this entire mesh group. And I'm going to add a drop shadow to that. So I'll add outer shadow. And just bring this down into the right. And this is the other reason that I made sure to do this after so that I could kind of see where this is at, especially because we have that warp. I'll bring the radius up. And I think I'm going to bring the off set in just slightly. And I might bring the intensity up a bit. So the next thing I want to do is to add a deeper shadow where this is gathered because it would be much much darker at these two points. I'm going to do this by grabbing my pen tool, and I want to select a dark gray color. I'm using a stroke, not a fill, and I'm just going to tap here and here. So I'm following the line of my shadow. I want to move this down underneath by pattern fill layer, not clip it inside, but have it underneath. And I'm going to first make sure that the width of it is all the way up to 100. I can always go higher if I need to. I'll go to my FX studio, and I'm going to add a gaussian blur to that. I also want to change my blend mode. That's going to be a little bit easier to see what I'm doing here. So I'm going to change that to linear burn. This doesn't need to be obvious. I want it to be subtle because you wouldn't just have a shadow just laying there. I just wanted to give a hint of being much deeper than the rest of this. Let's just see what happens when we key in one 50, just to make it a little bit thicker. Okay. I like that. So the slider only goes up to 100. If you want to go higher than that, you can just tap and key it in. While I'm here, I'm just going to see what 1205 looks like. Alright, I actually think that looks better. And I might bring the opacity down just to touch. Again, this is completely non destructive, so I can always change it if I need to. But let me just back up and see how that looks. Okay, at this point, we're ready to begin adding our editable text. And we're going to do that in the next lesson. So I'll see you there. 7. Fabric Swatch Part 3 | Adding Editable Text: My swatch card is almost done. My textures are in place. I have my shadows and highlights, and I've created that non destructive mesh warp. One final thing I want to do before I save this as a reusable template is to add the information at the top of the card. Now, in the interest of time, I've already created the text, and I've placed it in a group that I've clipped inside of the swatch card. So this is just an SVG of my logo that I've placed, and then these three were created with the artistic text tool. I've kept these two pretty high level and not specific because again, I want to save this as a reusable template. I've grouped everything together, including the logo, so that the effect that I apply next is going to apply to everything at once. And that way, if I make any changes to the text add anything or remove anything, I don't have to start over because everything is at the group level. Now, it's really important for this next step that this group sits above the texture layer that you want to pull from because what we're going to do is pull the texture from this craft taper through the lettering so that it looks like it's stamped on. I'm going to do this using blend ranges or options as they're known here in designer. So I'm going to make sure that that group layer is selected, and I'll tap the three dots at the top of the layer stack. On the iPad, you're going to find the blend options at the bottom here. For those of you on the desktop, you'll find blend options under the cog icon at the top right of your layer panel. This left graph is for sources. This is the layer or group that we have selected. So if I wanted to pull either the dark values or the light values out of the source I have selected, I could do that here. Now, I have no light value here. This is pure black. But if I drag down on the left, you can see it's going to get rid of that. I don't want to use that here. What I want to do instead is use the destination chart because I want to pull the light or dark values from that texture beneath through the text. Now, one note, blend options are completely non destructive, which means the text can remain editable and we'll still get the effect that we're aiming for. If you wanted to, you could take this into photo and add additional live filters like displacement to add to the effect even more. But since this is going to be used at such a small size, I'm not going to get into that much detail. So with this destination group, what I want to do is start by pulling some of the lighter parts of that texture through my text. So I'm going to go to the light side. And I'm just going to start dragging down. And let me zoom in. As I do that, you can see that the text fades, and you'll see the texture coming through. Now, I've done that, but that's also knocked back the amount of the text that you can see, so it's pretty faint. What I want to do is bring back some of the darker values. So I'm going to go back to my destination grid. I want to take the dark node here, and I'm just going to drag it to the right. Until it looks the way that I want. So you can still see the lighter parts of the texture coming through, but I'm darkening up the text a bit, so it still has that same effect. Obviously, if you zoom in really close, you can see that this isn't an ink texture because it's too perfect at the edges. But again, I want to keep this editable, and at a small size, it's really not going to matter. But if you did want to, you could use the live displacement filter in photo to add an edge to this. One final thing that I'm going to do with this group layer is I'm going to try out either the multiply blend mode, or linear burn just to see if either of them make a difference. So I might just drag that down to about 85%. So the great thing about this is because this is editable, if you want to change the font that you're using here, you can certainly do that. So I could just go in to the group and I could select my artistic text tool and maybe select pattern name here. And if I tap in here to select everything, I can go in and choose a different font. And as long as I keep this editable, I can do that as much as I want, and that blend option that I just applied is going to remain in place. With everything in place, I'm ready to save this as a reusable template, and we would follow the same steps as the previous lesson. So we'd go up to the top here and choose Export as template. When we pull this back in, when we're ready to use it, all we want to do is go back in. We're going to find that pattern fill layer. Remember, this is the warp group. So we want to add our pattern to this one. Grab the gradient tool, and I can just add my fill there. Remember, the texture has that curves adjustment on it. So if you need to adjust it at all, you can. And then I would just go up to the top and adjust my text however I need to and export it. Now, if you want to export this without the white background, so you're going to save it as a PNG with a transparent background, make sure that you go up to the top and choose Canvas and transparent Canvas. That way, you can use this on top of another background and that white isn't in place. In the next video, we're going to create our third and final mop up, a three fabric stack that's perfect for sharing a small collection of designs. I'll see you there. 8. Three Fabric Stack | Creating Folds With Gradients: In this final lesson, we're going to create a three fabric stack that allows us to share a small collection of patterns all at once. We're going to take the same approach to adding our textures, shadows and highlights as we did with the first two mock ups. But in this case, we want to create our shadows so they're curving under our shapes to give the appearance of the fabric being folded. Let's get started. So once again, I want to be able to save my final mock up as a reasable template. So, I need to start with a canvas. It's going to be as flexible as possible. So I'm creating an artboard at 3,000 by 3,000 pixels at 300 DPI. Again, if you prefer to work on a regular canvas or you want to set yours to a different size, go ahead and set yours up differently. We're going to end up with three layers of fabric and our final mock up just like this one. We're going to build up our shapes, but we're going to start only with our top and bottom most layers. Once the shadows and highlights are in place, we're going to duplicate the top shape and move it down with a slightly different angle to create the middle fabric. This is going to save time and allow us to work more efficiently. So let's go ahead and start building up our shapes so we can begin adding our texture shadows and highlights. The bottom most layer is going to be the easiest, so I'm just going to drag out a rectangle across the entire canvas. And I want to duplicate this once for the texture. So let's go to our layers. This top one, I'm going to rename bottom fabric. And this one is going to be the fabric texture. I want to clip this one inside of this one. And while I have that selected, I'll go right ahead and add that curves adjustment. Again, it may not be needed, but it's there just in case. So, the bottom is done for right now. I think I'm only going to do is turn the texture layer off. I want to add my top layer next, and I'm going to do that using the pen tool. I'm not going to do anything complicated with the pen tool. I really just want to use it to create out a polygonal shape. So I'm going to go to my pen tool and choose a slightly lighter color. Than that gray. And I'll start by tapping outside of my canvas. And I'm just creating a triangle. Now, you could get creative with this and create some folds by dragging the pen tool as you go. I personally find that keeping this as straight as possible makes it a little bit easier and less distracting ultimately to create the shadows. I like to create my folds and stuff in the fabric itself. So I'm going to go ahead and set that fill. And while I have this selected, I want to duplicate this three times. In this case, we need to shadows, highlights, and texture layer. So let's make our adjustments to these. This one's going to be white, and this will be the highlights. This one's going to be mid tone gray, and it'll be the shadows. And then finally, this one, I'm going to change it to black. Again, it doesn't really matter. I'm going to be swapping it out with the texture, but I'll change it to black for now. And I want to rename this fabric texture. And then while I have it selected, I'll add that curves adjustment. I want to turn these three layers off and select them, and then I'm going to clip them inside the bottom most layer. This is going to become our top fabric. You can name yours whatever you'd like. I just recommend that you stay as organized as possible because especially if you start adding more, it can get out of hand. So stay as organized as you can up front, and it's going to make the rest of the process a lot easier. Alright, I have my layers that I need in place. So I want to go ahead and start creating the shadows, highlights and texture, beginning with the textures. I'm going to add the textures the same way I did in the other two lessons by using the gradient tool. Again, that allows me to easily swap them out whenever I need them. So I'll start with this top fabric. Turn that fabric texture on and select it. I'll go to my gradient tool, and I want to use the bit map. I'll add that fabric 1202, and I'm just going to scale this up a bit. That might be a little bit too much. I think that the fabric texture is a little distracting there. So I'm going to bring that in. And while I have this selected, I'll just change this to the overlay blend mode right away. All right. I'll go to my bottom one. I'm going to turn that on and select it. And I'm going to follow the same process. So again, I want a bitmap. I'll grab that fabric, and I'm just going to scale this up. Right about there, I think. And I just want to make sure that the same poles aren't showing. That's sort of a give away, that it's a mock up. And while I have that selected, I'm going to change this to overlay. I have my textures in place, and I'm ready to begin adding the shadows and highlights. We'll go ahead and start with our shadows. Now, you've seen me create the gradients themselves for the shadows and the highlights. So I'm not going to do that. Instead, what I'm going to do is drag out gradients, and I've created swatches from mock ups I created previously, and I'll walk you through how I set those up once they're in place. So I don't actually need to add anything to the bottom. It's actually done. I'm not going to create any folds or shadows on this. If you did want to create a slight gather, you could follow the same steps that were covered in the very first lesson, but that's totally up to you. So I'm going to focus entirely on this top one. I'll go to my shadows layer and turn that on with my gradient toll, I want to drag from the top down. Remember, when you create a gradient, it's going to go light to dark, and I want the darkest part of my gradient to be at the bottom here. So I'll just drag this down. Now, I may end up having to adjust it with the swatch. We'll see what happens. So I have that in place. I'm going to go to the swatch, and I'll just tap that. And in this case, it did actually reverse it. So what I want to do, If that ever happens, just go to the top and reverse it. And I'm going to drag this out. This is going to give me plenty of room to feather things out. So what I have in place here is a very dark color stop at the very edge where I want it to look like it's folding under. So if I go to my color studio here, you can see that I have that set to aluminans of 13%. It's roughly about 13 to 15%. And then my opacity is all the way up that may get adjusted depending on the design you pull in, but that's a good start. This second one has two responsibilities. The first is it sort of the gate keeper for this one, and I have that set to illuminates a 100% and an opacity of six. I also have the mid range slider between these two pretty close to the edge, but I might actually bring that out just to touch. And just a quick tip, when you zoom in, you get a little bit more control over the slider here as you would if it was out. It's actually going to jump a little bit more. So if you ever find yourself getting frustrated with that, just zoom in and then you're going to find finer control. This one's fine. This one is actually going to create a slight very faint gather in this top fabric. We're not going to need it for the middle one, but I wanted to have a little bit of dimension there. So, this particular color stop is actually set to 71% for the luminance. And the opacity is set to 79%. I may end up having to adjust that. But what I want to do right now is so you can see how this looks with the blend mode change. So that's multiply. In this case, multiply works nicely because it's on gray. But again, I'm going to go with linear burn because I know that I'm going to end up using colored patterns, and it's going to work a lot better. So I have this feathered out pretty nicely. This is coming out this way. This particular one is set all the way up to 100% and all the way down to zero on the opacity, so that the fabric shows through. And this one is allowing fabric to show through as well. But again, it's creating a nice blend of this particular one. Now, one thing you might notice if I tap to deselect this is sometimes you might get a harsh white line here, whether it's the shadow or the highlight, and that's because the shape for the shadow and the highlights are flush with the shape for the actual fill. So what I tend to do is take my layer, grab my node tool, and I just drag those two layers away from the edge. I'll do that with my shadows and I'm going to do that with the highlights while I have my node tool selected. I go back to my shadows on my gradient. That's also going to allow me to pull this out a little bit. To make it a little less harsh, and I'll just feather that up. So if you ever need room to move, you can do that as well. Again, if you zoom in, it'll make it a little easier to drag. All right. I have a little finer control that way. Now, this still doesn't look quite right, and that's one because I haven't adjusted the opacity, but two, there's no drop shadow on the fabric layer right below it. So let's add that first before we begin changing any opacities. I want to choose the topmost layer here and I'm going to place a drop shadow under that. That's ultimately going to sit on that middle layer. I'll go to my FX studio and toggle on outer shadow, and I want this to be relatively deep because remember this is a fold. It's not a flat piece of fabric, and you always want to think ahead to how deep that might be. So with that selected, I'm just going to drag out my offset. And it's at about 90%. I'll bring my radius up. Kind of high. I want it to feather nicely. I have it to about 100%. And in this case, I actually want to add a second drop shadow. So I'm going to tap that plus line, select the bottom most one, and I'm going to pull the offset of that one in And bring the radius down. Whenever you have something deep like this, there's going to be a really intense shadow at the very edge, and then it's going to feather out. And designer makes that really easy now that we can add additional drop shadows. I think I'm going to feather that just a little bit, though, and maybe bring the opacity down a little bit. One final thing I want to do is add a gussiu blur to that shadow. So I'm going to select it tap to turn on the galciu blur. And I'll bring it up to about 50 pixels, I think. Now that I've done that, I feel like the drop shadow is a little bit to the radius is up a little too high. So let's go back to the top. Again, there's no hard and fast rule on how to do any of these. You're just doing it until it looks the way that you want it to bring that in a little bit and bring the opacity in. So I'm just toggling between the two, and I think I might bring the opacity down just a touch of that drop shadow. All right. So I want to add my highlights, and I may use some final adjustments before I duplicate this and create the middle ones. W to turn on that highlight layer and select it, grab my gradient toll and I want to go top down. Go to my swatches and I'm going to select my highlight swatch here and just drag this down. I'll change the blend mode to soft light. Again, I find that works best with these for these fabric mock ups. Now, just to take a look at the color stops here. This particular one, I actually have this up to 40% for the lumines because I want to create a slight highlight here where I have this gather. So it's very minimal, but it is there. If I turn this off and on, you should be able to see it. So it might not show up on the video, but there's a touch of highlight right there. I'm going to drag this guy down. And this particular one is actually set to 73%. I feel like I want to bring that up a little bit, though, and bring the opacity up. Again, I'm going to blur this a little bit. Just to touch with the gaussianm blur, not so much on this one as I did with the shadows. I think I'm going to bring it to about 20. Now, again, I don't need to start all over again with my middle one. I'm just going to grab this top fabric, duplicate it. I'll grab that second one, and I'm just going to drag it down. And just change the angle and the color a little bit. So I want to size it up because I want to make sure it doesn't pull away from the sides. I'll just tilt it a little bit. Now, the great thing about having all of these on separate layers is as you create your mock ups, you can always adjust them if you want the bottom showing more or the top showing more. It's totally up to you. So I'm going to back up for just a second and take a look at these. I want to change the name of this one to middle fabric. And I'm going to change the color of that layer to slightly darker. While I have this open, I'm going to go up to the drop shadow again, and I think I brought the radius down on that top one a little bit too much. But I'm going to bring the offset in a little bit. And I think I will bring the radius in on this and the offset all the way in. So for that more intense line, I have the offset all the way in, but the radius is providing the actual shadow. All of this is going to really depend on what design you have in place, so you're probably going to end up changing this. But what I want to do is just make sure that I have my opacity set on each of these. I feel like I could probably bring this down a little bit. The same with this one. This one's all set. I think the only thing I might want to do is just change the drop shadow on this just a little bit. Im bringing the offset in a touch. And the radius. One final thing that I want to do is with this middle fabric layer, I want to adjust the fill because I sized it up. I sized the entire layer up, which means it sized the fabric texture up as well. So I'm going to with my gradient tool just drag that out again. Again, I don't want my fabric texture to be distracting. I want it to show, but I don't want it to distract from the design itself. So I'm going to move this around a little bit. Now that everything is in place, I'm ready to export this as a template, and I'm going to follow the same process I did with the other two lessons. I'll go up to the burger menu and choose Export as template, rename it, and hit save, and I'll save it to a file where I can access it from here and designer. When I put it in as a clean template, all I need to do is select the layer I want to add my design to grab my gradient tool, and in my case, I have mine saved in my assets panel. So I'll set that as a fill, and I can make any adjustments that I need to each of the three layers. Once I'm done, again, I'll just go back up to the top and choose port, and I can export it in any format I'd like, or I can use the export persona if I choose. In the next video, we're going to wrap up class with some final thoughts. I'll see you there. 9. Final Thoughts: We're at the end of class, and I thank you for trusting me with your time and creativity. I hope you enjoyed creating your own mock ups for your surface pattern designs. I'd love to hear your thoughts on the class. So please consider leaving your review as it lets me know what I'm doing well and where I might need to improve. And leaving your review and sharing your project not only helps future students see what they'll learn when they take the class, it helps more students find the class. If you share your project on Instagram, tag me at the handle on the screen so I can share your beautiful work. In addition to my skill share channel, I also have a Tube channel where I share short form tutorials that compliment my suite of classes here. You'll find the link to it in my profile and in the class guide provided. Speaking of my profile, I have lots of classes in the works here on Scale share, including many more in the mock up workshop series. So if you're not already, be sure to hit the follow button on my profile, and you'll always be kept in the loop on what's coming up and when new classes are published. And finally, I welcome you to join my free community for digital creators the Creator collage. We're a group of creatives of all skill levels with experience at a wide range of digital applications. You can ask questions, share your work, learn new tips, or share your own all in a friendly non judgmental environment. Find out more at the link in my profile or again, in the class guide. If you have any questions about what you learned here in class, don't hesitate to reach out to me, either in the discussion below or at the e mail provided. Again, thank you so much for joining me here in class and happy creating.