Transcripts
1. Introduction: My name's Jennifer Nichols of Layland post studio. I love seamless repeat patterns in this class, I'm going to show you a basic repeat, a half drop repeat, some slightly busier repeats, and then some really tricky ones that I have figured out over the years. And I want to show you all my tips and tricks. Procreate five has made that a lot easier to do all within the procreate app. I'll also show you how to turn those designs into brushes. Join me and let's have some fun. Be sure to pop over to my skill share profile for links to my Facebook group and Instagram. And I'll see you there and start class.
2. Downloading Resources & Adding a Class Project: This is a short video on how to download resources for my classes. This particular class is the fall class, but it applies to all classes. So for this class there's a brush set, a swatch, which is a color palette to swatches actually. And then these are all image files. So sometimes I have individual brushes instead of brushes sets, and sometimes I have just a brush and nothing else. So what you need to do is go to your browser on your iPad in this landscape mode, not portrait mode. And go to projects and resources in the tab underneath the class that you want. For my classes, this is just how you get to them. I don't have a password and I don't have a link to a website. They are all here in skill share. And you, depending on the browser you're on, you just, you can tap and hold. So this is a brush set so you can tap and hold. And a little teeny tiny window pops up that says download. You can just simply tap. And when I tap download up here you're gonna see for this is for Safari, you'll see a little arrow bounce right here, right there. And it's just got that progress bar and then it bounces when it's all done. And then when you're done with that, you can tap there and go into that. So right here in the download section is where you're going to find all of the things that you've downloaded and you'll have to remember the name of it because it's all, I think alphabetical. It definitely doesn't go to the top. So once you're there, you can tap on it. So it's that brush set right there. It'll import right into procreate so you can go into something and it will be at the very top of your list of brushes here. So then that's your brush set. Will go back here. When you have a swatch, you do the same thing, you just tap on it, get it into procreate. So let's go ahead and do that. Download. I see it bounced right there. I'm gonna tap download. And here it is right here. So again, you have to remember the name of it. It was autumn ONE importing into procreate and in swatches for pallets, you go to the color circle here, and then you need to go to palettes. And it's can Hippie at the very bottom, I don't know why. But those import to the bottom, brush sets import to the top. Okay? Finally, if you have an image file, I've included a lot of image files in some of my classes. I'm going to start just putting them in Pinterest. So right now you'll see a lot of image files just for free reference photos, so you can tap on those and they open up in a new browser tab. So you can just tap your finger and hold and add to photos and it goes to your camera roll if you want it. If you have an individual brush, when you import that, it will actually go into a category. I don't use this very much, matches either imported or imports. I can't remember which one. So I created one of these. And the other one was a default brush set category. So as of right now, in late 2020, the app doesn't let you download resources directly from this skill share app. So make sure you're in a browser. I believe they're working on that. I believe they're working on being able to download your resources from the app as well as post a project. So this video might get a little outdated when that happens, just so you know, but right now you need to be in landscape mode in a browser. I'm going to show you how to create a project later. There might be a way of doing this from the app. Right now we need to be in a browser, go to projects and resources of the class that you are wanting to post a project to create project. So this is sometimes confusing for the first couple of rounds when you're uploading a project right here that says Upload Image is actually your cover image. So it's going to crop it to this rectangle so you can create your own image for that, or just put whatever image you want in there and let it crop it. And then you can title it, you can write something, but right here, this image button is what's adding your images to your project. And you can actually add multiple images. So there are limits. So for this cover photo, you have an eight megabyte limit. But there's I'm not sure about the limits for the photos down here, that you can add multiple images. So let's say you have a project that has multiple parts to it. You can create a project and then you can go back and edit the project and add more. So just wanted to do a little quick, quick video on that because this Upload Image right here confuses a lot of people. That's just the cover photo. So here you can see on some of my projects that you can see it's just showing the rectangle there. And then if you go to the project, you can see that there's the cover photo, but then I've added other photos inside. Alright, I hope that helps.
3. UPDATE! Please watch before you start!: Before you get started
on repeat patterns, I have learned something that I didn't know when I
recorded the classes. I want to make sure
that everybody knows this when they're making
their repeat patterns. And mostly when
you're moving all of your various motifs around and trying to find the
perfect spot for them. And that is how to
prevent pixelation. When you have something, whether it's clean and crisp
edge or nice high texture, if you select it. Well, let me duplicate this. I'm going to turn one off. If you are moving them around. And D is selectin and
reselect it again. D is selecting again. And just kind of generally
trying to figure out, Okay, do I want this over here? Now? I think I want
this over here. You can see that I'm
moving this rotating it. I'm not resizing it, but I'm moving it
around several times. And what that ends up doing is giving us a nice fuzzy edge. On the textured piece. You can see it
looks very blurry. Let's compare it to the
original, which is right here. So let me move this into place above those so you can
see them side-by-side. This is the one we
moved around a lot. This is the original. Now anything in a
pixel program is going to be able to see the
pixels when you zoom in. But if you look at
the difference here, look at that compared to that, this is a much more fuzzy edge. Then if you look at
this compared to this, you have nice defined texture here and very blurry,
fuzzy texture here. So what you need to remember
is that you should really say you can move things
around as much as you want, as long as you're
not deselecting. Said I'm like, oh, I want
to put this over here. No, I don't like that over here. I'm gonna move this up here. I'm not de-selecting. I can de-select when time. And then I'm not going
to want to move it again like I did earlier and
I made a duplicate. If you just keep making duplicates that you
can move around, you'll always have
the original to come back to if you need it. So just keep that in mind. Try to only move things once
and then deselect them. Now there is an exception
which is because pixels are in this grid form, trying to go back here, you
can rotate 90 degrees, 180. And you could do those sorts of increments because the program, when it tries to figure
out how to place those colors into
all of the pixels. Again, it's still kind
of lined up as a grid. You can see that this still
looks way better than this. The edge of this compared
to the edge of this. Still much, much, much better. Move things one time. If you're deselecting. If you're not de-selecting, you can move them all around, move them all around,
move them all around. Also, when you have
something selected, make sure that this
always stays on by cubic. These have to do with
how the program figures out where the colors are
gonna go when you do move it. This is the higher end way. I don't know how to describe it, but it's the it's
the better way. So just always make sure
that this is on by cubic. Once you set it, it should stay so you won't have to
check it all the time. And I hope that helps. Again, remember this when
you're taking the lessons. And I probably move things around a lot in those lessons
because I didn't know. And it's kind of hard
to tell when you're just zoomed out normal. These look quite similar still. I probably didn't
really even notice. So have fun.
4. Basic Repeat: Getting Started: We're gonna go ahead and create a canvas. Press the plus sign right here, and the plus sign right here. Now, you can choose from these units of measurement. I'm going to recommend you choose either pixels or inches. So I always choose inches. Ten by ten is a great place to start. You can do 12 by 12. It really limits your layers ten by ten. And I always do 300 dpi. So that gives me 55 layers, which for the simple pattern we're doing today is plenty, but sometimes that's pushing it for me depending on how involved my pattern is. So if I go to 12 by 12, that's going to limit me even more. So you do what you can do for your iPad. Each iPads glad to be a little bit different depending on your ipad. This is important though. So the way pixels where it is, this is 300 pixels per inch or dots per inch DPI. That means 300 times ten is 3 thousand. So the dimensions in pixels, that number of pixels going across and down is 3 thousand. By 3 thousand. You can see that if you go ahead and tap Create and then go into the wrench tool canvas, canvas information. And you can see the pixel width and the pixel height right here. This is the inches, which is the unit of measurement I originally chose. But you need to make sure your pixel dimensions are an even number. So the repeat pattern is going to be dividing the canvas into quarters, and it needs to be perfect quarters. It can't divide a pixel in half. So it's really important. So this in half will be 1500 by 1500. So that'll be the very center. So that works. So if you're starting out with millimeters or something that might convert to an odd number of pixels. So you'll just need to make an adjustment to make sure you have an even number. Right? I am keeping it really simple with polka dots. And so we're going to first go down to the calligraphy. Where's the calligraphy calligraphy right here. And go to the monoline brush. Go ahead and tap on it and tap on properties and bump up your brush behavior maximum size. So mindset about 1200. It doesn't really matter to too much, but it, it's allowing you to get a really big side, so that's way bigger than we need. So but you can go ahead and bring that size down to where you want. Choose any colors and We're also going to go to the wrench tool to dry and guide, edit, drawing guide, and put the grid size all the way up to max. That will cut this into quarters just for our eyes to know where those lines are. We're not using those other than just to know where those lines are. So I am going to go ahead and change the thickness and opacity of my lines so it can be seen better in the video. When this design is moved around into place to create this seamless repeat this line and this line are going to be the edges of your new design. So this is the time that if you want any elements overlapping those edges, you need to do it right now. Nothing can touch these edges on the outside right now. So you can go ahead and put a dot and I'm going to zoom in here. You can move this daughter round. Let's turn off snappy. And if you had snapping or magnetics on, turn it off so you can move things around more easily. You can move this all the way to the edge, but you cannot touch the edge. So anything that you want to have along these lines, now's a good time to do that. So we're gonna go ahead and keep it super simple and just call it good. Although I might went a couple more tiny dots along the lines here. Now I have to think about, I think these yellows are gonna end up being close to each other. So I'm not gonna do that. I'll go back to this peach and put a peach dot there. Alright? So we can end up coming back to this later. If we end up not liking the placement of things. But I think I'm gonna go ahead and call this good. There we go. So if you can see I've focused on this line and this line, but I'm also alternating things so they can is zigzag a little bit so they don't make a line. In the end. You really don't need to place anything anywhere that isn't on the line yet. So if you have any bigger elements and that you want to place it here, you can still do that later. These outside corners are going to join into be the center after this next step. So you'll have a lot of flexibility if you leave some space is open to fill in later. If you start filling in here right now, then you don't have as much flexibility in the next step. Alright, so git-scm dot sin colors on paper and join me in the next video.
5. Basic Repeat: Getting Design into Place: So now we need four of these. And we don't want the background to show because we're going to be able to change our background color later. First we have when step to do, and we need to do it in a really contrast Dean color from what we currently have on the page, so we don't forget to erase it later. What we need to do. So if we didn't do anything, if we left this like this, and we saved this, this image right here without the background. It's only going to save to the very edge of what I have on the screen. It's not going to save the whole 3 thousand by 3 thousand perimeter. So the thing we do to make it save all of it is just put a little mark in opposing corners because now I have color all the way to the top edge, to the right edge, to the bottom edge, and to the left edge. And that will get erased later. So now I can turn off my background. Three finger swipe down. Copy all. You can go ahead and turn your background back on to make it easier to see. And I'm going to group these two layers together. These are the originals. So if you have really time-consuming objects here, you wouldn't want to mess with the originals. So we're gonna go ahead and group those and turn them off. And now we can three finger swipe down and paste. Now that pasted just no white background because we saved it without the background on. Whenever you do the three finger swipe down, it's going to save everything it sees. So without the background there, it didn't save the background. So that's good. And we're going to duplicate that. Always duplicate this original. When when you duplicate a duplicate, the quality is just a tiny bit less. And we're still not worried about these little blue corners, so don't worry about that yet. And now we need to turn on the snapping feature. So press this arrow to select your page and snapping his right here. So we're going to turn on snapping and the distance is just how far away from another object as it does it need to be before it'll kinda snap to align with it? You don't want that to small right now because we're just snapping to the center. The velocity is, how slower quickly are you going to be moving your objects around before you want the snap it to kick in. So I just left it at the default which is five, and my distances at 16, and I leave magnetics off. So now we need to slide are for pasted pages, layers into the four corners. It's really nice that we're able to grab this transparent area here. You're seen blue lines sometimes and see there's a blue line. What you really need to see are these golden lines. So I'm seen blue lines too, but I have, if I see the gold line here and the gold line here, I know that I'm in the right spot. I know that that object is lined up in this center. Grab another layer, tap it, slide it to another corner. I see the gold line in the gold line. Grab another layer. This is where if you had an odd number of pixels, this would not work. I see the gold line here and the goldmine here. And now the final goes down to the bottom corner. So you do have to keep track of your corners. Just each corner gets one. So i did not decrease the size, I only moved them. You also while while you have something selected, you cannot tap anywhere. If you tap it's going to nudge the selection towards your finger. So if you think you may have accidentally tapped, you need to two-finger tab to undo and start over. If you tap at yellow, your design will be off by one pixel. Alright, so de-select that. And now we can erase these blue corners. Let's see if I just tap and hold the eraser, then I go to the monoline brush. So there was one and there's one. You can go ahead and group these layers together. If you're short on layers, you can even flatten them. Alright? This is now the design for the outer edge of your repeat. So this is repeating here, this is repeating here and so on. And the next video, we'll fill it in the middle.
6. Basic Repeat: Add Final Details & Finish: We no longer need our grid lines, so we can go ahead and turn that off. And now we just need to have fun filling in the middle. Now, this is a part where it takes a lot of practice. And actually both sections when you're placing along the lines and also placing in here where you're going to want to pay attention and takes practice to make sure you're not getting real Gridlines or gaps. So, you know, I have this big circle here. I'm not going to want to put another one nearby in the same color, for example, right? But maybe over here. Although that one's pretty close to those, maybe I'm only going to put a green in the middle here. I did have a lot of green on the original layout. Maybe I'll do some smaller green. So you just need to think through where you're going to place your objects. And this is the simplest version for placing objects because we're just putting dots on a page. Sometimes your objects are gonna be really beautiful drawings that you did. And I'll show you an example of that too. And I think I want that to be a bigger dot. Maybe not quite that big. You can overlap your items here too. So I'm just keeping them separate. Let's see. I think I'll get when we're good sized dot there. And then I'm just going to fill in the rest of the area with some smaller dots. We ended up doing all of that on one layer. So we had the merged layer and we added our elements on top of that, you could have done all of those dots on a brand new layer. It's just depends on your workflow. Since we did these all on one layer, all we need to do is duplicate this so we can get four. Alright? Although I am going to keep the original and turn it off, so I have four plus the original. These are going to get shrunken down because this is our pattern up. I see I have an orange dot here I didn't want. So I'm going to I'm going to just delete these four and fill in this. There we go. Turn off the original and now select. And snapping is still on. Now we're shrinking the size in. This is where it comes in handy to know what the middle is. Remember when I said it was 1500 by 1500 with my current canvas size. And I'm also getting my golden lines crossing. So I know I'm right in the middle. So we're going to shrink all four down to the four corners. This is checking your pattern. You making a two-by-two grid of your pattern. Just to see if you like the placement of everything. I really liked the placement of this. I'm not seeing any really obvious lines that will end up making a very Grid looking pattern. And I'm not seeing any gaps in the pixels or any offsets. So that is something you also need to watch for. One of the ways you can really check for it is to turn your background layer really dark or just really like an opposing color. When I'm changing the color, I can see the borders between my four pieces. But then as soon as I let go, it goes away. And I can zoom way in and I know it's not there. See how when I'm moving, I can see it. When I let go, I can't see it. So I know I don't have a pixel gap there. And there's your design. So you can save this. Just keep saving. And JPEGS are PNGs, whatever you prefer, changed the background color some more. Save it again, change the background colors. Mr. save it again. You can get as many ways as you want with this. So that is basically the simplest version of seamless repeat pattern.
7. A Look at More Complex Basic Repeats: Here is a slightly less simple version where I have some spirals, dots and leaves, and I have the sum of them overlapping inside the spirals overlapping and the dots overlapping some leads. And that's totally fine as long as nothing is touching the edges. What that does mean is later I can't move them around without moving them together as one unit. So I'd have to select the whole thing and move it around as one unit. I have little black churches in the corner so I can save that without a background layer. Here it is. After I went ahead and moved my patterns into the four corners and added more to the inside at o, I also added the little orange dots. So that's just a little bit more complex. There is my two-by-two of the design. I wouldn't go back and let you know what I would do if I saw something that I didn't like. So if I'm looking at this for two-by-two grid of the design and I think this yellow dots a little too close to that green dot. I need to move that yellow dot. I need to isolate where that yellow dot is on the original somebody a group all those together and just turn them off and come back to my original. So that isn't in this part of the design. That means that it's n. That I actually put the dot right here too close to this, this green dot. You can see it's cut. So that was in the original layout. This yellow dot I added afterwards. And because it's not overlapping, I can go to that original select freehand and I can move that dot around. Me, zoom back out, and just move that dot out. Okay, let's turn that off and turn these back on again. What else do I need to move? So you can kind of go back and forth and figure out, is there any little minute movements that I want to do? Let's see. Now, I think, I think it's all good. So one of the things you also need to remember when you are adding all of these centerpieces that we did, those can't touch the edges. So when we did our original layout, none of these could touch the edges when you originally putting them on. And then when we added to this center, none of those can touch the edges either. Alright, so now I need to pinch these four together. I'm gonna go ahead and delete it. Since I moved this yellow dot, i have a new design here. So I'm gonna go ahead and duplicate it. Oops, always duplicate the original. And that's a good reason to keep this original just turned off and sitting there. Alright, so now I need to move those into the four corners again and see if I like the placement of my dot this time. Well, I can't even figure out which dot it was that I moved kids. It's no longer crowding. The other went, oh, I think it's this yellow dot right here was too close to this green dot. So now it is great. And I don't see any weird gaps. And I need to call that a complete pattern. So you can either go ahead and combine those, call that a complete pattern. That's a two-by-two of the pattern, or you can call this the complete pattern. This is just a one by one of the complete pattern. That is the pattern right there. Alright, so you just made a regular seamless repeat pattern. Next step, we'll do a half drop.
8. Half-Drop: Step One: Alright, we're gonna go ahead and go back to that same canvas size. Let's do some brighter colors. This is going to be a half drop, repeat pattern. And what a half drop is. Let me go ahead and show you a little design here. So irregular repeat pattern is a grid. A half drop repeat pattern has the two regular, just like the grid. But then the one that would be here is dropped halfway. So the whole one is right here. And then there's half here and half there. And then when they're all pieced together, the other half of the one above it will complete this one. And it's more like a brick, right? Like a brick wall. So you can do your half drop sideways if you would. That's called something else. So since not a drop. Alright, so we need our grid back on drawing guide, back on edit drawing guide, grid size max. I'm gonna go ahead and make my opacity and thickness nice invisible. You don't need to do that part. And this time we don't really need to focus on this section of the line. We mostly need to focus here and here before we move our tiles around. This looks like it might be a little bit too much of a line. So I'm going to remove that died. Okay, so we still need our contrast. Dick Heller in the corners. Turn off our background. Three finger swipe down, copy all. Now we can turn our background and back on since we copied without it. Go ahead and turn that original off at a layer and paste. And then we can just duplicate, duplicate. Now we only need three. So that doesn't count the original. That's just sitting there. And I have three copies here. So we're going to take when and we're going to just move it to one side. Snapping is on. I have my golden line going up and down. And this way makes sure you don't shift when you pick up that pencil. Grab another one, and we're moving it up to a corner just like we did before. Grab another one and we're moving it down to the corner just like we did before. So those two corners are just like we did before, but this side, HIS has one just pushed all the way over. Now we can erase our blue and now we can add more elements. Now, what you're gonna see here is we have this whole section where we couldn't actually put any elements that cross section just based on the original layout. So that is one thing you have to pay close attention to when you're adding more of your designs at this step, and we'll do that next.
9. Half-Drop: Step Two: Okay, so we hidden like we did last time, you can go ahead and combine these three layers that we just moved around. And you can go ahead and add more elements directly to this layer. Or you can go to a new layer and do it from there. I'm gonna go ahead and stand this layer. Alright. That big pink dot is going to make it really obvious along with this green dot y, this is a half drop later, I'll show you later. So this section down here, I need to really look at, at what I have up here and what I have down here, those are going to line up with each other in the end. So if I have a green dot or a pink dot really close to the edge down here. Remember nothing can touch the edges. If I have a Pink Dot really close to the edge down here and a pink dot really close to the edge up here. Those are going to end up right next to each other in the final design. So you need to consider things like that and that's the stuff that really kinda takes practice. So I'm going to put a fairly big dot pretty close to the edge down here. And I'm also looking at that dot. I want it to be offset so it doesn't look like it's in a row. If i want to offset it a little bit more, I can select it, make sure you don't bump into any other elements there. I can't really see there. Alright, so I can tell that this one is offset from this one. And I'll go ahead with this. Green. Can't touch the edge. So those are going to be close to each other to, in the end. But they're offset. So that's good. Let's see. So this is the part where trial and error is. Your friend. See, those are going to be kind of well, those'll be offset. Those green dots are pretty close. I'm gonna put one there. And maybe instead of having an even number of everything, maybe you decide to have a lot of green dots, in which case it won't matter. So this line, like I was saying earlier, is something where I want to make sure I have elements pretty close to that line up there and pretty close to this line down here. So that it looks like we're filling in the gap because we don't have any overlapping elements along this edge right here. Okay. I'm adding lots of little extra orange dots to fill in some gaps. And now the next step. So the next step is very different from the regular repeat. And I'll show you that next.
10. Half-Drop: Finish: Alright, we have ink on all four core edges, so we don't need those little corner lines anymore. And we're gonna go ahead and duplicate this five times. Always duplicating the original. And remembering that I wanted to turn the original off and have these five extras to play with. Grab when we're going to move it to the bottom, we're shrinking the size, grab another one, and we're shrinking the size up. And remember the little diagram where I showed you the, the dropped layout. So that's what we're doing now. Just to make this look visibly less busy, I'm going to turn off our final two, just grabbing one of them right now, select it. Go ahead and make it small, right to the top corner, but then we're going to slide it down halfway. And it does Snap. You can see it a lightening up. Now. Turn on another one. Selected, make it shrink up. And now we're sliding it to fill these gaps that are at the top and the bottom. Lips that just made it shrink more sounds because to do that, unless I grab the blue dot, alright. Grab the final when. Shrink it and slide it down. Go ahead and turn off the grid that we had there. And again, you're going to check for any gaps. This time your gaps will be up here. If you're not sure exactly where those gaps are, you can toggle things on enough. There should be a gap right here if you're going to have a problem. If you have a problem and you have gaps with your pixels, that means that something went wrong a step or two ago. Or when you were a sliding things into place, you may be shifted things before picking up your pencil. Alright, so that is a half drop. Repeat. The way you can recognize this as a half drop 3p is if you look at these pink dots, do you see how they are not making a square? So they are, you can see these two are kind of shifted. Well, if you, if you think of it as the drop, these two are dropped down from these two. In an regular repeat pattern. They would be side by side like this and make a square. So it's when you have something big and obvious like a big pink dot, that if you didn't have this as a half drop repeat, you would see that big. Pink dots making a grid. If you printed this out really big like odd fabric, you would see that big pink dots making a grid. And that's okay. But it's just, it's just a matter of preference. This is a little trickier designed to make. So sometimes it's just easier to do the regular repeat. I almost always do regular repeats. I have some dot patterns that are planets. And it makes it really obvious like with the sun, if it's a grid versus a half dropped. So I spend some time making a half drop. And because we spent so much time making sure, if you look at this edge right here on, on this layout that we did when we were adding to that top and bottom edge over here. This is where that would be. So what do I mean by that? So the edge, that section where we didn't have any elements overlapping map top edge or the bottom edge. That's it right there, but you can't, it doesn't stand out at you because we placed some elements really close to the edge up at the top and close to the edge at the bottom. And when they lined up there all offset which we made sure that they weren't going to be all lined up. And now you can't even down. I can see as I zoom out, I can see I have this diagonal line of orange dots right here, but I kinda like it. So one thing you can do to keep checking your pattern. So again, this original pattern is your half drop repeat. One thing that you can keep doing to check this pattern is to keep getting smaller and smaller. So and again, you also have the ability to change your background. So to keep getting smaller and smaller, you can turn that off and copy all. Whoops. That should just copy all, copy all. Go to a new layer, turned his group off, paste. I'm gonna go ahead term a background back on. So I have, I'm a single layer with all of those on it. A little bit tricky to understand, but because we laid this out in that, that brick pattern, this version of our half property P is now a irregular repeat. So if you can see this orange dot is across from the rest of that orange dot right here. This green is part of this screen. So once you place that will appear when here, when here, half here, half here, that image is now able to be entered into spin flower, for example, as a regular repeat. So when we check our pattern of this, we can make four of these and slide them into the four corners. We're not doing that brick layout anymore. We have a regular repeat with this finished design. For me, this works better on spin flower whenever I've made a half trap 3p and entered it in on spin flour. It doesn't work very well. So I just make the finished version that turns out to be an irregular repeat. I hope that makes sense. Alright, so now we have an even more zoomed out version of, of our design. So you can really start to see the pink dots making this nice offset pattern. I can see my orange lines. Can you see those? So I think it's great and you're gonna wanna make sure you just practice, practice, practice, and you'll get used to play around with all the little design elements and moving them around so that you fill in gaps. That gaps don't become super obvious when you're looking at it in a zoomed out version. And you place your larger objects carefully so that the final design has been kind of dispersed well, and so on. Have fun with that.
11. Tricky Horizontal & Vertical Repeats: I went to show you how to make some trickier repeats. Everything that we've already done. We've made sure that nothing is touching the edges. But there are some times when you're going to want stuff to touch the edges. And I have found some ways to do that. And you have to be really careful to check for gaps or offsets. But I'm gonna go ahead and just use black is doable. So I'm going to turn my drawing guide on, edit drawing guide. It doesn't really matter. I'm gonna go ahead and just max it out, make it visible 4m. And I'm going to turn on the drying Assist right now. So turning on the drawing assist when you're in the grid means that you can only draw up and down. And the other thing that you need to be careful about with doing a pattern where the, You're going all the way to the edge with an element is that you need to be using a brush that it doesn't have any pressure sensitivity. So the monoline brush is perfect. So I'm going to just draw a straight line. I like to kinda go back and forth over it a couple times because sometimes it doesn't seem to be exactly the right width from top to bottom. This bottom edge needs to be exactly the same as this top edge. So anything you have here, when we turn it into a repeat needs to be all lined up on the edges. You can play around with your sizing. But everything over here needs to match everything over here. You don't need to do any of that one step where we have the corner marks because we have pixels of color on all four edges right now. If you didn't have, if you only had horizontal lines, for example, and you didn't have pixels of color on. I said horizontal, I meant vertical. If you didn't have picture pixels of color on these edges, then you would need to put a little mark in the corners, just like we did on the other lessons. Because you want to capture that whole canvas size. Turn the background off. I'm going to alpha lock this and change the color really quick so we can see it better. So we don't need drying assist on anymore. So it is duplicating these withdrawing assist on but you don't need it. Okay. So you I'm just turning off the original. I'm going to turn the background back on. We didn't need to do the copy. I'll because that was that was what we needed right there. Okay. And this is a one-by-one of a final pattern. But again, we need to check it always, so make sure snapping is on. And then we're just going to check our pattern by snapping them into the four corners, shrinking them this time, and turning off that grid so we can see really, really well, where are pieces meet? Here we go. So we know where the edges I can kinda toggle back on an off. Looks good. I have an offset here. So this one did not work so well. And there it is again. So we need to delete all of those. And we kind of hard to figure out where that offset is at this point. So I'm just going to clear this. Yet it turned alpha lock back on off. And I'm gonna try again so that that probably was me just not doing a very good job at making sure my line with Mason filled in. Alright. So we're going to try that one more time. I'm sorry, we don't need to turn that off after all. Turn this one off and start moving them into the corners. Snap. Snap. Making sure I met 1500 by 1500. Snap and snap. And we're going to check again, looks better this time. So sometimes that just happens. All of our joining areas look like they meet up just fine. So this is a pattern. This, this could be put in as a repeat pattern and, and, and this is actually the two-by-two grid of it. This is the original, this pattern is the one by one. So that could be entered as a repeat pattern. You could of course do all sorts of things. All right, so here's just one example of something that you could do. Go to a new layer, turned on during assist, go to a new color. And New Layer turned on during unassessed. And now you can play with the opacity on those layers. And you have this design that you can play around with in the same exact way we just did that solid orange when. And that would be a seamless repeat pattern. Alright, in the next one I'm going to show you a couple other tricky ones. And then we're gonna talk about making brushes.
12. Tricky Chevron Repeats: Okay, another tricky when as chevron. So go to Canvas during guide editor and guide symmetry. And it's gonna default to this vertical here. And I'm going to go ahead and turn my thickness and opacity of that lineup. And I am I'm currently on it, an orangey color on the modeling brush. And the symmetry is gonna make it do the same thing on that side. I'm going to let that lines snap and I'm gonna put my finger on to get it to be a 45-degree angle. I need to move it down because I can't let it touch the top edge. And when it to be a little thicker. So I'm gonna do that again and again. Put my finger down to make it 45 degrees. And I want to erase this up here. So I'm gonna just erase, let it snap to a straight line. Because you use to symmetry. We know that this side is meeting up with this side. If you wanted the top edge to touch up there, if it cut off the tip there, it's going to just show a flat peak. So you don't want that. You could get that closer though. So you could go ahead and slide that up. I wouldn't let it the snappy and just let it go all the way to the top. If you did that, I would zoom in. Oh, it works. It left one pixel blank up there. So that totally works. And then you can still add more down here if you went. So I'm not going to let this line touchdown here, but you could keep getting closer and closer. And now this is a repeat pattern. It's funny is that might seem. So let's check it. I don't think that there would ever really be a need to make a pattern. Oops, look are duplicates. So this is a perfect reason why we needed to have little marks in the corners. So my duplicating did not grab the whole canvas size. It just grabbed to the edge of the chevron, that little mountain peak that we made there. So I need to delete all those. And on this original when I need to make a colorful little corner, Well, it doesn't need to be in the corners. It just needs to be down here and up here. Because we already have pixels of color over here and over here. Alright, so now we can duplicate that. Oops, I should be duplicating the original. Turn that original off. And now we can just shrink these into the corners and watch them line up beautifully. It'll be easier to erase all those blue spots if we go ahead and merge those. Be careful we still have the drying assist on Woof. So we got really close to the orange there, so we need to zoom way in and, oops, make sure we don't erase the orange here. There we go. These are trickier patterns. So if you want to practice the other ones first, and that would be a good idea. Now you can see you have a perfect Chevron. And next I'm going to start showing you how to turn things like this into brushes.
13. Tricky Diagonal Repeats: All right, so if you want to do a brush that has the diagonal lines, go ahead and go to Canvas. Turned out you're dying. Guide on, and that's all you need to do. And then turn on Dorian assist. We're gonna go back to the model, a brush, and we are actually going to make some lines just like we did before. And now, whoops, you know what we do need that edit drawing guide. Would you need the grid size to go to Max? So the grid, I'm going to turn it to a really bright color. For diagonal lines. You need to have all of your lines between where the grid line here and here is, and where the grid line here and here is. All of your lines are going to go here when you start your pattern. So we have our lines, we're going to select them. And we're going to tap, rotate 45 degrees. Remember we use the monoline brush for those lines. Rotate 45 degrees free form for our selection. And now we're going to increase the length to fill in these two corners. And if you look over here, my selection is on the inside of that diagonal line I just showed you. And over here as well, I'm going to move it in a little and de-select. Now whenever the things that you need to keep in mind is this gap right here. Added to this gap right here is going to be and where your designs and at repeating. So there's going to be a pretty big gap if we leave those two gaps really big. So I'm going to undo till we get to there. And I'm going to go back to black. I'm going to just add another line here. I'm going to go ahead and select and rotate 45 degrees on free form, extend those out to fill in that hole corner and that whole corner. I'm still here in here with my selection here in those spaces that I need to be. And now I can just duplicate, duplicate seminary move when needed. Make sure snapping is on. I moving when up. So that this corner is in the middle. And I'm moving when down. And that's it. That's your repeat. Now we need to check your work. Turn off the background three finger swipe down, copy all. I'm gonna go ahead and group all these layers together and turn them off. And we're going to check our work. Paste. Duplicate, duplicate, duplicate, shrink, shrink. I need to turn off my grid so I can make sure that there is no offset lines here. And I don't see any problems with that pattern. One of the things that should work and has worked for me before is drawing the lines. When I originally draw the lines, drying them with the snap tool. By doing this, lending it snap to a straight line and putting your finger down. It's supposed to snap exactly to the 45 degrees, but it doesn't. So I tested it multiple times. And since this procreate vivax update, it just wasn't, wasn't quite 45 degrees. So you can see that. If you if you can see that, I don't know if you can tell on the screen the gap in between this black line and the orange line is skinnier over here than it is over here. So that's no longer the way to try to make it perfectly 45-degree angle lines. Really quickly. I'm gonna show you how to do a colourful design. So I have my drawing assistance. I can get some nice, good lines here with colors. I usually use the disk. I'm into fall pumpkin E colors right now. Alright, I can already tell these are going to be too far apart. Loops need to be on freehand. I'm just going to shift these two over. And I'm going to shift this one over r, right? I'm going to turn my grid on so I can see where my angled lines are going to need to line up. Select my whole thing, rotate 45 degrees. Make sure it's on free form and lengthen those so that I fill in these corners. And I'm going to move this over a little bit because I'm on the monoline brush. I think I'm going to go ahead and extend this about just a little bit out there. Right? Move went up and move one down. There's your final design. You can check it. Copy, I'll turn all these off. Ms. Gonna flatten them here. Paste. Need four of those to get them in the corner. Just to double-check, make sure your designs all lined up. Turn the grid off so we can really see. And I'm zooming way in. If I'm not quite sure where those lines are supposed to be, I can toggle when on and off. I don't see anything offset. And there's your design. And then of course you can make it black and white and turn it into a brush as well. So this is a 2-by-2 of your grid, of your design. This is the one-by-one. Enjoy.
14. Saving Designs to Make Brushes: Do you make a brush? You need to have black on white. If you have gray on weight, it's going to not be full opacity when you use the brush. And you can always change the opacity on a brush that is full opacity. So it's best to start out with full opacity most of the time. So let's just go ahead and alpha luck this layer and make it black. Now I need to save this as a JPEG. For making a brush. You could also simply save this one. That one might be more ideal. The bigger the better. So we'll save that 12. We're gonna go ahead and flatten this group that we did in another lesson, alpha lock that, fill that one. Save that as a JPEG. We're going to make brushes with all of these. This one. And this one probably wouldn't be ideal as a brush. And just because we've got the opacity down and all of that. And finally, any other design you have that's a seamless repeat pattern. You can do the same thing. So let's go ahead and turn this Layer three finger swipe down. Copy all. I went to leave Albee's originals alone. I'm gonna go ahead and paste. And now I can alpha lock that, fill it black. Save this as a.jpeg. So that was our half drop. Repeat. I won't do that to all of the, poke it out. When's, this will be basically the same. This complex flowery When I already have saved some money, go ahead and start a new Canvas and show you what to do here. Alright, next I'll show you how to make the brush.
15. Making a Chevron Pattern Brush From Scratch: We're gonna go ahead and take a look at a brush that I already made with that shape that we did like that. So there's some adjustments that I'm going to show you from a very fresh brand new brush. But you can, I'm going to provide this brush for you and you can just copy it and use the settings in case you don't remember. So I do that a lot. I once I have a brush set the way I like it, I will copy it and then change the Green or shape source and then make other little adjustments. So you're more than welcome to do that, but I also want to show you how to do it from scratch. So this one was just the one peak that I used as the shape source. The grain source, sorry. When I go up in size, the pattern goes up in size as well. If I wanted to, I could take this zoom so I'm on green and go all the way up to where it's cropped. And now no matter what size by brushes, I have the same size of chevron design. If I went to get into a tiny little space, I can do that, right? And it's all in a line up. So those are adjustments that you can make to your own brushes? I don't usually keep it that way. I usually keep it so that it's zoomed into a fair amount of heresies already. And then when I go up in size, the design goes up in size. If this design didn't go up in size a naff when it's all the way maxed out. I could go back in and I could scale right here. All right, let's make a brush. So we're going to tap this plus sign. And now you have a brand new fresh brush. Go ahead and put this spacing down a little bit to like seven or 8%. These are all off. This is all off. I'm going to just turn pressure all the way off to everything is just set to whatever it is automatically set to this as well. For shape. For grain, this is where we add our shape. So we saved all those JPEG. So we tap Edit, import, import from photo, and we pick one of our shapes. Make sure you tap it, done, so it saves it. However, I need this to be inverted, so I need to go back into edit and just two finger tap that you can also rotate here to say, you know, I need this to be black background, tap done. Alright, here we are with our movement. Scale. Zoom were unmoving right here instead of texture. For rendering, that stays the same. For wet mix that stays the same. Color dynamics is all off. This is I'll often regular dynamics. And then for opacity, I just turn it all the way down. Turn off all the Apple pencil settings properties, make sure yeah, this is all good. You can change the size here, the maximum size, C. So there's when setting here I didn't change. So on a brush like this, when I pick up my pencil and I put it back down, it's going to start in a different spot on the design and it's not going to line up. If I want it to do the lining up, I can go in to go to the green source and turn off offset jitter. So now when I'm brushing and accidentally pick up or on purpose pickup and I go back down and start brushing some more. It lines up. Unless I have changed the size or maybe gone out of this canvas and back in, I'm not sure, but if you are just in the same session and not messing around with size, it'll line up again. So right now it's set to be decreasing in size. As your brush size goes down, the Chevron size goes down. And again, if you want that to be different, you can go to zoom and go all the way. Absolute says cropped. And now no matter what size this is, the design will be the same size. But the Brush size, this little circle will be smaller or bigger. To me, that's not as helpful. So I goes zoom. The zooming percentage is just going to kind of adjust that a little bit. But scaled as, as well. So you can play around with both of those. This is a little bit big in my preview. So I can go to properties and preview right here and just bump it down a little bit. Tab save. And I might even want to go down a little bit more. You could also go to about this brush and tap here to name it, tap here to put your name signature here and create a reset point in that means that it'll just kinda save the brush. Alright, so there is one brush and come back on to the next video. I'll show you another brush.
16. Making a Dot Brush & Troubleshooting Issues: Alright, we're gonna do that again. Take it a little more practice at this. Tap the brush. Tap the plus sign, decrease the spacing until age 73. You can play around with that later. Everything is shaped. This is a good shapes, but it gives you a hard edge. So if you want to go in and change it to a different shape, there's softer circles if you just go and edit import source library. And there's these other circles. This is the one we're on. If you want a soft edge to your drawing grain. And this is where we want to change to our images that we've been saving as seamless repeat black and white images. So import a photo. Let's do our polka dot. I haven't done when yet. Right? And we need the background to be black. So I tapped it to get rid of that little window. And now M2 finger tapping to invert and tap done to save that. Now you can see if you look closely, you can see that there's some fogginess to that because we still have some other settings to play around with. I'm going to turn the zoom down and get it turned the offset jitter off the scale. I'll go back later and play with. These are all the same. The biggest one is this opacity setting. So I'm wondering why that is giving me a cloudy background here. Wondering if I missed a setting. So we're troubleshooting right now and I don't want to edit this out because this is important to go through. And I'm pretty sure I know what happened. And I saw that when I was in my photos. Oops. When I was selecting this photo, when we were making their brush, I noticed that the background looked a little gray. And it's really obvious here next to this white that we have a slightly gray background here. And that's why we're having a brush that has some, some cloudiness to it. So we need to go back to our polka dot design. We must not have gotten a white background on this. So if we go to background color and even though it looks like it's at white, if you go to classic Here, you can see here that this isn't pushed all the way to white. So now it's black and white. Now we need to save it as a jpeg. And try this again. Go back into that brush. Go to grain, edit, import, import a photo, grab that new image. It's already keeping the black background that we already set before. It's still kind of foggy. That's interesting. I still think it's a problem with that image. I'm gonna go back. Here's another test. I am going to go to a white brush. I can see it. I don't know if you can see this on video, but I can see white right here, so I still don't have a white background. This is a bit of a bug in the program. I think. I still did not have a white background. Alright. I'm gonna keep troubleshooting this with you guys. So that saturation said 1%. So as much as I tried and tried to get a white background, now it is white. As mentors I tried and tried earlier with the other ways that should work. The disk should work if you double tap there, the classic should work. If you slide the sliders all way to the left and all the way to the right. It wasn't going to white. So we're gonna save this again. Now we have a truly, truly white background. And we'll go and test that brush again. Edit that photo. Better. Oops now and one-way. Ok, so here's a side-by-side comparison of what we did just now. We had a slightly gray background so that Gray was showing up as blue when I select it blue for this brush than I thought I got it to a white, but it wasn't quite white, so it's still showing the background as blue around our polka dots. And now we're finally on white. Now if I zoom way in and look at how pixelated my polka dots are. So that's one of the things that you'll want to pay attention to with your brush making is starting with the largest shapes that you can. So that was not the most ideal JPEG for getting a brush made, but that was the half drop when, and it needed to be that if we were going to use the half drop, however, this one by one of the pattern here. So let me go to change the background to true white, or we untrue white, 0% saturation, 100% brightness, that should be true white. I mean a duplicate this layer, alpha locket, make it true black. And now our dots are a little bit bigger. And they go ahead and come out over a, so you can see this is the one we tried before. This is the one we're doing now. We're going to just compare, whoops. Change that brush to the new image that we just saved. And see if the pixelation is a little bit better. That's good. It's still not super awesome. So that's something to play around with. The chevron design was super awesome because it was a really big design that we started out with. Alright, next step, I'm going to show you diagonal lines.
17. Class Project: It's time for me to show you one more thing that I think you'll have fun with and you can do this as your class project. So pick one of your pattern brushes that you make and just fill the page or just any amount on the page that you want. It doesn't matter. And then go to eight nicely textured brush Lake. In the sketching section, you can go to artists crayon on the eraser. And we're going to erase some of it. Now I like to rotate because I can see a pattern in that brush. So if you play around with the size and the angle, you will stop that pattern from becoming so obvious. And then once you erase some of it, it would be a really fun thing to go underneath and, or on top of it actually. And go to that same brush if you won or any other really textured brush, go to a nice pale color, maybe just pale grey. And add some texture there as well in a play around with size here. So I'm just doing a really quick job of this, but I'm getting some texture under. I also erase to Sam with the texture brush. I'm gonna turn my background leader's gonna do a nice creamy color here. And then I'm going to play around with blend modes. So I'm on my gray layer that I just switched all over. And I went to play around with blend modes on that. That one's pretty bright, but I like it. Maybe if I darken the background, I can see that better. And play around with bonbons, but also the opacity setting. And play around with blend modes on your, your pattern layer two. And because he raised some of that pattern, you're going to get this really cool. Look when you play around with blend modes like this, where all of your layers are all playing with each other. You can read the definitions of these blend modes to really see what they're doing. But you're gonna get all sorts of really cool effects and play around with the opacity on those layers as well. So that is really fun. We did this a little bit in the cactus class where we erased some texture brushes to kind of just make them look a little aged. So this is a nice family to make it look a little bit less digital just by kind of roughing it up a little. You can also go ahead and bring your texture layer on top and play around with blend modes, some more that totally changed the way the blend mode reacts. So now we have some really bright yellow areas and then some areas that aren't bright yellow. You could go back to the the chevron brash. And even though you haven't erased anything from that Chevron brush layer, you've got a lot of texture on it now because you have this texture layer on top of it. You can turn. If you're not quite happy with the color of your layer, you can come in and change it. Oh wow, it shifts quite a bit just by brightening it up a little. So there's all sorts of things. It's like, you know, enlists, the possibilities are endless. So I hope that, that inspires you to do some fun texture. And you can just take a screenshot of this or save it as a jpeg and post it in the project section of class. And I'd love to see what you do. There's a ton of texture brushes that you can choose from to add some texture over the whole page. And a million possibilities. I hope you had fun in class.
Jennifer Nichols, Leila & Po Studio
