Classic Pattern Styles - Learn To Design Paisley Patterns

1. Introduction: Hi guys, I'm Barbel Dressler. A pattern designer living in Stockholm, Sweden. This is a course about the timeless pattern design often called Paisley. It's an intricate and beautiful pattern style that's been popular for hundreds of years. It can be designed in many ways and styles, from very simple patterns like a full art, to extremely complex and advanced designs. In this course, we'll study the Paisley and it's different styles up close with both antique patterns and contemporary designs. Including the history behind it, the influences to how it's evolved over the years, and also the characteristic elements and conversations. You'll get a row of fun drawing exercises to warm up and get acquainted with a Paisley motifs and shapes, and then I'll take you through my process of creating four different Paisley types. At the end of the class and as your class project, you'll have at least one Paisley pattern of your own that you can use for all kinds of purposes. For example, like a kick starter for designing a pattern collection, or to publish and sell on print on demand services or a pattern banks. You can include the pattern you make in your portfolio for presenting to companies and showing that you can create a Paisley, will for sure add weight to your design abilities. This course is a part of a series that I call Classic Pattern Designs. It's about the classic and timeless patterns that have been around for decades or centuries, even millennium sometimes. I created this series to offer you a broader perspective of pattern and design, as well as teaching you how to create patterns within these styles yourself. Also to show you that it's not that difficult really, even though they can seem quite complex sometimes. This course is for students who would like to take a next step in your pattern design education but don't have time or opportunity to go to art or a design school, but still want a bit of an academic perspective when learning about pattern design. It's for all of you who have started your pattern design journeys, whether it's a hobby or if you're on your way to make it your profession, or if you're already there. Is for you who want a bit of a challenge and take on more advanced patterns. With that, I'd like to welcome you to join me in class and let's make history repeat, pun intended. 2. Welcome & Overview: Hi and welcome to class. I'm Bergen and I'm a pattern designer from Stockholm in Sweden. I'm so excited to have you join me here because it means that you're into the classics too, and perhaps your history be just like me. This is Classic Pattern Design and how to make a Paisley style pattern. First, I'd like to begin with a quick overview of what you can expect to learn and take away from this course. First, we'll do a theory bit, and I'll talk a bit about what these classics can teach us. Then the history behind this paisley pattern, where it originated, how it has evolved over the years, and what has influenced it and made it such a popular design style. We're going to do some pattern close-ups too, and study the different types and compositions, the characteristics, some of the typical motifs and layouts. We will also do some practicing with a row of drawing exercises, so that will warm up and get into the Paisley style and mood. That will come in handy when we start creating our own Paisley patterns. I'll show you the process I'm using when creating a Paisley, for example, with first some planning and preparing. Then we'll draw our motifs, digitalize them, and edit and color them in Illustrator, and at last, we will assemble them into a repeat pattern. In this class, I will show you four different types of Paisleys that you can make, and how to make them. If you feel ready, let's get started. 3. What The Classics Can Teach Us: Welcome to the first lesson. Before we start with a history behind the paisley, I'd like to begin with talking a bit about why we should study these old patterns. What can we learn from them, and how can we have use for this knowledge? Well, here it is. As pattern designers, we want to create patterns that will resonate with other people right. It's the basic principle for making art that sell. But if you're like me, it's not really about the selling and the money, is it? Money is a result we want to get in the end of course, but the real reason why we want to do what we do. That can depend from person to person of course. But for me, it's because I in some way want to be a positive influence in other people's lives. Whether it's a print on a fabric for a sewing project someone's making, or a wallpaper in someone's home, or a dress they're wearing to a party, we want to design patterns that people will love and feel proud of as much as we do when we create them. Because designing patterns is our way to contribute to this world and to some extent, make our marks in history. But how can we know what people will like or love? Well, we can't know. But practicing a lot and get really good at what we do, so that we can produce really high-quality work is an important key for success. Perhaps also keep an ear to the ground, keep up with the trends, but that's a little bit uncertain I'd say, and also short-term. In the end it's about creating work that will touch people, so that they feel it will enrich their lives somehow. One way to learn about what does resonate with people, is by studying and learning from designs that we know have appeal to people are already. What better subject to study for this is there if not the classics that have been around and loved by people for a long time. Because obviously there is something about these patterns that have made them evergreens. They seem to speak to us on a deeper level as human beings in universal language. If we can learn how to speak that language just for a little bit at least, we may have another key to the success. This is what this course is all about, to give you proven principles and knowledge that can help you create designs that we know will connect with people. Also, as they often are quite intricate and complex, it will give us a framework where we can practice more advanced skills and help us create high-quality designs. Paisleys have been used for so many purposes and in a lot of different industries and products over the years. When we're aware of all the possibilities and potential of the paisley, we can start designing with more intention and purpose too. We can say that learning from the masters and the masterpieces that these timeless patterns and designs are, it can also help us mature in our own design process. How can we use our paisley patterns that we create? Well, as such a timeless classic there's always a market for a paisley from simple to really complex designs for industries within home decor like wallpaper and furniture, to textiles like upholstery, bedding, curtains, pillows, throws to fashion on shirts, ties, coats, suits, jackets, shoes and dresses, to bags, and to wrapping paper, and packaging. The list of products where paisley have already been used is long which also points us into the direction of what we can design our paisleys for, and a paisley will always draw attention. So you can put it up and sell on pattern banks or publish it on print-on-demand services like Spoonflower and Society6 for example. If you have a webshop of your own or an Etsy shop, you can create your own products with your prints on it and sell there. You can use a paisley design as a focal print and Kickstarter to design a whole pattern collection to include in your portfolio. Showing that you can create a paisley design will for sure add weight to your design abilities when presenting your work to companies. One more thing, in this course we're going to study existing paisley designs and some exercises will be inspired by them. It's important to understand that it's not about copying, it's about studying and using existing pieces to learn the techniques behind them. It will help you get a mental and physical understanding of how it's done. Because when you draw this with your own hands, you will have that in your built-in, in your muscle memory a little bit. But when creating your own paisley motifs and pattern, put your exercises pieces aside and create something that is yours and original. That way you will be a part of the evolution and future of the paisley tool. Speaking of evolution and future, before we get into the history behind the paisley patterns style, let's take a look at what a paisley design really is and what defines it. 4. What Is A Paisley?: In this lesson, we're going to take a look at what defines a paisley and as you will see, there are a lot of different types of paisleys. First, let's start with a name, Paisley. Well, perhaps you know this already, but the name Paisley is not used everywhere around the world for this exact pattern style. In Russia, for example, it's called, [inaudible]. I don't know if I pronounced it right, but it means cucumber. In France, it's called boteh kashmir and [inaudible] the Dutch call it bota. The name Paisley though, originates from the UK for obvious reasons that I will talk about later. Here in Sweden, we also use the name Paisley. In the US too, as far as I know, but among quilters , it's also known as Persian pickles. All of these names refer to the characteristic shape and form that's included in some way or another in a traditional Paisley pattern and it's this famous drop like shape, of course. What this form really resembles is a topic up for debate as well it seems. As the different names used around the world suggests, it's depicting different things depending on who you ask and also when and where, as you will hear more about in a little while. In general, we can conclude that a Paisley pattern is an elaborate and intricate design that includes this typical drop shape in some form. As the pattern has evolved and developed during the centuries, there are some other interpretations including additional motifs as well that doesn't have that droplet shape. But in every other sense has the paisley style look to it, and we'll call these two main styles traditional paisleys and paisloids. We'll take a closer look at this later on. But now it's time for the history behind the pattern and for the first history lesson, I'll see you in the next video. 5. The History Behind The Pattern: Part 1: Welcome back. In the previous lesson, we talked about what a paisley is and what defines it, and that it's called different things in different parts of the world and eras, and this is closely connected to its origins and how it has spread over the years. It also has to do with what the typical paisley droplet shape is said to represent and symbolize. Let's start from the beginning or actually the beginnings because we can't say with certainty exactly when and where it appeared first. That typical abstract paisley shape, that droplet probably comes from the simplification of many different things and based on where in the world you are and what meaning and important it has to its culture. Examples of what it's thought to depict around the world is feathers, pine cones, fruits like mango, fig or pear, flowers, trees, for example the cypress or cedar trees, and seeds and so on. It's most likely a shape that has evolved during a long time and slowly lost its details as it was copied and recopied and eventually became this stylized droplet form. When it comes to its origins and how old it is, there are several theories, but most of them center surround the Middle East and Central Asia. One theory is that it originated in Ancient Babylon and present Iraq around 1,700 BC, and somewhere in the Persian Empire, which included vast areas in the Middle East caucuses and Central Asia. Another theory is that the paisley form is a date tree sprout with connections to Hinduism and symbolizes fertility. Another one suggests China as the origin as it resembles the yin and yang symbol. We may never find out its exact origins, but it's really interesting that it seems to be so widely spread and perhaps it has several sources of origin. Is it impossible that it's arose in different places, more or less at the same time without any connections with each other, an example that could support this is that we can also find the drop shape on articles from the Celtic culture. One fact that we do know though is that no matter where it originated, it has strong symbolic power. The Persians called the drop shape Boteh, which means shrug or a cluster of leaves. It's thought to be representing a floral spray combined with a cypress tree, which in the Zoroastrian religions is the tree of life, which in turn is the symbol of life and eternity. Some say it's a bent cedar tree, which represents strength and resistance. In the present Azerbaijan, it was called Buta, which refers to the Buta almonds and symbolizes fire. Some say the paisley shape is an Indian pinecone, and the pinecone is a symbol of enlightenment. The mysticism and symbolism of the paisley is a part of its charm and it's definitely something that has contributed to its popularity throughout time. Life, eternity, enlightenment, fertility, are universally powerful and very important concepts in every culture. These fundamental seem to be rooted in our DNA and thinking patterns and closely connected to our constant search for a higher meaning and purpose. Next, we're going to learn about another thing that contributed to the popularity of the paisley and which is also the very thing that made it travel and spread all over the world, and for that, I'll see you in the next lesson. 6. The History Behind The Pattern: Part 2: Welcome back. In the previous lesson, we learned that the characteristic paisley platform is very old and full of symbolism as it represents the cultural essentials like life, eternity, and fertility, and that this was an important factor for its popularity. In this lesson, I'm going to share the next piece of history of the paisley pattern. It's about something that had probably the biggest influence on the paisley evolution and also one of the biggest reasons why the paisley pattern also spread worldwide, and didn't just stay in the eastern countries, and it's this. The shawl, and not just any shawl, but the Kashmir shawl. In ancient Persia, where we believe the paisley motif most probably originated, it was used as decoration on rugs, and tiles, and paintings. From the centuries before Christ, there was a significant production of woven textiles, including the paisley firm in the city of Yazd, in present Iran. These textiles were called termez, a traditional fabric of woven silk, and wool. They were famous for its superior quality, and workmanship, and important trade along the Silk Road. Actually, Marco Polo passed through the city of Yazd in 1272. He noted, "Yazd is also properly in Persia. It is a good, and noble city, and has a great amount of trade. They weave their quantities of a certain silk tissue known as Yazdi, which merchants carry into many quarters to dispose off." Which means that the paisley pattern was popular already then. This termez fabric production was an important factor that helped spreading the bowtie motif, and its popularity, but it was in another area along the Silk Road that the pattern mainly evolved. This was in Kashmir. Kashmir is the traditional name for the northwestern part of the Indian peninsula, which includes part of northern India, and Pakistan, and some bits of China today. According to Kashmir historians, it was the Sultan Zain-ul-Abidin who brought the paisley design to India from Iran in the first part of the 15th century. During this time, the kingdom of Kashmir was ruled by a Mogul, Emperor Akbar. During his reign, a weaving production was truly ramped up, and they brought in weavers, and their skills from Turkestan, which also gave strong influences to the development of the bow-tie motif. The Kashmir shawls, both with or without paisley's design became more, and more popular. They were mainly worn by men at this time as ceremonial garments, and was usually very prestigious gift among the nobles. These products started to spread throughout the Middle East. An important factor for their popularity deserves to be noted here, and that is the high quality of the fabric. The advanced weaving technique that made them so exclusive, and valuable, and also the material of course. Just listen to this. Kashmir shawls, and other textiles were woven with hair from the underbelly of goats living in high altitudes. It was because of the cold temperature there that the ghosts would produce a specific hair that was especially fine, and soft and had good insulation. The most exclusive shawls were made by what was called Kingswool, and this goat hair came from wild goats living in the Himalayas, and in the spring when the temperature rose, the goats would rub themselves against the bushes, and trees, and that's where this high quality hair was then collected and turned into the most luxurious products. That weaving technique was also important. I'm not going to explain the details here. Let's just say that it was a very advanced process, and took a long time. One shawl could take several years for a weaver to complete. Because of these techniques, the weavers in Kashmir could use a lot of colors, up to 40 colors in one fabric. No wonder that Kashmir shawls were considered very exclusive. Naturally, they were not bought by anyone, and very popular among royalties, and the nobles of India, and the Middle East. Now we've come to the next chapter of the history of the Paisley, where we'll hear about how it's spreading to the western parts of the world, but also how it was picked up by a completely new target group that's so important when it comes to fashion. Jump to the next lesson, and I'll see you there. 7. The History Behind The Pattern: Part 3: In the previous lesson, I told you how the boteh motif started to spread throughout the east, becoming more and more popular among middle east royalties with the aid of the Kashmir shawls. The Kashmir shawls are also what brought the paisley design to Europe and the rest of the Western world. Important to understand about the early paisley shawls that came to Europe, is that up till the beginning of the 18th century, the boteh, the characteristic paisley motif, wasn't really the stylized drop shape as we know it today. More of a delicate and naturalistic depicted flower with roots, or a date tree sprout bending and rather suggesting the characteristic outline an intricate teardrop as we are used to see it. This, the flower with roots was actually an adaptation that the Kashmir designers have done to cater to the European tastes. The inspiration for these flowers with roots, were a botanical illustrations and books. Eventually it evolved into a tightly packed pyramid of flowers above a vase, style that was influenced by both Indian and Persian art and seen on the Kashmir shawls. From the mid 18th-century the motif developed into a more formal outline. and started to look more and more like the curled pointed leaf filled with floral patterns. The East India Company started importing Kashmir shawls and printed cotton from India to Europe already during the 17th century. But it wasn't until the last part of the 18th century and beginning of the 19th, when the paisley started to become really popular. At this time, Europe was murked by revolution, war and imperialism. There were a lot of soldiers posted in the Middle East, for example, France and Napoleon's campaign in Egypt. It became very popular for the soldiers to bring home these wonderful soft and expensive Kashmir shawls for their wives and families. Some even claim that it was Napoleon that introduced the paisley to Europe when he brought back at Kashmir shawl home to his beloved Josephine from Egypt around 1800. Soon every lady in the French Court had to have one, followed by the British and other European and continental countries. The only obstacle for the paisley spread now was the tremendous cost. To give you a notion of how exclusive and luxurious the Kashmir shawl was, the one Josephine got from Napoleon cost about the same as a middle class house at the time and could have taken the Kashmir Weaver up to five years to make. One of the reasons why shawls were so popular at this time, was because of the current fashion. Around the turn of the century, it was the period of neo classicism and the empire fashion mimic delayed Greek and Roman costumes. Women's dresses had the typical waistline just below the bust and narrow straight skirts. For this silhouette, the drapes of a long shawl was a beautiful complement and also added a splash of color as the dresses had very light and bright colors. Here's an image that shows 1802-1814 shawls and how to wear them. There were two types of shawls, the long stow or the square scarf. Both typically had narrow borders and centers that were either plain or had small scaled repeating patterns. In the 1820s, the fashion changed a bit. Still with high waists, but with a lot more bodies detailing and wide puff sleeves. This required a larger shawl, during the 1830s, the skirt got larger and the dresses had huge sleeves, which also affected the size of the shawls. Around the 1840s the crinoline developed. Slowly the skirts got wider and wider. There was a dip in the demand for the shawls as they didn't really fit the fashion in the same way anymore. But they came into fashion again when the shawls were made even bigger to match and fit over the wide skirts. The shawls, now referred to as plates, became really popular as they were much more lightweight and easier to wear over the dresses than coats. They were the typical outdoor garment of the time. It's amazing for how long the shawl was and fashion with only a few dips in-between. For 100 years, the shawl was an important part of the wardrobe. As the demand for shawls grew, the European and domestic textile manufacturers saw an opportunity. Already around 1780, manufacturers Edinburgh and Norwich for example, started to produce an imitation of Indian shawls. Then other cities around Europe, like Paris and Vienna, followed. The early European imitations were woven by totally different techniques than the Kashmir shawls. This made it possible to price them much lower and now the shawls were bought in ever increasing numbers, which in turn encouraged the domestic manufacturing to grow either more. Especially one town in Scotland centered their whole town around the shawl industry. It's the town called Paisley, of course. With introduction of new advanced technology with a Jacquard looms replacing the hand looms, they produced such large quantities of shawls with the characteristic Kashmir patterns of the drop shape, that people started to refer to the pattern as paisley. The quality wasn't the same as the authentic Kashmir shawls, of cours. The European shawls were made of sheep's wool and their weaving techniques not nearly as advanced as the Persian and Kashmir shawls, who could use up to 40 colors in one fabric and the European only two at first. Later new inventions turn it up to 15 colors in one fabric. How did the European manufacturers and designers influence the paisley design itself? First of all, when the boteh arrived to Europe on the Kashmir Shawl, it was merely a decorative motif for the Europeans. They didn't know anything or very little about the oriental symbolism that was represented in the patterns. They did their own interpretations and the boteh or buta was adapted and developed to adjust the Western tastes. Now all of the different interpretations of what the droplet really resembled started to emerge. For example, pine was a very commonly used word or tadpole, as the French thought it looked like. In Vienna, it was called The Little Onion. The European weavers tried, of course, to imitate the eastern patterns and motifs of bright colors and angular forms, but also injected their own take on the Pine pattern, showing a lot of imagination and invention. The first invitations were not very pine looking because of the limitations in the weeding techniques, but gradually they became more and more detailed pine shapes filled with flowers, bud stalks and leaves. Then they started to divide the pines lengthwise and the spaces in-between filled with a light spray figuring that was called the ref. Another element that was used was called the laurel, which was a belt of pattern following the outline of the pine. During a short disruption in the 1840s when French shawls made of Damask, Angola, or crepe were the trend, the pine pattern had a slight pause. But it reappeared again, now with some new features. Now the pattern had become even more bent and twisted in all directions and was generally drawn in groups of two or three with intertwining outlines. The pines flowed along the fabric with bright and clear colors. With the Jacquard looms, not only could the weavers make more shawls, but also with more complex patterns. Now the pattern became more elaborate and filled more and more of the surface. A distinct trend of the beginning of the early Victorian era in the 1860s is that there shouldn't be any plain surface left at all. The pines were stretched out, sometimes even from corner to center. Then around 1870, the shawl trend came to a stop. As always, when it trend becomes the mainstream with mass production and lower prices enabling every woman, even simple workers to own and wear a paisley patterns shawl it out of fashion. Another factor that could have contributed to this is that the shawl didn't compliment the new fashion of bustles in women's dresses anymore. It's simply didn't drape as beautiful as with previous fashions. But the paisley pattern still flourished after this, of course. Now it was used in other products, actually on all kinds of products. On carpets, drapes, curtains, upholstery, but also garments like embroidered silk underwear, blouses and evening gowns. It was considered to be particularly good for the lining of the opera cloak. That next chapter of the paisley history brings us into the 20th century, and I'll see you for that in the next video. 8. The History Behind The Pattern: Part 4: Welcome back. We're far into the history behind the Paisley pattern. In the previous lesson, we learned how it came to and conquered Iraq with a Kashmir shelves. How the pattern and the motifs changed and evolved with the European manufacturers and designers, and that it was the roar for 100 years. But around 1870, the trend of the Paisley shelve came to a stop but the patterns still thrived and lived on now on other products to other target groups, and as we're closing in, we're entering an important era for pattern design, which includes some true pattern design icons. At the end of the 19th century, the Paisley started to become associated with the progressive and rebellious. For example, Oscar Wilde and his friends loved the Paisley pattern design. Another major icon that adopted the Paisley was the founder of liberty in London, Arthur Eisenberg Liberty, also a friend of Oscar Wilde. He gave Paisley a major role in his collections, which was a big reason for his success. Also, William Morris and the Arts and Crafts Movement adopted the print, as well as Pre-Raphaelites, who included the sumptuous pattern as a reoccurring element in their paintings, and the Paisley became a very integral part of the Art Nouveampu Movement and tightly associated with a sophisticated RD Bohemianism during the last decade of the 19th century to the first of the 20th century. During this Bohemian phase, the pattern was still somewhat elaborate and bold, but when these guys made Paisley a part of their accessory, it was in a much more strict style which pointed the way into the more strict and silver fashions of the 1930s and '40s when these guys were the next icons to adopt the famous pattern into their wardrobes. The Paisley pattern kept going as a constant and solid element in contemporary fashion far into the 20th century. But it wasn't until the 1960s, it had another upsurge, a huge upsurge and that was with a little help from friends. Let's jump to the next video. 9. The History Behind The Pattern: Part 5: Welcome back and to this lesson which will be about flower power and rock and roll. Because in this chapter of the paisley history, we're reaching the '60s. In the 1960s, as an anti-movement toward the establishment and military invention in Vietnam, an interest for the Eastern philosophies started to grow. In a way it was a continuation of the bohemianism at the start of the twentieth century, it was a period influenced by the Eastern religions and spirituality, harmony with nature, and experimentation and all kinds of things including music and drugs. In 1968, the Beatles started to visit India on a regular basis and became very influenced by its philosophy and music and clothes including the paisley pattern. Because it was still associated with rebellion and the perfect anti-trend to the so far very sober men's fashion that paisley became a symbol for the counter culture hippie movement and a statement for the principles of encouraging pacifism and multiculturalism. The trend grew even bigger with the help of the huge icons of the time. For example, the Rolling Stones, Jimi Hendrix and David Bowie. The hippie era of the paisley, also strongly influenced the pattern appearance, of course, turning it into psychedelic patterns with completely new color palette of luminous green, pink and yellow and orange and adding a lot of flower power to it. Here, we can see a clear crossover between paisley and Indian floral patterns. We're closing up to more present time, but first, I want to mention another icon that took the paisley pattern to his heart. Because I can talk about paisley without mentioning another paisley royal, namely the artist known as Prince. He was very much inspired by the music and visuals of the '60s and '70s and his work had strong psychedelic influences. One of his songs from the album Around The World in a Day, and that was released in 1985, was called Paisley Park. This is also what he named his own record label. As a pattern designer, you just got to love his other song called Joy in Repetition. That's a bit how that paisley had a huge push by the music industry during the '60s, '70s and '80s. But as a pattern, it's obvious place is in fashion and interior design. Let's take a look at how paisley has been such a strong style in recent times and today. 10. The History Behind The Pattern: Part 6: Welcome to the last part of the paisley history. In the previous lesson, we learned how it influenced culture, art, and music, and now we're going to focus on its role in the contemporary fashion and interior decor. There are of course, an endless row of brands and designers that have used paisley to adorn their products. I have already mentioned Liberty, who still has a love for including paisleys on their fabric and textiles. Here are some additional icons of today that have made paisley into a part of their brands and that I think you need to know about if you aren't already, of course. The first one I'd like to mention is the Italian fashion house, Etro. Its founder, Gerolamo Etro, founded the Etro brand in 1968 in Milan. He was a huge fan and collector of arts and antiques. For example, he had a collection of 150 antique Kashmir shawls dating from 1810 to 1880. You can understand that the paisley pattern had a special place in his heart and naturally was given a major role in his designs. He introduced the paisley pattern to the Etro collections early in the 1980s and the following successes has made Etro tightly associated with a paisley pattern. Other fashion designers are Stella McCartney, Kenzo, and Missoni. In interior design brands from Ralph Lauren to Pottery Barn, the paisley pattern has also been adopted as a part of their classic and timeless styles influenced by vintage textiles and their patterns. Now, you have the major outlines of the paisley history, its evolution, and influences. If you're interested in learning and immersing yourself even more in this topic, I have posted a list of links and sources for further reading at the bottom in the about section of this course. Now, we're going to immerse into something else. Because in the next lesson, we're going to define and take a closer look at the different types of paisley patterns. I'll see you in the next video. 11. The Paisley Styles: Welcome back. In the previous lesson, we concluded this history of the paisley patterns up until today. Now let's take a closer look at and define some major types within the paisley style, and what products they are used for or suitable for. Let's start with layouts that we have covered so far. First, we have the concept of borders for the shawls and scarves, and on the shawls, there could be a simple border along the short edges with some band of little florals and leaves perhaps closest to the edge. Then inside that the boteh repeated sideways. It could be with or without fillers of small decorative flowers and leaves in-between the botehs as well. Then we have the full border around all edges of a scarf, for example. There would be a band or frame along the edge two and inside the boteh, repeated and reflected in the symmetrical manner. For the centers of the shawls or scarves, we've seen some different examples like this with a foulard pattern, or with a more elaborate pattern, or paisley motifs. Then we have a center where the drops are evenly distributed, and aligned, and reflected, and rotate in a symmetrical but a bit more simple pattern. Last we have the all over pattern covering the whole surface without any background showing through with elaborate shapes and forms. These are examples of traditional paisley patterns. In the late 18th century, and the first half of the 19th was mainly used for shawls and scarves. Then we have what we can call paisloids, which is versions and developments of these patterns for use on other garments later on, like coats, and jackets, and on dresses, and ties. Other product categories where the paisley pattern was used later on was wallpaper, and drapes, and curtains, and upholstery. For weaving or printing these surfaces and materials for these products, the placement pattern had to be turned into a technical repeat instead. The paisley pattern evolved into new styles and types because of that. For example, crossovers with Indian florals and more European-styled flowers. The paisloids can be flowered too of course, or they can have more elaborate motifs in both directional, non-directional patterns. The all-over patterns were also developed into more complex repeats with these paisloids. Some of them can be resembling medallions when reflected. Where do these different types of paisley come to use at its best as with any, there are patterns that are better suitable for specific products and surfaces than others. But some are very versatile and can be used for different products, and paisley is one of those. Let's start with a foulard paisley again. Since it can be designed in a lot of different ways, it's a very versatile pattern. It can be layouted in a straight repeat, a half drop, or tossed, one directional, or multi-directional. But despite its versatility, we mostly see it on men's ties where it's an icon pattern, or on scarves or shirts and I've seen it on socks as well. In general, it could of course be used on all products. But if we take other garments and home decor, like wallpaper and home textiles for example, it seems like there is a preference to use a more elaborate paisley for those products. Perhaps it's because they can carry more of a statement pattern that says, look at me, so stronger, and bigger, and more details than a foulard is. An elaborate paisley works really well on products that demand larger surfaces, like curtains, beddings, throws, pillows, and upholstery, and wallpaper. The same goes for the reflected medallion styled paisleys. To sum this up, we now have a few categories that we can use as a platform to learn from. We have the border placement patterns. Then we have the center placement patterns, and we have repeat patterns as the foulard, the elaborate motifs, the crossovers, and all-over reflected patterns. For this course, I would like to close in on four of these, so that we can learn how to make them and not just be overwhelmed by too many versions. The four I'd like to focus on is the foulard, a placement border, elaborate paisleys, and the reflected all-over. The reason why I want to focus on these four, is that they will give you a range of tools and techniques as well as inspiration to take with you when designing your own paisleys, and other patterns as well, like crossovers, for example. But these four range from simple to quite complex techniques. Next we're going to study the paisley motifs more closely. 12. Pattern Close Up: The Foulard Motifs: In the previous lesson, we defined some different main types of the Paisley pattern that we will focus on from now on in order to learn how to create a Paisley on our own. It's the foulard, a placement border, the elaborate, and the reflected allover. Now we are doing a close up of the motifs and elements included in these patterns types. In this lesson, we are going to take a closer look at and study the motifs of a foulard styled Paisley and this is a good start as the foulard motifs are quite basic. In the foulard, which are in a way the most simple versions of the Paisley, we find quite simple droplet motifs in general, probably because the foulard patterns are often small and scale and therefore can't hold as many details as with a larger scaled Paisley. The foulard motifs can range from as simple as just an outline Paisley drop shape to a bit more detailed. The shape and detailing is more or less abstract, perhaps including a flowery shape here and there, or a leaf, perhaps. Sometimes the foulard is varied with a droplet and some other shape like a diamond or a stylized flower just to mention an example. Here are some examples of foulard droplets and some of those other shapes. Now, I think it's the perfect timing to have our first exercise and practice how to draw a simple foulard Paisley motif. Lets hop over to the next video. I'll see you there. 13. Exercise 1: Foulard Motifs: Welcome to the first drawing exercise where we're going to practice how to draw a simple Paisley motif that can be used in a foulard pattern, for example. This exercise is really just a warm-up. It's very simple and basic. I want to begin with the Paisley droplet shape. How can we draw that in the simplest way? I have two ways I create this shape. The first way I do this is to start out with the outlines and I just draw a simple plain drop at first and then I do the little bend at the top, like this, something like that. You can align it with this edge over here, something like that and just make a little bow like that and then connect it like this. Then when you have this shape, you can see if you want to adjust some of the lines or make it more narrow perhaps. This one you can alter in a lot of ways. You can make the tip a lot smaller, not going over as much or you can do it even more. Let it droop over like this. There are different shapes for this droplet. The second way I draw the paisley droplet is by starting it with a center. I start with a simple drop shape, a small one, and then go upwards and build on this one with multiple layers and then somewhere here I want to make it struck, bending over, live it. Now I'm going to give you three simple exercises that I want you to draw or try out and you can do them exactly as I do them or you can just get inspired and knock yourself out with some of your own shapes. But this is to warm up and start getting acquainted with paisley shapes. We're going to do a couple or three perhaps paisley motifs that could work for a foulard. They are pretty small scaled and therefore they can't have as much details. We're going to start by doing, a drop shaped like this. That looks good and for this, I want to have a broad outline and then I can do some details inside. I think I'm just going to start with a little circle like that and from this one we have this little tulip or something. Remember they can't be too detailed or they won't show in a small-scale pattern. Then maybe I'll have some leaf looking like motifs and perhaps just a little filler. This would work. I could stay here and use this one. But I think we can go a little bit further. I think we're going to do some agreement outside of the thick border here. I'm going to pick up the shapes that I have already used and that's a good principle to apply when creating a paisley is to reuse the shapes, so I would do this. Perhaps if I want to go really complex, I can do both the little tulip shape and the leaf. I'm just roughly sketching it now and then if I were to turn this into a pattern, I would usually, as you will see later on. Fill this in with a fine liner or just straight off in illustrator using a brush tool or something. Can I fit another tulip in there? Yeah. Here's one motif that we can go with and that would definitely fit in foulard. Let's do another one. Now we're going to cover the outline in spiky leaves or something. Pointy leaves, I mean. Now we need to do something else. We'll do a leaf in here and a stem and up here I'll have a flower. Really, really naive looking embellishment here. But for a foulard that could be enough. We could add some more. It kills if we think it's too simple. But these are pretty classic paisley motifs as well. For this one, we're not going to use outlines at all. I just use these sketching lines as guiding lines. Now I'm going to fill this one with some shapes and inside here, the top, we'll have something actually I'm going to do guiding lines here as well. There will be these shapes like that and in the center we're going to do this one and then we'll repeat the leaf shape and I'm going to fill them in. Here are your three exercises. All that remains now is to erase the pencil lines if we would have used them for scanning and making a pattern out of them. Here I have some embellishment outside of the border and then I have a border that has the spikes and itself, so it's quite a solid border. Here, I have no outlines really, but just a bunch of different shapes that make up the droplet shape. Then with some different centers and embellishment in the middle. Do a few of these with different types of decorations along the outlines and also with different layers on the inside. But remember with a foulard, if it's going to be pretty small scale, it has, it can't have too many details. Now we're continuing with our pattern, close up on the motifs and next we'll take a closer look at the placement border motifs. 14. Pattern Close Up: The Border Motifs: Welcome back to another pattern close up and now we're going to study the motifs of a placement border. When it comes to the placement border, we have a lot more motifs and shapes to play around with than the full art, which actually is the most simplified and stylized form of a paisley. In the border motifs, we'll see much more complexity, variation, and details. If we start from scratch, and let's do that, with the borders of the early Kashmir shells, we have the early bow tie in it's most simple form depicting a plant of flowers with roots, where we can just sense the droplet shape in the bent flower at the top. The flowers are done quite naturalistic, not very stylized yet, but simplified enough to be suitable for including them in a weaving pattern. To be honest, they are quite simple in it's execution too, but still have some beautiful detailing in the bend of the stems, the flower petals, and buds, and the leaves. This one could also be varied in different types of flowers and plants and species, so to speak. I find it quite enjoyable to draw these, and you will get to try them too in a little while. Here are some examples of flowers and leaves of the early bow tie, the flower with roots, as I call it. Gradually, the bow tie evolved into a more and more stylized and dense motif in the shape of the characteristic and noticeable paisley droplet. Still not with an outline, but the shape was made of a vase at the bottom, where an abundance on flowers and leaves sprung out and made up the droplet shape. The separate elements of these flowers and leaves could be varied in scale and shapes. Here are some examples of typical flowers that we often find within these vase of flowers bow ties. Notice how the flowers are varied both in composition and scale as well as different types of flowers. Some are very simple with only a couple of petals, two, these ones with multiple layers of petals and complex centers. The leaves serves more or less as fillers in between. Also, notice that from the vase at the bottom up to about three quarters, the motifs are reflected except at the top where it's adapted to create that impression of the characteristic bend. In a lot of these, both the early bow ties, the flower with fruits, and the vase of flowers, the top had a very large flower, very distinct. Also, notice how all the little motifs are repeated here and there creating a bit of a theme both in shape, appearance, and color. We have these red flowers that seem to be of the same kind or of the same species but in different stages of blooming from bugs to full flowers. Also, take a closer look at the outlines that are varied in color. The red flowers have white contours and detailing to depict the petals and the yellow ones have red, the white have dark green outlines, and the green leaves also have a darker green outline. This, the variation in color and outlines, is something we need to have in mind when we draw our own motifs, but I will explain that a bit more later on. Eventually, the shape that are more distinct and at the top, grouping down one side. All the little motifs within this larger shape have also evolved and in many versions, there aren't anymore noticeable stems. As you can see, they range from very simple to a bit more composite motifs bunched up in small posies. Typically, you'll find quite a lot of different small motifs within this larger shape. All of these small little motifs were also used for the fillers in between the droplet shapes or the pines as they were often called at this stage. Let's not forget another important element of the placement border motifs. The elements closest to the edge, and these edge borders could range from very simple bends to a much more complex and detailed frame. They could have small decorative flowers and leaves like this, or more abstract and complex ones like these. With the more evolved motifs of the detailed pines and fillers, the edges became more and more elaborate and complex. With the allover shawls, the borders were influenced by the neoclassic style of the Greek and Roman shapes and elements. Now, we're going to do some more drawing exercises and actually we're going to do this from scratch as well by practicing how to draw these early bow ties, the flower with roots, a vase of flowers, and that evolved pine with fillers. The reason why we're practicing these is because it's a good way to get acquainted with all the different characteristic and typical elements that are used in a paisley, even the modern paisleys. This will give you ideas and techniques that you can use later on when we create more elaborate and detailed and complex paisleys. What I'm doing here is to slowly ease you into the paisley style. In the first of the three coming exercises, we'll practice how to draw that early flower with roots, so I'll see you for that in the next video. 15. Exercise 2: Flower with roots: Welcome to the second exercise where we'll practice how to draw the flower with roots portrait. These are the two flowers with roots that we're going to draw here. You can either copy them as I draw them or use them loosely as reference and do your own version. The point is to get the movement and the shapes and the forms inside your hand than in your head. Also in the companion pdf, in the section of this course called your project, you will find a bunch of flower with roots illustrations that you can also use as inspiration or as extra exercises if you'd like to have some more. Now I'm going to show you how to build up your flower with roots illustration. So first of all, make a little mark where you want your illustration to be, so that you're going to fit inside of this ellipse or something. Now we're going to sketch the stem, do an S-shape like this, and then we're going to have flower here. I think we're going to do a little twig-like that up here, then one over like this, and then we're going to have some leaves, cluster with leaves here. We'll have flower a here, a little bud here I think, and a flower over here. So now I have my bearings, so to speak. Actually, I think we're going to do another one over here. So you can see that the movement, the direction of this sketch is suggesting that paisley direction. So the next step when you have your sketching, your guiding lines like this is to make them more distinct, and I think we're going to start with the flowers. Here I want to have this flower is going to be a quite bend over. Let's start with some little leaves like this, and then some petals. Doing this really simple, and let's do the same for this. I like it when they are grouping like this. Then we have another flower, petals just sketching this roughly. Here we have a leaf, these leaves that I have started are pretty straightforward. Then we have the biggest flower in the ensemble. Let's do some more leaves. I'm going to start like this, and these leaves are just going to be quite simple. [inaudible]. Okay, that's enough, and then another leaf ensemble here. Something like that. Then I will go ahead and fill in the lines, later on. Let's do another one. Let's do the same thing. Mark the area where you'll want your flower to be, and then let's start. Actually, we have to do the roots. There are different ways to do the roots. Some are just really plain like this, and now let's do the next one. I'll do the S-shape. For this one we're going to have multiple stems, and they're following the S-shape like this, and like that. So here we're going to have a little flower and a little bud, and here we're going to have that main flower, and it's going to be quite big. Then we're going to have some leaves coming up like that. I'm just taking my bearing here. So now I'm going to start with the big flower first and, we're going to have a center of little stills like that. Let's do a layer of petals, and now we're going to do some detailing, some variety. This is the way to go about it, variety and altering shapes and forms. I'll adjust the lines with a fine liner, but this is a suggestion at least. Then we'll connect them with some other petals looking like that. Now I'm going to do something different. I think I'm just going to do some prickly petals come out like this and perhaps set hybrid between the carnation and daisy or perhaps [inaudible]. We'll do some more deep filling, and we want that variety. Strange-looking flower perhaps, one of those. Now are going to work on the bud. Here we'll first have that bud thing like that, and here we're just going to go pretty plain, and another bud here. This is really simple, and now it's time for some leaves. We're going to start with the main big leaves. Let's do some fun start, and these leaves are going to be also bit prickly, just alter the shapes. I don't know what I'm doing here, but something like this, and just build them up like that. Then we have another one, I'm doing this really quick here, but you can just see me building up the illustration. Then we of course have to have something in the middle as well. Building up the shapes and forms is just about your imagination. So you can just go crazy with the different leaves. Here's a pretty well-disposed composition. Over here, it's pretty dense and tight with different lines and with the leaves and everything. Also, you need to have some groups, then I'll define the lines more distinct when I did with the fine liner. To sum it up, start your illustration by drawing the direction with a stem or the stems, and then mark where you want your flowers, then you start adding the little details. You can start with a flowers, I think is a good idea, and then go with the different leaves and see if you can distribute them quite evenly and follow the shape of the drop lift suggestion. There's actually one thing that I forgot in this flower, and that is the little detail that will make it point to the pace lead droplet. It's just a little detail, I'm going to add a little bud here. Now the droplet shape is actually complete. Now I'm going to fill them in with black outlines. Next we're going to practice how to draw some vase of flower motifs. 16. Exercise 3: Vase Of Flowers: Welcome to exercise 3, where we're going to practice how to draw a vase of flowers, Paisley motifs. Here is the motif we'll be practicing with. Again, you can follow along and draw it exactly like I do, which is a good way to start for practice, or you can just use it as inspiration and do your own version, come up with another type of vase for example, and some other flowers and shapes, or other leaves. Also, you can take a look in the companion PDF where you will find more vase of flower illustrations to practice with if you want more of these exercises. Drawing a vase of flower bouquet. It's the same principle as with the flower with roots really. Let's first mark the area, the size, where you want to have your illustration. Let's start with the vase, it's the foundation where it all begins. There are different ways to draw these vases, and I'll show you a couple example later on. But one very simple and quite stylized, I don't know what kind of vase this is because I don't have one, start with a bottom line like this and do like this little arch. We need to have some candle. From this, all the flowers and the leaves are attached, but I think we're going to need something else, we're going to do a little detail like that. This one's pretty decorative. Then I think we're going to have some bare leaves coming out from the sides like this. This is very ornamental, don't you think? They are reflected the same at both sides, then we might do some detailing here later on. Now let's start with the flowers. A lot of the vase with flower bouquets has this big, almost huge flower at the top, and it's tipped over bending towards where the drop tip would be. Actually let's make a little drop shape like that so that we know where we're heading. I'm going to do a flower, it's going to be over here. Now we're going to repeat this type of flower in some of the places. Either they are full-gone or half, or you can see them from the side or just as buds, but we're going to do some repetition. Do one here, perhaps, and one here, and they are also a little bit reflected on both sides. Then let's do one here and one here, and then we're going to alter with some other flowers as well. I'm going to do something that's actually completely different. Here we're going to do something that's like that. A good tip is to do these guiding lines just to get some idea. Actually, we'll do one up like this as well. Just a few. Then perhaps long like this so that there is some stuff happening. Then I want some leaves. I'm just going to start off with this and then I'm going to fill in the rest in the empty spaces in between as I go, because the vase of flowers is a pretty dense illustration. I'll start with a big flower. Remember, alteration and variation is key. I think that's good. I'm going to do some matching flowers now. They are smaller, so they are not quite as many details. They have these square shaped petals. Then when I fill this in with the fine liner I'll be doing these more thoroughly and more distinctly. Now, for the little off-drawing flowers, and for this one I'm going to go really classic. Do an upside down droplet and add three petals like this, they're fighting for space here. Now we're going to fill in the spaces. Let's see if we can do some more variation in here and have some really small flowers perhaps. Let's do some leaves. Perhaps add some more of those little flowers [inaudible]. This one is wrong. Something like that. Now to top this off, we need to have that little detail that will be the tip. For this, I'm just going to do something like that. Now it's time to fill this in what fine liner. This is just one way to make a vase, and here are some other vase suggestions that you start with that line again and then you do like an urn, something like that perhaps. It's quite the opposite from the one I just did. From this one you can build and perhaps you'll do some decoration on this one. From this one, you can then attach the flowers and leaves springing out like that. Another one could be more like a little bowl and a longer, taller foot, and then you can do some leaves attached behind it just so that it won't be standing that empty. Then you'll do the flowers springing off these. In the companion PDF, in the your Project section, you will find some more examples of the vase with flowers. In the next exercise, we're practicing how to make those little composed motifs for the detailed pine and the fillers. 17. Exercise 4: Detailed Pines & Fillers: Welcome to the fourth exercise where we're going to practice drawing of one of this. Here is the detailed pine we're going to drop this time. But first, I'd like to show you some of the commonly used motifs used within the pines and as the fillers. We can regard this as some mini exercises, perhaps, because they will come in handy as we come along with our paisley motifs. I'm going to show you some very commonly used and typical characteristic little flowers and leaf motifs that are included in the more elaborate and evolved versions of the vase with flowers. Let's start with, we have some little mini flowers which are really basic with like four petals or could be five, up to six. Then you can have the more stylized versions of them where we don't go all the way into the center. Then we have another one where we can see it a little bit from the side or actually tilted, so you'd start with a little front leaf and the center side leaves and back, again something like that. Then we have a simplified one with just three petals, which is similar to the one we did before, this one that we did in the previous exercise. Then we can arrange these into little clusters or branches or twigs. We can just start with this type of twig and then you just choose one of these, simple as that, and then you can extend it with some leaves as well. Typical little ornamental motif used in more elaborate vase of flowers. Then we can develop these little flowers even more adder, so many versions of this. We can do pointy petals instead and go with layers, and that layer thing is really typically used in the paisley. They look really naive now with just pencil and paper, but it's when they are included in the wholeness, in the pattern and in the whole paisley droplet shape that they become really decorative. Let's see what else can we do, more like a fan. Then we have the tulip or pointy flowers or prickly flowers. Let's see, in this one we can also arrange it to a branch. I'm going a bit sloppy here, but just to show you how you can arrange them. Let's do some more layered flowers and then some leaves as well, of course, you can arrange them from the branches as well. I want to give you pool of suggestions and inspiration with shapes that you can use. These are some of the basic flowers and leaves used and you can vary them and alter them in so many ways. Let's also do one of these really layered flowers, so we can do like a little clustered center like that and then we start building with the petals, and do the petals in different shapes and sizes too. We can see them sideways. To add some embellishments, which just decorative leaves sticking up like this, went in different directions. The possibilities are endless. Now if we are to build our larger paisley droplet with these little elements, flowers and leaves, it says more or less like the last exercise with the base of flowers, only this one is going to be a lot more dense. Let's start by making a droplet. These ones are a little bit more stretched out. Those typical beginning of the 19th century shawls they had this type of paisley in the border. These are the guiding lines. Now we're going to fill this area here with little filters. We can start with a vase if we want to or just an arrangement of leaves at the bottom, but it's a good idea to start at the bottom. Like that and then I need to have some flower starting over here, I think. Now I'm just going to continue filling this with all kinds of flowers. This one is really ends with its little motifs. What I'm doing here is doing the same thing on both sides, but you can vary that as well. I'm going to build on this some more, repeating this one again. You want to fill all the spaces, all the little empty spaces with some motif. Then when I go in with a fine liner, I'm going to see where else I need to have some more embellishments. Here I have a little rough beginning, and then I can go in and make sure that the outlines of this one are really, really distinct. You can just fill this up with little leaves and flowers and then I fill this with a fine liner and then you'll see the result. Then we're going to do some more detailing here on the little tip. Now I'll erase all sketching lengths. Now I can see I need to add some more leaves or little elements here and there, like this one, I think needs just to fill out those empty spaces a little bit more. From here on this face, I'll do something as well, a clear drop shape but with no distinct lines or anything, it's completely made out of little flowers and leaves and stems. What you can do now is to also practice all these little small motifs, the flowers and leaves. In your project section of the class, you'll find a lot more of these little motifs in the companion PDF that you can use as reference and inspiration. When you have practice all these little shapes, then you can sketch out a long droplet like this and then you start filling it with all these little flowers. You can also start with a vase or earn like this. Now it's time to study the motifs of the next paisley category, the one that I call the elaborate paisley, and I'll meet you for that in the next video. 18. Pattern Close Up: The Elaborate Pines: Welcome back and to the next paisley motif close up, where we'll study some of the more detailed and elaborate motifs and elements of paisleys. Eventually, that pine evolved into a more layered composition where the pine was divided lengthwise, so to speak, with a center and a surrounding spray of figures, sometimes called the wrath by the early European designers and the details were not only depicting flowers and leaves, but also more and more stylized and abstract elements. Also the outlines of the pines were adorned with bands of decorating shapes and details, the so-called laurels that I mentioned before and there are an endless variety to how these could be done, both the rest and the laurels and here are some examples of both antique textiles and motifs from some contemporary patterns and here's another version of how to make an elaborate pine without the typical layered rats, but only a narrow center surrounded by symmetrical branches and details that spring out from that center. Now it's time for our next exercise, so jump on over to the next video. 19. Exercise 5: Wreaths & Laurels: We are at the fifth exercise and where we're going to try out drawing some wreaths and laurels, those bands and layers of decoration within and outside of the paisley drop motif. We'll start with the wreaths, and there are all kinds of ways to draw the wreaths and we're going to do two different styles. The first one has no outlined contours outside or inside the drop and there is a center of those small motifs that we've been practicing now and surrounding that is a band of leaves and flowers and other decorations. There is a clear separation between the center and the wreath, both with a thin untouched area between them, as well as the way the motifs are done within the center and the wreath. You can play around with scale and forms and shapes to make a distinct separation between them too. The second type of wreaths are with contours between the different layers. We actually included this type of ref for our full lard motif exercise, but in a simplified version. When it comes to the laurels, there are many ways to draw these two, and here are a few examples of some simple laurel decorations and you'll find these in some more in the companion PDF as well. Then we have some more elaborate laurels with more details and variety. We'll start out as before by first drawing a guiding droplet and then we'll do a center, so these guiding lines will be erased afterwards, and not a part of the motif. I can either start with the surrounding bend or with the center. The important thing here now is to leave a little area, so we can actually do a little another guiding line along this center so that we know that this marked area here should not have any motifs inside them so that we will have that distinction between the center and the surrounding band of flowers. Now just fill this in with lil motifs that we have practiced before and when you have the center, go ahead with the surrounding wreath. An easier way is to just pick like two or three or maybe four different little motifs to vary inside of this. Good idea is to have something more heavy in the bottom, some ornamental leaves and make sure that you fill all little spaces so that won't be that much empty space in between and you can just use little leaves and little flowers to do that and we can pick up the ornamental leaves as well. Now I have filled this with some wreath sketches and all that's left is to fill them in now and define the lines and just make them all neat and tidy. Here you can see a very defined center and surrounding wreath. Now we're going to practice a bit more defined and narrow wreaths separated with contours. Now draw a bunch of contours within this shape. Here you have something to start with and now we can also just go in and do some kind of center, just like this one, but with some other motifs perhaps. But the main exercise here is to practice different wreaths and now if you remember all those little motifs that we have practiced with detailed pine and also the vase of flowers and the fillers, now you can use all those little shapes again to create the different wreaths. I'm going to start here with in the middle. It can be just really simple flowers again and perhaps they're divided with some shape like that. Again, remember alteration and variation is key or you can just do some little diamonds or you can do little tulip or you can do that other lung flower or just some other geometric shapes. Then you would go around and the same wreath, you would go all the way round of course another suggestion and then you can do little pieces in between or perhaps you just want dots, the leaves, perhaps alter with some flowers and you can do little more detail, leaves and have them face different directions. What you can do is draw a couple of these and then practice to fill all the little wreaths with the different motifs and go all the way around and just see how easy it is to create a really detailed and complex looking but easy to draw droplet. The hard part of this is to be patient and have endurance to do all those little details. Now you have two wreath exercises, this one without any contours, and this one where you can practice all the different little motifs and shapes and lines that you can draw inside the different wreaths. You can do actually not to forget, you could do broader wreaths so you don't have to divide them into wreaths that are evenly distributed like this, that you can have one thick and one thin and then alter them like that. Drawing laurels, it's the same way as practicing the wreaths really, you can make a drop shape perhaps you want to define the contour a little bit. Now we're just going to practice adorning that outside of this drop because that's what the low laurels are and let's start easy, you saw some examples, you can just practice doing that too just little leaf looping adornments like this or you can just go round or just like this and then you can do detailing inside, or you can do them a bit more elaborate, perhaps little circles inside. This is also just up to your imagination to come up with all different motifs and shapes and I hope now that you will have use for all of those little motifs that we have practiced so far. We can also go bigger, so instead of doing little motifs attached to this outline, we can stay outside of it and so we can do bigger leaves. This is also really ornamental and then you can just build on this, do an outline like that and then you can do some detailing inside of them or now just perhaps a cluster of leaves. Another really fun way to create laurels because they don't have to be even lines like this, we can add some flowers and leaves and trailing twigs outside of the pine as well. Remember those fillers, we can just add those outside of the pine as well, so that's another way to create laurels. Just you can reference the companion PDF, take a look at the different wreaths and laurels that you find there and copy them or just use them as inspiration and practice to get those shapes and lines inside your head and in your hands. Next, we're going to practice some more of these elaborate pines. 20. Exercise 6: Elaborate Pines: Welcome to the Exercise number 6, where we'll practice how to draw another type of Paisley drop and elaborate pine like this. Here is the illustration we're going to do. For this one, you're going to need a little bit of a larger space to draw on. I'm using an A3 size paper and start with taking that bearing again, trying to figure out how big your elaborate pine is going to be. Just a bound. It will droop over like that. That's going to fit nicely onto the paper. Now, let's start with the center and we're going to have this long stretched center. You can choose if you want it to start already over here and do our little band at the top. Or if you just want to have a center piece like this, perhaps we can stretch it a little bit. Then its decorative to have some thicker outline or border for outside of this center. I'm just doing some guiding lines as well for this one. At the bottom, we need to have something a bit heavier. You can have a large flower or a cluster of leaves perhaps, or just to build something up. For this, we're going to do some vase of flowers. This is where everything emerges, almost like ostrich feathers. It needs to go all the way out, try to reflect it. Now, let's also do some guiding lines for the decorations that's going to go from the center outwards to the edges and define the drop shape. We're going to have some motifs clustered in branches going outwards like this. Up here it can be symmetric. That's something for the tip. Actually, we're going to do little bit of a Paisley flat. Down here we're going to do another Paisley drop. Again, I'm going to find a theme for my motifs. I think I'm going to do something that resembles a carnation. For my main flowers, in this little starting point, see if we can place them symmetrical. That's all the carnation flowers and they need some leaves. Now I want to do some variation in between these. These are delicate in their execution with thin shapes. Now, I want to do something that's a bit sturdier or more robust. I think I'm going to go with those ornamental leaves or branches that I've done before. We need some things in this faces and I think we're going to do some flowers. I'm picking up the shape of the carnation leaves, these flimsy petals. I have the tip and these babies here and the center and also what to do with this border here. But let's go with the center now. Here, I'm going to go pretty simple. I'm just going to do a stem that goes all the way up. I'm going to do some altering. Let's pick up that carnation in the center too. It's getting closer and closer to a bud the further up it comes. For the border, I think it will be decorative to have a curving order like that and I'm creating that with making circles along the whole border. Then it will be easier for me to just follow these with the fine liner later on. For these Paisley droplets, making some more defined outlines, and some wraps inside of them. Try to make them as symmetrical and alike as I can. Well, that's good enough anyway. All I have left now to sketch out is the tip over here. For this I'm just going to continue with the carnation a little bit further. But they are getting smaller and smaller. Then I have this leaf. In the center here, the carnation is guessed up here. At the very end, one of those flinchy flowers again. A last carnation bud. All that's left now is to add some more details here and there. Perhaps I want to do something with these droplets over here and maybe I want to add some more inside the leaves. As I go over it with a fine liner, I might actually want to change a few things here and there. But that's what I'm going to do now. I'm going to start filling in. Here is an elaborate Paisley pine for you. I have erased the pencil lines so that you can see the outlines more clearly. Go ahead and try and do at least one of these and see what type of flower themes you want to use and see if you can repeat them here and there to make it a theme. Next up is another pattern close up, where we're going to take a closer look at the reflected all over motifs. 21. Pattern Close Up: The Allover Motifs: Now we have covered almost all of the different types of Paisley patterns styles up close from the simple foulard to the more elaborate versions of the vase of flowers and pines with refs and laurels. In this lesson, we'll study the allover paisley patterns a bit closer. As you remember, when the European manufacturers and their designers added their own ideas, the traditional paisley motifs evolved into something more extreme. In these Kashmir shawls, where we can see great examples of these allover pattern, the motifs are covering the whole surface with almost no background showing at all. In order to create these allover patterns, the motifs had to be stretched out and done with layers and layers of laurels and other decorative elements in order to cover the whole thing. To be honest, there isn't that much of the traditional paisley drop lift, perhaps only in some of the borders, but still it has the paisley look and feel to it, doesn't it? If there were pines, they were stretched out into long winding, almost unrecognizable forms. Besides this stretched out forms and elaborate adornments, the motifs were reflected, which in turn created new types of shapes and impressions. The motifs were angled and reflected around this center in order to create a decorative and symmetric placement pattern to fit the shawls. They have a medallion or the mask look to them. These all overs are extremely varied, and this is what makes them so complex and also more difficult to design and compose. But we will give it a try at least. The same principle reflected all over motifs are used in contemporary paise Lloyd's as well. For example, in these paisley wall papers that I found on Pinterest from Sanderson to Ralph Lauren. As you can see, they are also quite complex in their composition and in detail, but also decorative. Let's see if we can create some typical allover motifs in the next exercise. I'll see you there. 22. Exercise 7: The Stretched Pine: For drawing the stretched pine, I totally recommend a large piece of paper so that you will have lots of space to move around and really get that stretched and long shape. As you know by now, I'm a fan of guiding lines and taking the bearing. That's what we're going to start out with this time too. Make a line where you want the pine to go. This time we're going to do something a little bit more elaborate. Here is the bottom of the pine and here is the top and here is that tip. But this time it's going over and splitting up into branch like this, we're going to do a little bit of a detail at the end. This is the center where we're going to build with tons of wreaths. Now that we have this guiding line, let's start with the center, now what we'll have to do is surround this guiding line with wreaths after wreath. Since we need to have this a little bit of a thicker shade there at the bottom, the center only goes up to about here. There's the center, and also, at this point, it's good to do this little embellishment at the end, and we're going to do something like this, and also over here. Because now, when we do the next layer or the next wreath, we can include that embellishment. Now when we get to this, we're surrounded with outlines like this. This is fun, and then we meet up. Now we have a center already and one wreath or one layer. Actually, I think I would like to have something sticking out in the middle too. I think that would be fun. Let's do the same just for simplicity's sake, but only with three little petals. I think I want to do another embellishment. For this, I'm doing another guiding line, I'm starting at this first guiding light and then I do another one like this. This can also be the same type of embellishment. But you can alter this and do like a little flower or something. Perhaps we'll do that here, do a little flower, see where that takes us. Because when you have starting points like this and then build with wreaths and wreaths, that you can go in all different shapes, and it's fun to see where this will take you. Now we're going to go on with the next layer, the next wreath, as I call it, using the same terminology as the early 19th century Paisley designers. Try to be as even as possible so that it's the same width of the wreath all over. Now over here it's going to be pretty tight, as you can see. They are patching over here, which means that over here we're not going to be able to do another layer or another wreath. But that's fine, that's the point of this. That's another layer. Let's go again. This time I want to do this one a little bit thicker, at least here at the bottom, and then it sort of narrows down. Here I think, well, I can't go further in here, but let's do this one. Now you're creating a thicker layer, which creates new shapes, the outlines becomes other shapes like that, and now you can add more embellishment. We can just do something like that. With this layer, there will be something like this. As you go, you can add more little extras. New shapes with every layer, and when you've done this, you can start filling in all the little layers with decorations and you can reference those little small leaves and flowers and the ornamental shapes and forms that we have used before. You can just go abstract with small little geometric shapes as well. After this, you can also decorate the outside of the pine, which would be laurels. You can just go like a little bit simple like this or you can go really detailed by using these as guidelines and then make them up with little shapes and forms like this. Now, I have filled in this stretched out pine with fine liner and adding some details here and there, I left out this wreath here with no motive. So you can do that too, everything to alter and make this dynamic and varied. For the laurel, I just did a few really quick little dots or lines to mark the contours of the laurel. But that real point with this exercise is the actual buildup of layers with wreaths and then later the laurels. Because as you can see, this creates new, exciting shapes, and this is what defines the all over and evolved paisley patterns, the way that the 19th century designers influenced it. This is also something that we're going to take a step further in the next exercise for the all over pattern. 23. Exercise 8: Reflected Motifs: Welcome to the last exercise. For the reflected motif that we're going to do now, we have to draw half of it because we're going to reflect it so that it is symmetrical and exactly the same on both sides. The way to do this is to draw the center, the middle line, something like that. As with the stretched pine we are going to start with the center and then we're going to build outwards with refs and contours. Let's start with a little flower. I'm starting out by drawing both sides now. This is something that you can do just to get the whole picture on what this will look like. You can sketch out both sides, like one side, a bit more thorough perhaps in detail. Then you can just do some rough mirroring lines on the other side just so that you can see that it will work. I will do that now and then. For this one, we're going to do something else up here. There and now we're going to surround this with a contour. Do one of these little adornments that I did with a stretched pine because they are really nice to create contours surrounding them. Let's do that now. I think I want to have something more coming up here. I'm going to do a guiding line now like I did with the stretched out pine center. I want something that goes around like this. I'm going to do a ref around this one. It's going to be nice. Now we are going to do the contour around this one too. Let's see, we need something more. From this, we're going to do some of these ornamental leafs. Then we're going to do something more. We're going to do another garland. Let's see what this will look like on the other side. Yeah, I think this is going to be pretty and now let's do some contours. I've done these rounded curved contours. I'll continue with this. They are getting a little bit bigger the further down I get. For this one, we need to have large one that goes all the way around. Actually, I think I want to have this one little bit more stretched out. Now when I come down here, I see I need something else here. Let's reflect this one and do this one down here as well. Just for simplicity's sake. You create this medallion by building contours and layers. Then we can go in and add some more borders and details afterwards. Now we have this curved surrounding or outline or ref. We need to alter these now. Now we need to have something up here as well. What are we going to do here? We'll do another one of these. I'm being lazy, I just want to show you the ropes. You really need to stay focused here and plan out what you want to do. Now we're going to do something a little bit more simple. This one is just a straight one. We can do this wider here. Goes into this one. Now we need something up here. I'm going to do a guiding line again because now I'm going to do one of these rounded colors, with some embellishment coming up here. Then we also do this garland again. But this one is rounded. Let's see, let's do some mirroring so we could see where we are heading. Something like that. That's going to look good. Now let's do the next, this one is going to be pointy up here. This one goes like this. Not too thick, I'm getting close to the edge here. I should have planned my space even better. Here's a bit of an empty space than I can do some more of this. Then you can just go on, build more and more. After that, you can fill in with little details and fillers with flowers and leaves and whatever you feel like. I'm going to fill this in with fine liner now so that you can see a little bit better what I've done and then add some more detail. Then you'll see what I mean that we can then reflect it. Here is the inked version so you can see a bit easier what I've done with the lines and everything. I have this side here done. Now I can just reflect it to the other side and make a whole medallion. I ran out of space here, but you can go bigger and do some more outlines and laurels same as with the pine. Some more delicate outlines using all kinds of different shapes and details. I've done a few little details and decorations and adornment here like these ones and some dots. For this one I could probably do some dots over here too, which will be very pretty I think. In these larger areas, a good idea is to just fill it with little shapes, either flowers and leaves and other small motifs like that, or with abstract motifs. Another one is to just sketch little branches like this with the pencil. Then you go in and surround those branches like this. You almost get a coral pattern and just cover the whole thing with this. Then when you color it, it's going to be really pretty. I hope this gave you some ideas and notion of how to create motifs for the reflected motifs for the allover pattern. That was the last exercise. Now it's time to start working on our own paisley patterns. Finally, and we'll start with some planning. 24. Planning Your Paisley: Before I pick up a pencil and paper and start drawing my motifs for at my paisley pattern, I do a little bit of planning and thinking first, especially if I'm going to do a complex paisley, like the elaborate pattern or the all over pattern. Also now that we're going to let go of the study object and exercise motifs that we have drawn and create our own original motifs, it can sometimes be quite difficult to come up with ideas for our motifs, and shapes, and lines to include in the motifs. Sometimes my imagination just refuses collaborate. I've found it's a lot easier to have some idea, or we can even call it a theme to use as a free work when we create our patterns. This is also good for creating some harmony by deciding on similar or at least matching shapes and forms inside the pattern. Otherwise it can be perceived as chaotic. I know it can seem contradictory when it comes to as detailed pattern designs as the paisley. But it's a very organized and symmetric pattern after all, in a very intricate way no doubt. Here's the process I sometimes use before I start drawing. The first step is to gather inspiration and make an inspiration board. For example, using an Illustrator document, where you can place images of plants, and flowers, and shapes, and other paisley patterns that you like. This is a fun way to start the design process and it also makes it a lot more intentional and focused. But if you want to create a specific type of paisley and use other patterns as references and inspiration, be careful so that you don't end up copying them. What I do is to study the existing designs and images that I have gathered. Then see if I can use some of the characteristics in shapes and details and then mix it up into my own version. The next step is to decide on a style for your paisley. Do you want to create a simple foulard, or a placement print, or perhaps more elaborate pattern with lots of details and embellishments? Is it going to be a sparse pattern, perhaps with some extra fillers just here and there to vary the droplet motifs, or is it going to be a dense with lots of rests and laurels intertwining in overlapping each other? It can also help you decide on a style if you have a specific product in mind, or what surface you want to design for. When you have a notion of what type of paisley you want to create, a really good advice is to come up with a theme, so to speak. By theme, I mean that you decided on a few motifs that you want to include in your pattern. For example, choose a couple of larger flowers and then a couple of medium ones and perhaps two or three additional small ones. Also what leaves and other shapes should be included. These motifs and shapes can then be repeated and reused within the droplets and rests and laurels throughout your paisley. This way, it's going to be easier when you start drawing your motifs, and it will also help you to create a thought through and harmonic pattern. You can refer to your inspiration board and also use the companion PDF for this course to find and pick out some of those motifs and shapes that you want to mix up into your own design and use for your pattern. An additional great tip is to sketch out these motifs that you want to use and have them in front of you when you start drawing. Sketch a bunch of small and medium and larger shapes and little motifs that you can use for decorating the paisley drops and the laurels and fillers and so on. Speaking of drawing the motifs, that's what we're going to do next. In the next video, I'll share some tips and tricks and what to consider when you start creating your motifs for the different types of paisleys, so I'll see you there. 25. Drawing The Motifs: Welcome back. In the previous lesson, I showed you my process of planning a pattern before I start drawing. Here, I've done an example inspiration board for my paisley patterns in Adobe Illustrator. I'm going to make one of each paisley style in order to show you the role and what to think about during the process. I'll cheat a little bit and use the same inspiration board for all the four patterns, and I'll also reuse some of the motifs I'll create for the different patterns because this course is long as it is. I also made a bunch of sketches, some motifs and shapes, that I want to use for my paisley. Again, for these example patterns, I will reuse some of the motifs. This can actually be cool, as if I'm creating a mini-paisley collection with matching prints with a hero pattern and the reflected motif pattern perhaps, and some supporting coordinates in different scales with the other pattern styles. After sketching and testing different shapes and motifs using my inspiration board as a reference, I've decided that I will focus on a few motif categories that I will reuse and repeat throughout the patterns. I've chosen this type of pointy leaf that will be surrounded with dots, and one of these small flowers, and this leaf over here. Then perhaps I'll use this style as a filler too. Here, I have tested out some rets and laurels just to see what decorations I want to use. Here are a couple of advice for drawing the motifs for the different paisley styles in order to make them as easy as possible to handle, both when we color them and then build the repeats in the coming steps. A general thing to consider when drawing the motifs, and this applies to the patterns styles, is whether you want to use the outlines or not. If you want outlines, should they be in different colors or the same through and through. If you don't want outlines at all, you have to consider that the shapes inside of the lines you draw are clear and defined enough. For example, if you draw a flower, make sure all the little shapes of the center and the petals come out the way you want when removing the lines. You can also use the Shape Builder tool and make the lines and the forms inside them into solid shapes. Then you need to think about if you want, for example, the leaves and stem to be joined, or if you want to keep them separate. This is the way to go. If you want to have different colors in your contours and outlines, then you need to draw the little leaves and stems and all little shapes separately so that you don't have to adjust this and edit this later. It says one of the techniques for coloring the motifs in Illustrator is to use the Live Paint tool and also the Shape Builder tool. Make sure the lines meet and close around the shapes and don't have gaps. In the exercises, I filled in my illustrations with a fine liner. That's good if we're going to use the Trace tool to vectorize them, but you can also leave them as pencil sketches and trace over the scanned images with a Brush tool instead. For the full art motifs, it's pretty straightforward as I showed you in the exercise. The amount of detail and complexity of the full art motifs depends on the scale of the final pattern, the smaller, the less details you need. Here is my full art motifs, a pretty simple droplet and a stylized flower that I will alternate with. For my placement border, I will use the same full art motif in combination with this band of flowers and leaves, and as fillers, I'll just do more of these dots I think, and perhaps some of the leaves. If you want to create a placement border and draw more complex and more detailed fillers in between, I'll show you a bit of an old school trick, just like the 19th century designers did in this design that I found in the archives of the Victoria and Albert Museum. First, draw the shape of the pine that you want to include on a separate piece of paper and preferably trace it with a fine liner to make the contour more visible and can shine through another paper. Then grab a larger paper where you will draw the final border motifs. Draw up a line like this. Then, you trace two identical pines next to each other with enough space in between for the fillers. If you want to have a border with those bands or finishing border surrounding the pines, you draw some guiding lines for those too. You can either make them close to the pine or a little space in between for fillers here too. Then, above both the pines, you draw identical curved lines like this, and also below. What I've done now is to define the boundaries of the repeat we going to make, because within this secluded area here, we will draw the motifs and the little elements of our border pattern, both the pine and the fillers section. Here is a placement border that I have done this way. If you want to draw motifs like this, remember to leave out and little space surrounding the pine so that there will be a distinct difference between the pine and the fillers. Here is the motif I have drawn for my elaborate paisley. Together with some of the laurel motifs and the cluster of leaves here, I'll create some fillers in between to connect the pines. When it comes to the reflected pattern, a good idea is to first make a rough sketch of the pattern. That way, it will be easier to know what motifs you'll need to make. For this, you can use the postage trick that I'm teaching in the Indian floral class. You'll find it in lesson 19 called "Layout plan". As the reflected and all over patterns are the most complex ones, they're also a bit difficult to figure out. My advice is to start out simple and make a reflected paisley that only requires one or a couple of motifs. Here's how you can make a first sketch of your pattern. If you don't have any post-its, grab an ordinary paper like an A4 or a littler size and fold it into four parts. Then draw a symmetric shape of a motif in the same spot in each quarter. This is supposed to be the reflected motif you're going to make. Now, you have a straight repeat. If you want to make it a half drop, draw one in the middle too, and also copy little bits and pieces in the corners like this. Now, you can develop the shape a bit. Draw some more details, build it up a little bit, but make sure you do the same edits for all the motifs in all four boxes. You will most definitely do a bunch of tries here before you find a composition that you like. Like I said, this is one of the most difficult ones, and it takes some practice. When you're pleased with the composition of your pattern, you can draw a box around the boundaries of where it will be reflected and repeated, like this. According to my sketch, my motifs are this big drop with some additional embellishments to the sides like that, and then a stretched pine. Then I can do some decorative fillers to use for in between. Inside the drop, I can basically draw whatever I want. Then I'll grab a big sketching paper. Here's an A3. Now remember, the boundary box in my pattern sketch is half of a quarter of my A4 piece of paper, which means that if I draw my motifs on half of the A3, I will have the same proportions and can start building my repeat with my motifs right away. Now, I'm going to start drawing my motifs. Here are my finished motifs. I ended up changing them a little bit, replacing that big drop with two more stretched pines instead. I've also saved some of the detailing for the coloring step. I'll show you more on that in a little while, because now it's time for the next step, which is to turn our motifs into vectorized illustrations in Illustrator. 26. Digitalizing & Editing: Welcome back. Now, we have some motifs for our paisley patterns. Now, we're going to work on those and more to prep them for assembling them into a pattern. You can scan your illustrations or just snap a picture with your phone or tablet. I'm not going to show you here, how to scan your drawings because I think you know that already. But if you need some guidance for that, you can watch the lessons called digitalizing your motifs in my Indian floral and to all digitally courses where I go through this a bit more thoroughly. When you have all your illustrations and motifs scanned and saved on your computer, open up a new Illustrator document. Then import your scans by dragging them from where they're saved into the new document. I'm going to place my motifs so I can see them. Now, we're going to turn them into vectorized motifs. You can do this in a couple of ways. One, is to use the trace tool. This is the way I usually do this and also the reason why I fill in my motifs with a black fine-liner. You can also trace your illustrations by hand using the blob brush tool or some other brush that you prefer, and then you'll just choose a color, and then you just go over the motifs like this and trace the contours and outlines. But for my motifs, I'm going to use the trace tool because that's the fastest way and I think it's sufficient for the way I want to use and color my illustrations later on. I will also do some additional work to some of the motifs and then I will probably use the blob brush tool, but I'll show you in a little bit. Now, I'm just going to vectorize all my illustrations, all my scans with the trace tool. I'll just go with the default settings here and black and white, and then I will check the ignore white box here. Because when I trace them, it's going to be lots of bits and pieces in between all these little dots and all the little things that I do here. I don't want to have any fillings in my shapes at this point. I'm going to create new fillings where I want them. Now, I have my scan selected, and all the settings as I want them, and then they'll just hit Trace. I'll go to object and expand there. What I need to do now, is also to ungroup it. Now I have all these little dots and lines and shapes are all vectorized and ungrouped. If I want to, I can now group them separately like this. I think I'll do that and set them aside. Then I'll do the same with all my scans. Here I have all my motifs, they are now scanned and vectorized. The next step, is to go over them and to see if I need to do some adjustments and polishing. I'll start with my full heart. I'm going to zoom in a little bit and take a close ups on this one and to see if there is something I want to fix up a little bit like this little thing here I don't want to have, so only erase that a little bit. Over here, I could probably fix a little bit. I'm just using the blob brush tool to adjust some of these little floss. One thing that I don't like about this one, is all the little dots, I think they are too small. What I'm going to do is to select the whole thing and ungroup it, and select all the lines that I want all the lines and shapes. Then I think I'm just going to do some new and bigger dots that will be more visible. These ones are just too small and film safe, so I'll just pick the blob brush tool again and zoom in a bit. I'll increase the size of it, and then I'll do some other spots, dots instead. That I think is going to work better and be more visible in the final pattern. Like always, when you try something, you start something, you realized that you want to do it differently. Once I started filling in these dots, I realized that I wanted to fill the whole inside of this full lard paisley droplet with the dots. I guess this one, is done and I'll group it and set it aside. I'll do some editing on these ones as well, and the same goes here. Now I need to have the same type of dots as I have with the other little droplet there. I'm just going to clean these up a little bit and add some new dots. In previous one, I'm going to separate them a little bit more, rotate some of the shapes. See you, they are a little bit tight here for fitting those dots. That we'll do, and now I'll add the dots here as well. Another thing that you can do here in this editing face is of course, to simplify the shapes to make them less heavy. I'll ungroup this and first of all, I'm going to remove them from the dots. Instead of starting to polish them right away, I'll just see what happens with them if I simplify them. Go to object path and simplify, check the preview box, and then turn this up to like 99 percent. You'll see that you have now diminish the anchor points along these outlines and contours. Still there is some floss here I want to adjust. Then you can also go over with the smooth tool. Another thing that you can do, is select the shape and the white arrow tool. Click on one of the anchor points, then you can move it around a little bit. Another editing detail that I can do at this stage already, is to turn them into solid shapes if that's what I want to have. But first, I always make a copy of these ones if in case I want to test something else, then I'll select my full lard pattern and all my little motifs are selected now. With the shape builder tool, I'm going to go in and make these shapes solid so there will be no outlines. For this one, I think the flower will be solid, but I will keep that little detail inside and that one can be white. Now I'll polish this on e, edit this one a little bit to see if there are some things that needs to be fixed. There will be for sure. What I'll do, is just zoom in a little bit and go over the whole thing. I'm going to want to take away all those little dots again. That was actually a mistake to make then I can tell now. As I go in and select all these, I'm going to group them at the same time. Now I have all my little shapes grouped. Here are those leaves and the flower centers, flowers, these leaves and so on. When I go in and want to edit and color them, all the things that are going to have the same color is going to be a lot easier. I'm going to select all of these different groups now and move it to the side just to get rid of all these dots. But whoop, that was pretty, so I'm going to save that just in case and just put it to the side, you never know. Now I'll do some editing with it. I've been sloppy, so there are some shapes that are not closed, so I need to go in and fix that too. Just close all these little leaves so it will be easier for me to color them later. Now I have polished up all little shapes and move them around to make place for all the little dots. Now I am in the process of adding all the little dots. I chose to draw the dots with another color because that's going to make it easier for me to group them by selecting a drop. Like this, and then go to Select, Same and Fill Color. Then all those red dots will be selected and then I can easily group them. I'll just keep doing this, get all these little shapes surrounded by these dots. As you can see, creating a paisley can be a lot of work and a lot of details. But I think it's the details that make them so beautiful and exclusive looking. If you want to make a pattern worthy of a Kashmir shell for example, you really need to put in the work and do the detailing and think of it as a little bit of mindfulness, an exercise in endurance and patients, and doing things slowly and thoroughly. Speaking of a Kashmir shells, yes this may take a lot of time, but it's nothing compared to how long it would take for the Kashmir weavers to complete one single shell up to five years sometimes. I'm done with the dots and I have grouped them as well. Let's take a look at what happens if I take this one side. I think this is a very pretty as well and can also be used for as a motif acids on its own. But for now, I'm going to just keep them together like this. For this complete motif, I'm going to make some solid shapes out of some of the little fillers in here. I'm making a copy and placing it over there. Now since I have this whole thing grouped, I'm double-clicking on it to go into isolation mode. Then I double-click on those little leaflets and select those. Now I'm going to use the shape builder tool and just go over all of them like this. If I'd done my homework, all of these shapes are complete and can be turned into solid shapes. These ones are done. Now, I have my reflected motifs. Now I have done some polishing these lines and shapes. I also copied some of these little fellows here into the edge here. What I did, is that I actually took away one of the rough outlines because I thought they were just a little bit too tight. Now I want to add a bit more details into the different reps. What I'm going to do, is to reuse some of the additional little motifs that I drew. Over here I have some little figures that I am going to use and these little two loops here, I have arranged in a row and then I'm going to place them inside one of the reps like this. Then I can just zoom in an d adjust them a little bit to see if I can find a good fit here. Now I'm going to just use the same row, make a copy by moving it and press Option. Then get moving them up here and rotating a little bit. Hit them in here, and then I can go in and adjust them a little bit. Then we're going to do that all the way around and also for this one. I think that will have to do for now. There are some more work I can do on this one. But first, I want to see how it turns out when I reflected and now it's time to do some coloring. For that, I'll see you in the next lesson. 27. Adding Colour: In this lesson, I'll show you how to effectively color your paisley motifs before we start building the patterns. But before we begin coloring, we need color pallet that we want to use for our paisley patterns. I just selected a couple of colors pallets over here, that I used to fill in or paint little sections in all the motifs and there are two ways that I like to do this. Let's start with this one. I select the whole group and start out with the live paint bucket and I'll pick a color for this. I think this one is fine and just fill it in. When it comes to the background behind all these dots, illustrator somehow divides this into section. I guess it has to do with how the vector is working and the little spaces in between the dots that are too small or too tight in some places. But what I can do, is just go and fill in all of these sections one by one. But I can also do another thing that's a bit faster. First, I have to expand the areas that I have colored already. I'll do that. Then I select only the inner outline and now I can fill in just this one.I can use either the live paint tool or I can use the shape builder tool. I'm going to try the shape builder tool this time. But now, this filled-in area appears in front of all the spots and I don't want that. I'm going to send it to the back. Now I have all my darts in front instead. Then you can just play around with the colors. That's basically how you can, so here's that same dropped again. What I can do is to use the blob brush tool instead and pick a color that you want to paint with. This allows you to have a bit more hand painted look to it. Now, you can be a little bit, well not sloppy, but it's okay. It's an effect actually, if you paint outside of the contours a little bit. It becomes more of a painterly or a sketchy look, which can also be pretty. I'm selecting the stroke that I just did, and the shape builder tool, and fill it in like this. Now I can bring it or send it to back so that my contours will be visible again. Then I can do this layer by layer and just make sure that all the painted surfaces are in the right order. I'm going to do this for these other ones as well, just to show you how you can do this. There. So now my contours are in the front and the colors are behind the contours. Now I want to have another contour that's surrounding the whole thing like this. Now I have another outline and I'll fill it in with a shape builder tool. This one, I'm going to send too far back right away. There. An additional detail that I didn't have in my original sketches and now it looks a bit more painted I think. Now I'm just going to go ahead and fill in all my foulard and border motifs in the same way and also my elaborate pines. Then when I come back, I'll show you the result and then we'll start covering our reflected motifs. But because here we need to do things a little bit different. That was quick, wasn't it? I am done with my foulard border and elaborate pine patterns. I also did some fillers. As you can see, I just chose to use one version of these motifs, the ones without the outlines. this is the way they look right now, but I'm guessing that I will just do some re-coloring in the end. Now I'm going to set these aside. Now it's time to color the reflected motifs, which will be a little bit different and require some more work and some more steps. I'll continue with that in the next video. 28. Adding Colour Continued: Here is my reflected motif, and I went ahead and did some additional editing. I added the rest of these tulip flowers as well. The first thing I want to do now is reflect it and see how it looks, especially here along the line that will be the center of the motif. Make sure everything is grouped together. Let's zoom in to this one and select the Reflect tool and let's do a point there. Then we'll reflect it, press Shift to make it symmetrical and press Option to copy it. How does this look? Well, as you can see, some of the little shapes and lines don't meet up and they can over cross in some places. As you can see, it looks a bit weird in some places, like this one needs to be a bit thicker, I think. Here it doesn't really meet up. This is some additional editing that we need to do before we start coloring. What we actually need to do is to make sure that, I'm going to take this one away, this line here is completely straight. To do that, I'm going to do a little trick. Create a rectangle and send it to the far back. Now we can see where all these lines overlap and where they don't. Now, I'm going to go over all these little shapes and lines and make sure that they cross over the edge of this pink rectangle. I'm going to start over here. This line doesn't cross over, and the simplest way to do this, well, you can go ahead with the blob brush tool and extend it like that, but my favorite way is to use the white arrow tool. Then just grab one of these anchor points and pull it and just extend it like that. Make sure that you hit the little anchor points, the little white squares and then you can fix it up a little bit. Don't you love Illustrator? It can do stuff like this. Now, I have all my lines along this reflecting center crossing over the edge of this pink rectangle. Now, I'm going to make a clipping mask and cut off these little pieces that are sticking out, and that way I'm going to create a completely straight edge here that can be reflected perfectly. I'm going to select my rectangle and bring it to the front, then select all of it and press Command 7. Then also I need to do some trimming so that all those little bits and pieces that I just cut off will not just stay. Then I'm also going to expand it just to be sure, you never know. Straighter is weird. Sometimes it's great, but sometimes it's just weird. Now, we have this perfect reflecting line, I hope. Let's select the whole thing again and test it. Perfect. Now, everything is meeting up in the middle and it looks good, I think. Good. Now, it's time to start coloring, but I just want to have to color it once, so I don't want to color this one separately and this one. I'm just going to erase this right hand side. I don't need it right now. We're going to start coloring the motifs that aren't completed already. But I mean, these pines, because they are not half, they're completed. This here is half, so that one I need to reflect before I can color it. But let's start with the pines. If I did everything correct now my hind here will be neat and grouped the way I want it. All little tulips are in one group, all those little lines and the center. Now, I can begin. Now, I'm going to start with the motifs here in this center. To be sure I'm taking them into isolation mode. I'm using the shape builder tool. I'm going to color them and make them solid in the same time. Now, I want to do something with the center ref, and I'm using the shape builder tool here too. How can I do the tulips? But now I'm going to go ahead and color both the pines and our little motifs within in the same manner. Here are my pines, I colored them both. The next step is now to create a complete motif of this one here and color that too. For that we need to reflect it. I'll select the whole thing. Grab the Reflect tool and place little marker here, and press Shift to align it symmetrically and Option to copy. Now, I want to join these to make them a complete shape, but they are group now, so this half is one group and this one is another group. What I need to do is to ungroup them. Let's just hope it works the way I want to know. There I have that one, and that one. Perfect. The way I'm going to join them is I'm going to try the shape builder tool to see if that's going to work this case. Sometimes when have a lot of details it takes forever to use the shape builder tool, but this time it worked out. Now, let's do this shape that I have created in the center with black outlines. I'll select everything here to make sure that all of this is a complete shape with boundaries or appliance surrounding everything. I'll use the live paint bucket. This one can be pink, I guess. Now, I need to expand this. Now, I need to do something about these outlines and I also need to fill these in. I think this one in the middle here it need some embellishment. For that, I'm going to use the blob brush tool and do some additional rests inside that has no contours. I'll just do one side and reflect it. I'm just painting white on top of everything because I'm going to take it to the back later. Now, I'm going to reflect this one. Find some center point there and now select both of them, use the shape builder tool and go over these shapes that you want like this, these long pieces I'm going to erase. Select these backgrounds now and see what happens if I can send them to the back there. I'm going to zoom in and take away these little pieces. Now, we're going to take our first glimpse of the pattern, how the layout is going to work. For that I'll select all of this and zoom out a little bit, and then let's see how it fits. That's roughly a half drop. Then other side eyeball it and see if I can align it almost the same as the other side. Well, just roughly and then I'll copy it again like this, and one one last time. Here is a quick glance at the repeat and placing them like this, I can now see my boundaries for creating some additional embellishments outside of this. Again, only create additional motifs for one side and then we reflect it so that they will be perfectly copied and repeated to the other side. I was thinking to use these motifs that I created for the elaborate pine pattern really, but I'm going to reuse it for this one as well. Now, I'm going to place these little leaves that I have arranged along the line here. Let's see what else do we have? Something like that. But now, I have to consider that this one over here on this side of that pine is going to be over here. This little embellishment is not going to fit there. I think I better make a copy of this one and place it over here and see how I can continue. I'm just going to reflect it and make a copy by pressing Option, and then move it down here and try to place it the same as it is up there. It doesn't have to be exact at this point. Here it's pretty full already, but I can do something here. Perhaps I can add something coming out from this one as well. I'll just reuse one of these and copy it. Same just won last. But since I want to have only one motif that I will repeat later, I'm going to move the ones too over here. Then we'll see later on if I can add some more. I can do that actually when I start building the repeat properly as well. Now, I'm going to select all of these little fillers because now I want to reflect them to the other side. Then find a place where I can hit center and copy them. As I have these ones selected, I'm going to place them underneath the pines as well. All of them are selected and now I'm going to bring them all the way to the back. Looking good, I think. This is just to show the principles. There is no end to how much embellishment you can do, and perhaps even paint some more laurels with the brush tools and everything and add more dots or whatever you feel like. For now, this will have to do. Now, I'm going to remove my other motifs and save this one. Here are all my complete motifs and fillers. I have edited them and colored them. The next step is to start assembling them into the different repeat patterns and the placement pattern. For that, I'll see you in the next lesson. 29. Building The Patterns: Welcome back. In this lesson, we're going to start building the patterns, our paisley repeats and the placement border. First, I'll create a new illustrator document, and now I'm going to use a little bit of a bigger art bord on A3, and I wanted to be pixels. I'll go back to my document where I have my motifs and I'm going to start building the full border and the placement board, so I'll copy those into my new document. I've imported my color groups that I used before, I'm going to keep using those, and now I'll create a square box. I think 400 by 400 is good enough for this little Filler I'll give it a little bit of cream colors. I'll just start placing them and I need to bring this square to the far back. Still, even if a filler can be pretty simple, I need to give it a little bit of complexity, so I'm going to turn it around and it reflect it a little bit. It's going to be like a multi-directional repeat. First, I'm going to copy this to all four corners. People have asked me why I use this technique and not the pattern tool, but I don't know. I'm just not very founder of the pattern tool for a filler the pattern tool is really smooth and easy way and quick way to build a repeat, but I just enjoy this way a lot more, even if it might take a bit more time, so here I have a few motifs placed already. Now, I'm going to copy this one and move it to middle. Then I'll rotate this, and then I'm going to move this to the other borders as well. Then I want to have this one in the middle here too. There, pretty quick and simple, but I think I need to have something in between as well. For that, I actually went ahead and created an additional little filler. This one I grabbed from the border motif, so I'm just going to reuse that. I'll copy it, let's test this out, so I'll copy this box and paste it to the back. Then that copy, I'll give no stroke and no fill and then I'll select the whole bunch and drag it to my swatches panel. Here I'm going to create a pattern testing box. Pretty sweet, I think. These are the most simple principles of how to create a filler. You just place them bit spares like this, with some additional motifs, you can create much more dense, fillers of course. Here are some examples of some other layouts and compositions that I can make with these motifs. Now, we're going to build border pattern or border repeat, and this is not really a technical repeat that you do in patterns watch like the filler I just did, but more of a placement print. I would like to show you a couple of versions. Remember this motif that I showed you in one of the exercises where we created the detailed pine, and with fillers, I taught you how to create this old school way to create a section of both fillers and the pine. Here I have that same example I showed you, but with color. I'm going to hide my edges by pressing "Command H" so you can see it more clearly. If I drag it to the side and hold "Shift" to make it aligned, press "Option" to make copy. There, I have two order motifs next to each other. Now, I can just press "Command D" and repeat it, all of it. Here's the beginning of a border that's very detailed. A warning though, with motifs as detailed as this one, your document is going to be very heavy. Remember to save now and then so that you don't lose all your work. I'm going to delete these and I'm going to build border with my border motifs that I created. This is the same principle really. We're going to align these and repeat these next to each other. Now, I need to repeat this one, after that I need to have this extra little piece here. I'm just going to use that and then I'll just rotate it a little bit. Now, I need some more dots to surround this one as well. I'm going to add some more dots to this, but I think it's all grouped, so I'm going to double-click and go into this level, this oscillation mode, where this group is, and now going to do a couple of more dots. It's better if I just ungroup this so that I have it fully accessible. Now, I want to move this one over here, make sure that it fits. It fits on the hold down "Shift" make it aligned, and now I can do some more dots over here. Now, I have actually repeat of this one. I think that works. Now, I need to do the same here. Now, I can tell that I should have just made one flower and made sure that they can be repeated next to each other. I'm just going to remove one of them and I like this one better, so I'm going to remove this one and just move it up here, along with these little dots there. If I will move this one over there instead, and then I'll rearrange these little dots, will delete some of them. Now, I know that I can grab all these, pull them over here, and now it's repeated once more. I can just grab these and repeat them as many times as I want. When it comes to these bars here, they were probably just a bit of a marker for me to see what it would look like. Now, they're not really helpful to me, I'm going to create them in another way I think. I'm just going to delete them completely. Now, I'm going to create my placement border print, and I'm going to create a shawl, let's say, so I'll create a square, and 600 by 600 is good, and I'll give it light cream color. I'm going to create these dark green bands again, but as squares. Give it a stroke instead and take it up a couple of points as thick as I want it, so it's eight points, and now I'm going to expand it. I'll do the same again and hold "Shift" to make it a square. I'll give it a stroke instead. I had eight points and then I'll expand it. Here I have a border I can use, and now I can start placing my little motifs in here. I'll begin with this one. I want to be closest to the edge. I'll fit it in here. I'll place it aligned with that corner. I'll repeat it once like that pressing option, I'm zooming in so I can see what happens. Then I'll press the "Command D" to repeat it several times. Now, I'm going to remove these little fellows here that are sticking out, and then I'll select all of them and deselect that. I'm going to scale it down a little bit so that it will fit perfectly over here. I'll press, "Scale tool" and just put the markers over there and just scale it down. I think that will do. Now, I'm going to place it down here as well, and I'm going to rotate it. That's going to be really pretty I think. I'm going to use it again for the side borders. I'll rotate it so that it's aligned the same way. I want to have something in the corners to finish this off. For that, I'm going to use one of the motifs that I have in this one, so I'm just going to steal that. There, I have everything selected, I'll copy it and come back to my border and paste it. Now, I just need to place it in each corner. Now, let's build on this, and since it's a Paisley, I need to have a Paisley border. I'm going to use this one again, and then I'll copy them all the way around symmetrically along these edges. Now, I need to find the middle line though, on this scarf. I'll just create a square and mirror it, it's going to be straight. I'm going to repeat it sideways a few times and scale them down so that they can fit on this half of the slide. Now, I'm going to check if I can reflect it here and how it meets in the corner. I'm guessing that it's overlap a little bit, but let's try it out. But yes, it overlaps quite a lot, so I need to scale it down a bit further. Yes, it's trial and error. That's going to work, so now I can reflect it to the other half of the scarf. Now, I will copy them along all the four edges of the scarf. I'll find center and rotate it around that. I might have to do some adjustments, but this will do. I want to have something over here and let's see if I can pick something. Perhaps I can find something here. I'll try this one, copy that, or I can make a little arrangements with these ones, like I did for the reflected motif. I'll just bring these with me, and now let's see what I can make with this. I prefer this tulip and now I'm going to rotate it around and copy it to all four edges. Now, I have my placement border and a placement print for a shawl. In the next video, I'll build the elaborate and reflected patterns. 30. Building The Patterns Continued: For my elaborate paisley pattern, I'm going to use dark background so that my fillers and those little dots will be visible. First, I'm just going to place my motifs and I'll start with placing it right underneath. I'm going to want some fillers in between, then what happens if I do sort of a half drop with this one. See if my smart guides can help me. Now, these two leaves over there will meet up. One thing I can do is to go in and change the position of this one and move it. I'll take it up on that row and see where I can place it. This looks like a nice spot rotated a little bit, and now I need to delete these ones, so somewhere over there. Then I'll move these guys over here, and what happens then it's we have the same problem used in. Now these two are too close, so what I'm going to do now is to go in and move this one a little bit. [MUSIC] I'll do the same again I will remove these, and place them again. I think this one could definitely work as it is, but I want to use some of the little fillers that I created. Actually I could use this one. [MUSIC] This is just me testing that layout. Once I have a notion of how I want to distribute my different motifs, I will now go in and create the real technical repeat. Now we're going to find out the size of the boundary repeat box. For that, I'm going to place the corner of the box here at this flower and then resize it so that it ends up sort or where that flower is over here, just eyeballing it. Then the same thing goes here, somewhere like this. Here is a first rough draft of the technical repeat. This one I'm not going to need at all, and now I'm going to redo this repeat exactly. I'll erase all of these and now need to make sure that my boundary box is, I want to have an even pixels. So I'll use 480 I think. Then over here, the width will be 530. I have goldfish memory, so I always have to write these down, so 530 broad and 480 high. Since I'm going to do a half drop, I need to divide these numbers so I have them ready. So 530 is 265, and then 480 is 240. Okay, so now I'll select this and move it, first I'm going to move it sideways so 530, and then I'll move these two down 480. Now I want to move this one in a half drop, and now it's going to be exciting to see if I was doing my rough layout correct. Let's see to the side I wanted 265 pixels and down I wanted 240. Let's see where that will take it. I think that's perfect and now I need to place it above here as well. [MUSIC] Then I need to work on these one's a little bit too. Now I think that these fillers here are not really matching up because the dots are not the same. When I scale it down like this though I think I'm going to just remove them. [MUSIC] But now I'll try these ones instead. [MUSIC] All right, I have placed out all these little leaves here and there into clusters to connect the vaguer motifs. I have created a box behind this blue one and gave it no stroke and no fill and now I'm going to test out my pattern. [MUSIC] Lots of details in this one, so let's see. [MUSIC] Let's scale it down a little bit so that we can see a better view of it. All right, so here is that elaborate pattern as well, and I think that would be beautiful on a wallpaper and on bedding perhaps, and upholstery perhaps, even glass. All right, good. Now we just have one more repeat to create, and that is the reflected motif repeat. That we have already had a sneak peek of what it will look like, but now it's time to make the technical repeat as well. [MUSIC] Going to scale this down with it. Now I'm going to do the same process as I did with the elaborate one more or less. [MUSIC] I'll create that box and I will zoom in a bit, and now I'm going to use those little pointy heads here as my guiding corners. I got a pattern. Don't want that. I will bring it to the back, and I think I'm going to use a dark background for this one too it seems like. Then those outlines surrounding these ones will disappear. I think that will be a good choice. Now I can remove these ones, [MUSIC] and I will see if I can even these numbers out. So 350, and then we'll do 400 see if this will work. Better than the goldfish needs to write these down, so we had 400 by 350. For the half drop, that's 200 by 175. Now I'm going to repeat this and see if this will work. Maybe my box is too small we'll see. [MUSIC] If I would have wanted an all over pattern, I would have to go in and add some more shapes behind all this, and some fillers so that there would be almost no background shining through. But let's do it simple this time. This is your first all over pattern or a reflected pattern at least so let's go easy. Now I'm going to make patterns watch out of this, I will copy that and bring it to the back, no stroke, no fill. Now let's see if this works the way I wanted it. [MUSIC] I'm going to fill with the new pattern, look at that. I always go like that. Every time I see the pattern, repeat for the first time I go like, ooh. This is definitely a medallion looking reflected paisley pattern. There you have it. We have a full art, we have a placement border, an elaborate paisley, and then we have reflected all over sort of pattern. All together, all these make out a really nice through mini collection. 31. Class Project & Next Steps: Now if you have done the exercises and practiced the different types of motifs of the Paisley, and followed along with the steps that I showed you how to create a Paisley of your own, you now either already have a pattern or at least you have some new skills to create one of your own. I would love to see what you've come up with and what you make and the progress that you are doing along the way and then the finished pattern off course. Create a project in this section of this course called your project. As your motifs and pattern is coming along, tell us about your process and progress. Snap a couple of pictures of your drawings and colored motifs. Also, tell us a bit about who you are if you feel like it, we'd love to get to know you, me and your fellow students. If you want to post your Paisley creations or perhaps the exercises on Instagram, please tag me with bearbellproductions and use the hashtag paisleywithbearbell. I will see it and find it and perhaps I can feature your artwork in my stories. Whatever you decide to do with your Paisley, I really hope that you enjoyed this course, that it gives you loads of inspiration and a lot of useful techniques. That it has helped you to develop your design and drawing skills further. I would love to know what you thought. Please leave a review. I read them all and totally enjoy them. You can also write me a comment in the community section of this course. If you want to, I'd love to connect so you can find me on Instagram at bearbellproductions or on my website and blog, bearbellproductions.com or.se. If you're on the hunt for more Paisley inspiration or for any other pattern design style, you can check out my pin boards on Pinterest too. That's all guys. I hope you enjoyed yourself and until next time, bye.