Transcripts
1. Intro Creating Vector Background Patterns: Hi, guys. Welcome. My name's Delores NASCAR Ridge. I'm coming to you from Sunny Manitoba, Canada. Sunny and hot. Our temperature is a whopping 35 degrees today with the weather warning telling us it feels like 42. Wow, that's hot. So I've decided to have an indoor day. I'm actually enjoying my new little studio space here. If you've been following any of my classes, you know that I've been trying to amalgamate two studios in tow one. So this studio is really packed, But I'm surrounded by all the things I love. Here's a quick look. I've got lots of fodder here for inspiration whenever I'm working in here. So today we're going to explore different ways to have patterns in behind patterns. I've got a bunch of different methods for creating these patterns were gonna work from photographs we're gonna work from patterns I've created. We're going to even work with brand new dot patterns that will create. I feel that even dot patterns can create a really great texture behind the pattern. Another fund method we're going to try is a pencil rubbing, ah, pencil rubbing of a texture that will then convert into a really nice little vector pattern . The great thing about these textures, as they can be used in the background, but they can also be used to help you texture really flat objects. It really adds a lot of interest to the vector art that you create. One of the challenges is finding the raw materials from which to create your textures. So we're going to talk a little bit about that. We're gonna do some corrections and photo shot first, and then we'll import the patterns into Illustrator. And the bulk of our work is really based in the illustrator program. There were going to do image traces, and we're going to create all the different patterns. This is a great course for you if you're just starting out, and I think it's really inspirational. Even if you're a really experienced designer, sometimes it's good to take a look at what another artist is doing and get some ideas from that. I literally came up with so many ideas that my head is just like exploding from them. I'm gonna have so much fun after I finish this course, I thought of so many different things I could do with them once I was doing them. So that's kind of the way with art, isn't it? So you may want to do a run through of the hole course first before you do any experimenting. And remember that after that you can slow down the lessons and go through them step by step . Some people find that I talk too fast. And if that's the case, remember that you can set thespian a little bit slower in your browser, and I found that you could even do this on your phone. I'm so happy that you're here with me today on this hot hot day and staying inside just like I am. Are you ready to get started? All right, let's do it.
2. Overview, Examples and End Goals: Hi, guys. Welcome to lesson one. So this is gonna be an overview of the course and we'll talk about the different kind of patterns that we're going to be creating. Let's get started. So if you've been following my classes and you were just recently in my enhanced Leinart class, you will recognize this artwork here. This was one that I just kind of did at the very last minute to put on a mock up of a pair of shoes. Here's a look at that and I just loved how that background looked behind these flowers and it really is perfect because it leads into my new class on creating vector background textures. So we're repeat background texture that is seamless, that can work for something like this. I had a student actually request that I explain how to go about doing that. Now this is a bit of a cheat because it is a background that is already here and existing in illustrator. What I did is I went to the so watch library. I went Teoh patterns went to basic graphics and I opened this textures file. So this gave me all of those textures which you can see I've dragged into my regular swatches palette and I just kind of for the fun of it. Did that one? Let me select it. But you could see that almost any of these could be adapted to work really, really nicely in behind Ah, floral. I'm sure it would look great behind a colored floral as well. So let's just select these will go to the layer, will de select the rectangle, select just the background rectangle targeting it here in the layers palette. And let's try one of those textures in behind there. So I think that could look really interesting as well. You could change the scale of the texture. Let's try something just a little bit heavier and you could see that that could work out really well. So if you remember in my last class, one of the last things we did was this little bit of an offset. If you don't like that that it has, Leinart class explains how to add or remove that little bit of an offset so that it's just totally great into this class, and what we're gonna do is we're going to be creating this sort of ah, textural repeat pattern. I'm going to be using a variety of different means to create those for one of them. We're going to use an existing texture that I've taken a photograph off. An auto traced will clean it up in photo shot first, and then we'll bring it back into illustrator to create the pattern. Another method is a texture that I've collected. I will show you exactly how using a method called for Taj. With that, we're going to do a little bit of work and photo shopped first before bringing it into Illustrator will make a pattern from that. Another method is with a few patterns that I did just by hand. This one was done with markers that will work with that a little bit Then. If we have time at the end and I haven't gone on way too long, I will also show you creating a pattern from a photograph to be black and white. It could be colored. We'll talk a little bit more about that as we continue with the lessons. I've also got some textural black and white photos like this that I plan to work with, so we're gonna do a bunch of different techniques to produce thes different textures. We'll do them one by one. And I'll do them step by step with you so that you can create your own library off textures . Much like these illustrator textures in these preloaded libraries. I'm also gonna show you a way to access a bunch of free textures available through the adobe exchange. It was gonna be just so much experimenting that we're going to do in this class and, yeah, let's get started. So I'll meet you in the next lesson. See there.
3. Adobe Exchange and Libraries: Hi, guys. Welcome to lessen to in this lesson. We're gonna look at the adobe exchange for finding patterns, and we'll talk a little bit about storing and being organized with your patterns. Let's get started. So I thought we could get started by taking a look at some of these free background patterns that are available on Adobe Exchange. I think looking at these will be a great way to start our project and give us a better idea of what it is that we're aiming for. So this is a set of patterns that I have downloaded. I downloaded it through Adobe Exchange. Whenever you have a new document, you're starting a new document. If you go down to the bottom here, you can search out. Let's just start with three textures and see where that takes us. It's been hit. Go here, and I think he'll even narrow my search a little bit more by adding the word background. So free background textures. Actually, Let's go back now. This is one of the ones I had opened up. Let's open up. Maybe this one here. So taking a look at this, this looks like a kind of a set that I would be able to use quite a bit in my pattern design. Now, if I try to just open it in the APP, it's going to say I need to license it. This one has a free license, so I'm just clicking here. You can see it's downloading it, and that's downloading it straight into my default library. So let's go into illustrator and you see how it's opened it here. It comes up with all those patterns on my screen. Now I want to show you real quick in my library. I've got all of these different categories. I would put it into my background textures, but if you wanted to create a new library, all you have to do is click here on Create New Library, and maybe I'll call this one pastel textures. And now I can add any new patterns here that fall into that category. I'm gonna go back to the one that I already have existing for background textures, and you can see here that the ones I've downloaded are accessible for me, and they'll always be there whenever I open my libraries tab. So let's take a look at these textures so you can get an idea of what we are going to be producing. So if we go to Earth swatches, palette, all of our textures were here, and a really great way to see how they're really put together is to drag one of them. Ouch. I'm gonna make a new layer so we can take a look at those on a separate layer, and then I just simply drag the texture haute, and you can see what has made up that texture. So this is a really good example of one very similar to one that we will be doing is a project. And you can see here that it is all vector paths. Zoom in riel close and you see what that really looks like. But that's pretty much what we are going to be producing. Now, if you were to select this, so imagine that we've just created this. We could go and test it. I have a short cut to get into my pattern Options tab. My shortcut is command apostrophe. If you need to create a short cut, you go under, edit two keyboard shortcuts and create a shortcut for it and you can see here that the rip each has been set at exact size. Of what? That pattern, Kyle Waas. Obviously whoever created this, creating it at this exact size. If you were to just use your arrow keys, you could see the edges of the tile here. So we're gonna be doing this to get our tile beautifully lined up on the edges. And there you go. So that's exactly what it's gonna look like when we're working on it. In our next lesson, we're gonna be producing something that looks very similar to this. We're gonna be converting a bit map to a vector. I'll see you there.
4. Pencil Rubbing and Textural Photo: Hi guys. Welcome to less than three. So in this lesson, we're gonna explore two different textural patterns and how to create them. Where to start with an actual pencil rubbing that I've done. And then we're also going to take a look at a photograph that could be used to create a texture. Let's get started. I wanted to start with this Firtash pattern because I thought this was probably one of the most accessible and intuitive kind of textures that I think we're all taught to make at some point in our arch histories. I can completely remember doing this when I was in grade school. So what I did was I went through my studio and just did some rubbings off several of the textures surfaces that I found. I tried using both charcoal and ah, five b pencil. Once I had my rubbings complete. I just threw them onto my scanner and got a pretty decent scan off all of them, and I have chosen this one to work with. My first step is usually in trying to just delete or clean up any of the stuff I really don't want in the files just faster to do in four shop here, and I usually start by working on the contrast now in this case because I created this with charcoal pencil. It's a nice eat black just going Teoh, change it to gray scale and discard all the color information. We don't need that at the moment, so I'm going to double click on this as well, just to make it into a layer and then we'll go under the levels. If there was a lot of gray in this, I would definitely pull this over a lot more. I'm kind of happy with where it is now, because I don't want to lose some of this detail in here. Maybe clean up just a little bit right up. And I really kind of like this sort of checkerboard effect that it's giving me. And a I don't mind the fact that there's a starker area here. If I didn't like that, I could feather mine lawsuit. Just check to see the size of pile here. I would rather it may be 60 pixels select just the area that I want a fact under levels and then lightened that even a little bit further. I'm still left with a lot of the black in their little tiny pixels of black. I'm okay with that at the moment. We can do a little bit more work on this also, when we're in Illustrator, And I'm gonna show you that when we get into the image trace controls Another thing I sometimes do you when I mean here is just take a look at how the Hatter and I guess you'd say the lines in the pattern, how they work. I find that it's a little bit harder to get a powder to look seamless. If the lines aren't parallel, let's see the top in the bottom. So I'm going to select all and this is the reason I've made it into a layer. I want to use the transform control and I'm using command T control T. I guess if you're on a PC, I'm holding down my command key so that I can just pull one corner at a time. And you see, here I've really straightened up the top here to do the same thing with this corner. And you can see now that the bottom and the top lines are a little bit more parallel to the edge of the document. So either hit return here or hit the check more up in the control bar, and that will commit your action. So that's great. And I'm happy with this. I'm gonna take it into Illustrator. You could either save it and use the place command. When you're in Illustrator, I just find the fastest thing is just select all hoppy. Then go into illustrator. I'm going, Teoh, create a new document. Doesn't matter what size command shift h hides the art born. I'm just gonna hit paste and the pixel data will be pasted here into Illustrator So that's perfect. This is exactly what we need now, did you notice that when I pasted it in here image trades controls appeared here on the top ? I'm going to open my image trace palates, which is this one over here. And let's just drag that over, grabbed it at the top, and it allows me to drag it over, and I'm actually gonna open this up so that we can see all of the advanced settings here. So the goal here is to try to capture a texture and then also to keep the number of anchor points as low as possible. Now what I do is a few adjustments here. Usually you can adjust the lightness or darkness here you can preview and this shows what your adjustment will dio. Now, I also make adjustments here with the paths, depending on how accurate I want the tracing to be. And I know what you're thinking. You're looking at this and going Oh, my God, Look at all those jagged He points. I don't know. This is not gonna look that great as a texture. I just want to remind you about that 1st 1 that we opened out that we had from the adobe exchange. And this is actually exactly how it looked. Lots of little shirt, bits and stuff. But that works just fine when you're making a texture and especially if you're going to have that texture behind other items, like a floral or geometric pattern that you've created or if you're applying this texture to something like letter And so for now I'm just going Teoh, just like this more towards the center. Now, watch these numbers here as well so that you can see that what you're doing here is definitely affecting the amount of anchor points. I don't know. I just kind of experiment with it. Sometimes I'll do it more than once. I'll have two or three copies, and then I can do a kind of a comparative analysis of them after. But I think for our intensive purposes this will be just fine. One of things I always do as well is. Make sure that when I'm creating a texture I hit ignore White because we don't actually want the white in the background here to be traced. We're just going Teoh want these little textural bits in the foreground. Now, I've got this on preview. This was a very small of a sample that I had remember in photo shop. It waas 72 pixels per inch and not too sizable a document. This is one of things that you could check for when you aren't Photoshopped. Just to make sure that that's not too cumbersome. Soul back here in Illustrator One of things I can also do is change this from black and white to gray scale, and then you'll see maybe a little bit more detail coming in with some of those that's that were in the background. So that's another thing to think about. Just also, take a look at this number now and you can see that there has been a huge jump in the amount of anchor points, so might want to do a little bit more fiddling around here if it's taking too long. When you're doing this, you can take the preview off. My person like to keep it on so I can see what's happening in the background as I'm making these adjustments. Right. So I think we're gonna be OK with this setting. And we're just going to We can close the image trace. I'm going to drag it right back down here where I know I can find it. I'm going to hit expand here now. What that does is exactly what we looked at in that first example that I had from the adobe exchange These air all now individuals, filled shapes and at this point, you could still do some additional work in simplifying. You can select everything. Go to your simplify. My shortcut is command, period. Or you could just go under object to path and simplifying down here again. You could open up this sy log box and do some experimenting with the settings. So we're starting out with 18,000 points. Let's just see how this affects it. Bringing this down and simplifying it is reducing the amount of points. This will probably reduce it a swell. So when you're fairly happy with the setting hit OK, and we've now substantially reduce the amount of points and we're ready to create our first watch. What? I dio I'm going to use the pattern maker tool powder maker if you don't have it open. Is this one pattern options? It looks like a woman pattern here in my tool panel. I have a short cut, of course, to get to that. Now, did you notice that that was a bit sluggish? Before I even go into that, I'm going to see if my document I strongly suggest that you save frequently. Hold this simple one from a bit map and hit OK, and now I'm going to hit my shortcut. My shortcut is command apostrophe and you'll see that pattern is actually created to the exact size of what I selected. So you consume out. So you know that when you are in the pattern maker tool here. The pattern options you can use all of your regular keyboard shortcut will undoing command minus or command plus to zoom in or zoom out. Yeah, I mean, it's not bad. We could use this for a lot of applications, and you'll note that when I'm done here, it if I'm gonna make some changes. This first Swatch has already been created over here. So I'm going Teoh actually out of that pattern. And let's just create a rectangle and fill it with the pattern so we can have it there as reference as we're taking a look at what we might want to do for changes. I like it. I think that just edge and this edge definitely create. Be hard line to wrote here. I think I'm going to just drag select over them with my Rex. Elects. Remember that a on your keyboard will access that tool hit, delete and do the same thing at the bottom. Now, if I hold down my option key while I am dragging over it, it's going to select all parts of anything I've dragged over. So I'm gonna hit delete there again as well, and then I can actually go in and do another test. So again, I'm drag selecting over it, command apostrophe to get into my uttering options. And let's take another look here Now. I've created a bit of a gap here, so I think what I'll do is tighten that up a little bit. And if you select whichever measurement it is that you're trying to affect, you can use your up and down arrows on your keyboard. Teoh either make it bigger or smaller, so I'm pressing the down arrow and it's tightening up that space. So what you're looking at is this line here. If you wanted to actually see that while you're working, you can show tile edge down here so that one tile edge is showing can also dim the outside copies here. I personally prefer to keep it at full throttle because I think that gives me a better sense of what's happening with my pattern or how I wanted to look. I'm like I said, using my down arrow and you see that I'm moving it closer on this vertical line and no, the vertical spacing. I'm going to do the same thing and bring that in tighter here. It's really just a matter of judgments if you hold your auction key. Also, while you're making the adjustment, it will jump in bigger increments. That is pretty good. I like that. There's not too much of an obvious line. I mean, it's there. But depending on how you use this, I think this could still work really well. This is also a really good time to possibly change your tile type. So try things like 1/2 drop or half brick. I think I was happy with this more at about the 20. So yes, holding down my option key has the vertical spacing or the spacing number here changing in increments of two rather than just one. I'm happy with that particular spacing. I'm gonna actually hide my tile edge again. And let's just quickly try my role. Let's fill the page so that's kind of beach. It actually gets a bit of a checkerboard effect. Let's try brick by column. You can alter what the offset ISS. I think I like the grid, so I'm going back to the grid pattern and I'm going Teoh escape out of here, which will save my noose. Watch. I'm going. Teoh, Change. Attend. There's, um, plea different versions. So that 1st 1 had that really distinct line and this one that has definitely been mitigated . Now, if you didn't like the jump between the dark and the light here, how that was occurring, What I'm gonna do is I'm gonna reflect it So you can do that with the reflect UAL, which is O on your keyboard option. Click right at the edge and we're gonna do a vertical reflection. Some would hit preview here. See, that would work perfectly hit copy. And you now have that perfectly reflected. Now one of things I can dio. And I'm going to do this now to help simplify this for illustrator to deal with more easily . I'm selecting the whole thing and let me just zoom in a little bit so you can see I'm gonna go into the simplifying dialog box again just so we can take a look at how many points there are. You can see there's 13,000 points here. 13,836. Whoa. So I'm going to give simplify another crack at this to try to reduce the amount of anchor points. My original was 13,000 points. Let's see if we can reduce that even further here doesn't seem to be making much of a difference. I guess we've reduced it by a couple 1000 points. So I'm going to say okay here. And I'm going to hit my shortcut for pattern options. And here I think we can also, with wise, it looks all right. I'm gonna hold my option key here, and it just a wee bit closer. So this is a good time to kind of make a judgment call aside whether or not there are any icons that are just really too obviously repeated, I think for the purposes of this class and for what I would be doing with this texture, it would be perfectly fine like this. I know a couple of things here kind of stand out to me, but I think they're not gonna be noticeable once I go to use this pattern. So I am going to escape here. Could hit save just to be on the safe side and let's move over to our sample pattern here and apply that new texture and no, I think that's worked out actually quite well. So this do a comparison here? I'm just auction shifted, dragging a duplicates. Mandy will give me third copy of it. We're gonna put the first swatch in seconds. Watch in thirds watch in. And I do believe that the 3rd 1 is the best one. So that's it for this particular technique, and that's working from an original scanned copy of a hand rubbed pattern. Now, I would like to show you a second option. This is one where you work from a pretty textural photograph. So I have a photograph here that I took on a beach and had a lot of pebbles and shells and that sort of thing. So if I were to take this photograph now would follow the exact same procedures, I would adjust levels until I was satisfied that I would take this into illustrator and do the image trade. So I'm gonna do a quick that's trying to make it quick. Anyhow, I'm gonna make a quick time lapse of this so that you can watch the process. But basically you're seeing me do all the identical steps, as I just did for that hand rubbed pattern. You can see here that I've simplified it to be just black and white. So I've taken out all the gray scale. I'm eliminating some of these darker areas, also eliminating some of these darker spots. Taking out a little bit more here along the top. Give it a test. Simplify it, Of course. Give it a test. Then you'll see me create this in white as well as black. And here it is applied over a colored rectangle. So you see me create two very different textures. But the technique is the same. Are you ready to move on? All right. I'll see you in the next lesson will try another technique.
5. Pattern Made with Marker Lines : Hi guys. Welcome to lessen. For So that was a really good run through of how to create a texture, a vector pattern from a bit map. The biggest challenge, of course, is finding the raw materials for creating those patterns. I just want to show you one quick one that I did just with worker on watercolor paper. It's really interesting. Let's get started for this texture. I'm going to use this Markert sketch of that I produced real quick just using regular wide marker. I guess you'd say I used watercolor paper and that just mainly to show you how to go about getting rid of extra junk in the background before you take something into illustrator for auto tracing. So we're going to be working with this area. So I'm going Teoh this, make a new document and paste, and we're gonna do a little bit of cleanup before we taken into Illustrator, I've got my last you tool, and I'm just selecting real quick down in this corner to get rid of this. Get rid of a little bit over here. I was going to use my marquee to select down along this edge. I'm going to play with the levels here to try to get rid of some of this texture that we see in the background. Okay, so you see that watercolor paper kind of, ah, texture. I actually want to get rid of that in this case. So what I need to do is drag this slider to the left. So that's the white slider, or what I could have done is taken my eye dropper here and just clicked into one of the darker areas of that gray to get rid of it. I'm happy with that. And I'm going to darken the black a little bit. That helps to get rid of some of that noise that we had happening within some of these market areas and just a little bit of fiddling around with that. It's really an experimental process. If you've never done this before, it's really not that hard. You just basically move those little indicators here along the bottom until you're happy with what you see here. So I'm gonna click OK, here, I'm going Teoh, maybe just clean up that because I think it would be obvious. What I'll do is I'll just copy option dragging Teoh make a duplicate off that area, they use Mighty Racer. Initially, Kyle's natural edge kind of my favorite go to racer and I'm erasing anything that makes some obviously identical. While I'm added him as well Look around you and just get rid of anything like this that I just don't actually want to. My pattern in here. I was gonna be race a little bit so that that's clearing out. And I'm doing a really quick job of this because I know that this texture is going to be small enough and in the background, and I know that that will be more than adequate. The other thing I'm gonna do is pretty much what I did with the last one command t grabbing the corners and kind of lining it up so that the edges are more parallel to each other. Okay, here you can see if by the pixels here that they're still a bit of color in my documents. So I'm also gonna go Teoh mode and change it to gray scale. And then I'm going to select all copy it and take it into illustrator, make a new document high. The art board command shift H and I'm gonna paste that image. Now, this one is physically a lot larger than the other one that we had. This one is really huge. So before I do anything, I am going to reduce that in size. Also, just to make illustrator work a little bit less hard, I'm going to close this image from our last lesson. The reason I'm doing that is because Illustrator will be saving all the levels of undo that I have in my preferences and that will slow down processing power. So I'm going to reduce this in size physically and then I'm going Teoh image trace. So here you can actually use some of your presets. I'm gonna go with black and white. It's giving me a warning about the size. I'm not too worried because I've done it in black in white. And let's take a look at these options here Now, The settings I had in there at the end of the last lesson remained there. I'm just changing a little bit here. I'm gonna make sure that ignore White is selected. Then I'll hit. Expand up here. So now if we look up close, you'll see that those are all outlined shapes. And while I've got it this size, let's cool right into our simplifies the command period for the simplify command. So, really, the steps are exactly like they were in the last lesson. Now I've got to do a little bit of adjusting here, and it's pretty easy in this case to reduce it Teoh less than half of its original size. So I'm gonna be happy with that. And we're gonna drag that into our swatches palette to create the swatch in a bit of alternative way than using our pattern maker tool. Lets create a shape and fill it with that pattern. That's another alternative way. Teoh. Create the patterns. Watch personally. I want to go in and do a little bit of work over here where the two meet. Oh, just reduce this scaling a bit so that you can see. And it's really, really obvious on this one that join lines. So let's cancel out of here and see what we can do to fix that up a little bit. So one of my techniques that I've used in the past is to just select No, actually, this is still group. So I'm gonna go up here to group you can tell because just a second ago, and you could see that this is in a group up here. And if you go to a new group, suddenly there's no group and all the items or individual. And then I should be able to select Individual Rose, so to speak. And I'm doing that by dragging. So I've got my direct select two on. I'm holding down my option and shift and selecting that role. I'm going to duplicate it down here. Use the shortcut command five to change it into a guides. But I can see a little bit more what I need to do to help this pattern along a little bit and have it work better with the hair, a line or the horizontal line about at the top. Here I am going. Teoh. Use my last you tool a little bit, probably used my direct select, and I'm going to just move around some of these icons that we have in here to quickly select. You can either use your last you which it was Q on the keyboard. Or you can go to your direct select. As long as you're holding your command auction and shift, you can drag select to duplicate. I usually have my command key house down and then I start moving. And then I dropped my auction and shift keys down. I'm going to start filling in this space in here. There are so many different ways to do it. I'm gonna just demonstrate by doing a little bit of work here at all time. Lapse it. So I'm man shift dragging over those two with the direct select that selects them completely. Then I'm holding down my command and option, and I am duplicating those in here. So that just fixed that little overlap problem. I want Teoh start moving some of these around, so I'm just going to enlarge. And like I said, he see me selecting. I'm almost always going to be auction shift, dragging over it to get the whole thing selected. Then for any duplicating. I am holding down command and shift and dragging, and that's giving me the duplicate that I watch. I can also very where I'm grabbing these from so that I'm getting a variety of sizes that work better with what I'm doing or the space I'm trying to fill. And if I take one and duplicate it right beside itself, I would then go in and make changes to it so and large and possibly use these widgets or the last you tool selecting some points and removing anchor points. And I've got a shortcut command comma. If you don't have that, then you can go up here Teoh half and remove anchor points. So the more you watch me work here, the more you're going. Teoh, you wanting Teoh do that yourself makes shortcuts to help you with some of repetitive work that you have and allowing you to work a lot faster because you are using the shortcuts to help you get tool selected a lot more quickly are to rotate also will help you make something look a little bit less obviously copied, and again I'm going to just select a few anchor points and removed on simplify. You've got something like this and you want to divide thes two or so many different ways. You could do it in this case because about so many points and doesn't really matter how e just look at a point there and then hit. Delete And I've been out of point here and hit delete, And then I can simply drag over these two points, average them first. So command shift J, which averages them on top of each other and then J which joins another way to do it is to use your joint tool and just drag over to open ends and they will be joined. That's one that I keep forgetting to put a shortcut informed with these because they're separated, I can move them independently. And I think with these I'm just going to space them out a little bit more. And I'm gonna grab a couple from over here. So whenever I'm just dragging and duplicating, I select first by option, clicking on the object. Then I start dragging and then drop down my option key. And that allows me to make a duplicate if I want to transform it. I just hold down my command key, and I get the transform controls real quick. Think this may be good for the other thing I could do is also move this one up a little bit . And another trick I've tried in the past that sometimes work is to just drag, select over a range of point and use your allying tools to align them just to make them a little bit more straight. I'm not sure that I want to use that. So I'm just gonna undo now if you're moving with your arrow keys and it's not moving as fast as you'd like probably cause I have such a big original image. Here, you can use command K. Change your keyboard increments. Let's say to live pixels and stand, then you're going to be moving more of a distance. Now I think I'm gonna move this guy, and I think I'm ready to test my pattern So we'll select all command apostrophe. And here is our pattern, and I like that. I think that's worked really well. Let's fill the whole screen and we'll just do a little bit of an adjustment here on the horizontal line. The vertical line looks pretty good, and I'm just gonna leave that for now, and this one might be a really good candidate for a difference. Lay out a new pile type. Let's try 1/2 drop rip each and that's pretty good, too. I could still see this line across here, so I might still want to just that spacing a little bit. But I quite like how this one turned out as a textured pattern. Almost makes me think of, like, a snake skin or something. So again, in this one, we could easily take it and flip it and do the reflecting. The double reflected copy of it. I think I am just going to be leaving it like this. Gonna get my reflect tool, which is? Oh, on my keyboard option. Click right here at the bottom. This time, I'm going to do a horizontal. Reflect. Let's just get a quick preview to that. It looks like it's gonna be perfect. Hit. Copy, Move that in may be just a wee bit closer. I'm gonna actually get rid of those guides Will make that a little bit easier. Sometimes when I'm doing something like this, I like to just kind of overlap that one roll and then go in and either combined a couple. So let's say we combined these into one shape that will use Pathfinder and unite them when we get rid of a couple here, change the position and size of some of them. Let's unite Thies to remove this one just over a little bit there with me, as I do a couple of quick changes of course rate. What I'm trying to do is disguise the fact that this is just a flip here. So I'm taking some ouch, combining some moving things around and trying to basically get things off of that straight line so that you really don't see a straight line there anymore. So staggering is a really good way to achieve that. And you can adjust the ones just above and just below that to really hide it. And you don't take away the alternate ones that you it in. So I'm just kind of shifting things around, and then we're gonna end up making this into our pattern. So a good way to test it is to just zoom out a little bit and then unfocused your eyes to see if you could still some line across. And I think for the most part is pretty good. I'm sure I could fuss with this for half an hour, but it's not that important, because we will end up having very little of it showing when we go to do our backgrounds behind our other patterns, you'll see what I mean when we get to that point. Okay, let's do a quick test. This is the only spot here that's bugging me. He's just makes too much of a triangle here. Zooming out is also really effective. When you're doing something like this, it's moving stuff a little bit here and there. Okay, test time. Select everything. Pattern tool. I'm gonna leave it as a grid tile. Now, you could see a little bit of stuff going on here, not to badge. I'm going to move that in Just a touch closer. Really not bad. Like I said, it could plus for a little bit longer. But I think I'm going. Teoh, end this lesson now and I'll do my final corrections off camera. So that completes method number three. I'll meet you in the next lesson where I've got some other cool ideas for you. See, there
6. Textural Dot Patterns: hi guys. Welcome to less than five, so texture could be created with more than just bit maps. I like textures that air created with thoughts. Let's create a really cool texture just with a circle. In this lesson, I'm also gonna be showing you this sort of a pattern created just with a rectangle and the brush tool. Let's get started. There were two or three other things that I want to show you real quick because these could be really quick and easy ways to also create textures you can see over here in my swatches palette. I've created few already. This is a really quick way. Teoh Reda dot pattern. You just select the circle. Drag it into years, watches pelant. When you create something to be filled with the dots, you'll get them very tightly spaced like that. Now the other thing I've done is taken that got gone into my pattern options and then worked with the spacing and also the file type to create a textural pattern worth. We could have done that in any color. I just want to show you real quick how I went about creating something like that. So imagine all the things you can create literally only have to draw the one icon and it is repeated. And then once you exit out of here, that new pattern is added. So if I was to make a box rectangle whatever and fill it with that's watch, there it is. And again you can go in and simple is back to normal. And there you go. There's your regular normal pattern. Then you can do all kinds of alterations. If you really want Teoh and create a very different look for a background, remember that this would be possibly in the background behind something like that floral pattern that we had on the shoes. Okay, so that's a really quick way I'm gonna cancel out with that. Another one that I've used that makes a really nice texture is concentric circles. So I'll demonstrate for you real quick how to make the original icon. I've got a bigger central circle, a smaller one in the middle, and then a larger one. Select them all. I'm gonna use my rotate tool, so that's our on my keyboard. I'm going to option click, and you can see that you're in the center If you've got your smart guides on, it's gonna click there. I'm going to do a 30 degree angle copy. And now, as long as I just hit duplicate on my keyboard another 11 times I've got my concentric circles. Let's actually feel this one with a softer color. Let's try a softer Teeley grayish steel kind of a color, and drag that into your swatches palette and you create a swatch with it. I can show you that that's the repeat, or you can take this in the pattern. Options real quick can command apostrophe, and what I love is experimenting with ease. And let's just hide that tile edge. Also feel the page or make it bigger, and that can give a really cool little texture in behind. Let's say again, a floral or a geometric pattern, or it can feel shapes so you could use it to create another pattern pattern within pattern . That would be fun. One of my favorites, actually with a dot pattern, is to do a hex by column kind of a repeat. And then, of course, you don't play with the space, and that creates a lovely texture. That's the hex by column. Heck, Spiro would look like that. And once we escape out of this, remember, we've now got that pattern added over here. So let's check that one out. So that could be super sweet texture to have in behind one of your other patterns or as a feel for something. I'm gonna show you examples of all of these things in the last lesson. Then the last one that I created, which I thought was pretty cool too was with this one. Yeah, this one here. And that one was a very quick one to produce. A swell. All I did was a square filled with color. So let's just fill it with the hunger blue so you guys can see it better. And then I took a white brush, so I literally took the first brush that came up. I changed the stroke toe white feel none. Stroke white. And then I just painted lines across the square. I'm gonna go with some thicker lines as well. You can see here with my brush that the brush size can be controlled. Also using the bracket keys once you have it all wrong. If you look at the preview looks a little scary, but what we're gonna do is we're going to expand the appearance on everything. So I'm option shift in dragging so that I get everything selected and go under object to expand appearance. I usually do it twice, so I also expand. And then I'm gonna go into my Pathfinder and can't remember which one I use. I think minus front. Yes. And that gave me a nice, neat and tidy square that I could use for my pattern. So again, experiment with both dragging this into your palate as is. Let's just use the square here too. See what it looks like. We can reduce it down, and we're going to just transform the pattern. And now we'll go smaller to see what that would look like. In this case, it has obvious Seems I personally liked the idea of going into my pattern maker tool because I was able to then controls basis between to make them look like they were a part of the pattern so increasing slightly to make it look like that line was part of the pattern. You can experiment with the different types of repeats I'll types, and if you want Teoh really kind of effect the way it looks? Let's just leave that as one of the pattern choices. Let's go tiny, bit smaller or bigger, in this case, kind of matching that bigger the picker stroke in there. I wish his pattern maker would allow you to, let's say, flip, alternate rose. Maybe someday. Okay, so I've created that as well. So the rectangle try feeling with that one. So there's that kind of a pattern. And then I also experimented with skewing the pattern, so that would be done with the sheer tool, which is where is that hiding? And I just execute it. And then I went into pattern maker tool and messed around with the with spacing until I had something desirable. I think I've started to glitch a little bit. You can see that those little corners were disappearing, no matter. I don't really want this one, so I'll just escape out of that. But that actually created a really nice little background that I threw in behind a couple of the patterns that I had tried one. I tried them in lighter colors behind some of my existing patterns, and you could see that? That actually makes a really cute little pattern. And you don't really see the seams and stuff that are going on in Behind. There is. You're focusing on what's in the foreground here. When this make a really cute pair of pajamas, I'm gonna meet you in the next lesson where we're gonna try something with a color photograph that should be fined. I'll see you there.
7. Color Photo Pattern Setup: Hi, guys. Welcome to less than six here. Both this lesson and the next one are going to be creating a pattern from a color photograph. This could be really useful, especially if you're trying to capture an exact color scheme. Let's get started. So we've created a few patterns now, some of them from black and white bit maps, some grey scales, and some from just a dot that we've created an illustrator, but this is gonna be something completely different this time. I want to do something with a little bit of color. So I'm in my color palettes board on Pinterest, and I'm going to just scroll through here until I find something that I would like Teoh a color pattern from. So I'm looking for a pattern that has some good contrast and some really need colors in it . I think something like this one would be really hurr int just a color scheme that's really popular right now. So I'm going Teoh, this was actually really pretty to this cactus. Well, I'm gonna grab his cactus one, so I'm just getting the control key, copying the image, and I'm gonna go into photo shop to a new document. It's gonna create it size of what's on my clipboard. And we're gonna take a look out what we can do here to just make this a little bit easier for illustrator. So of course I don't need this down here and you might be asking right now. What about copyright? And I could tell you right now that there is gonna be absolutely no way that you're going to recognize this photo after we use it in Illustrator after we create the pattern with it . So don't worry about any copyright infringement at all. Any picture that you'd like just look for a color scheme that you think would be really pretty. What I liked about it was the different colors that were in it, those greys and great greens and kind of peachy color. You can see it's fairly little resolution, but that doesn't matter because of what we're going to do to it now. So my next step was to go into the filters. When did it filter gallery? And you can see over here that I've chosen to different filters that have applied. The 1st 1 is thehyperfix filter. What I liked about the cutout filter is, it really eliminates a lot of the extra shapes that I don't need, and it really simplifies it and kind of just breaks it down into areas of color. Now you can experiment with the different settings here. I would strongly suggest that you do a comparison to you two of the same photo and then just experiment with different settings here. I personally tried thes settings, and then I added a second filter, which was stained glass filter. So you can just click on the plus sign at the bottom here, and you'll get access to that 2nd 1 And so, to create this sort of look that I'm after in illustrator, what I wanted to do was Teoh separate these little areas of color kind of into cells. So this one works really great. Now when you're trying to create spaces between the border, thickness is kind of what dictates the space between your little areas of color. The intensity kind of lightens or brightens it. I personally wanted it to have still quite fully saturated colors, but I didn't want it to dark. You can see if I went too light or too dark. It wasn't what I really wanted. So I kind of landed here and then just click, OK? And that applied the filter because this is the kind of look that I'm looking for as a result ing pattern. So I'm going to create a new document here again, I'm gonna hide the art board, so command shift H and I'm just going to paste copy and paste. So go back to photo shop, select all copy, and then go back into Illustrator and just paste. I find that to be the fastest way to get a bit map into illustrator and then hear what I'm doing is immediately going into this image trace dialog box. I'm going to click Ignore White like I have previously gonna do a little bit of filling around with these sliders. Think I'm going to keep these at a boat 60% 62%. And then, of course, I'm gonna change it to color. And just to try to keep my file size down, a little band going to change the amount of colors to 20. So now we just wait as illustrator goes to the process of tracing this and it's already giving us a bit of a warning that it may proceed slowly. So we'll probably just speed this up for you. Time. Lapse it a little bit, and then you'll see the resulting pattern in a minute. So this is our resulting tracing. I could now close this image trace. We're ready to go ahead and start finalizing this pattern. And I'm gonna do that with you in the next lesson. I'll see you there.
8. Color Photo Pattern Finishing: Hi, guys. Welcome to lessen seven. So in less than seven here, we're gonna finish up the creation of this pattern from the color photograph. Let's get to it to get started here. Let's just take a look at what's happening in the layers palette. You'll see when I open up that there is a group and within that group is another group. So we want to ungroomed both of those. So we do the process twice, so that looks like it has divided it or separated everything into individual paths. What I need to do next is to locate this honey comb, and it's usually down to the bottom. Yep, true reform. So I'm gonna select that, and I'm going to actually just get rid of that completely. So now each of these is just an individual cell, and there's no other surrounding it. Now what I want to do is transform each of these cells. I see I'm missing one there, and that's probably when I went down to 20 colors. I can actually just auction drag and put one in there. It doesn't matter about the fit, because this is gonna change absolutely completely. It's not gonna look like this at all. So it doesn't even matter if it's overlapping or anything like that. What I'm gonna do is select all and then I want to go to my transform each commando. If you don't have a short cut for it, you're gonna find it under object, transform and here to transform each or you can control, click, go to transform and transform each. Of course, I have a shortcut command option shifty, which you've probably seen me used in numerous other classes. It's just one of my go to transformation tools, and so I just want to get to it fast. So command option ship the very fast, and what I want to do is do some altering on this pattern here. Now, this is something I discovered quite by chance. This random selection on the transform each I just wondered what it was for. And I ended up just flabbergasted by what it could dio So here I'm clicking on random. I'm actually going to click on absolutely everything in here and you're going to see that what is going to do is randomize my pattern and it's random. Izing it by doing all of these things that were asking it to last more as we go through and make some changes here with our sliders. So that's pretty cool, right? What I'm trying to do is create an effect similar to this where all of the little cells have been moved around and don't look at all like they did at the beginning. So I'm gonna hide the edges here, command H, and I'm just gonna undo so you can see what it was like before and then reduce so you can see what I've already accomplished. By using that, I'm going to do it again. Select everything. You could do it. Steps just like this, remember? But the edge is hidden. So command H two. I had a show, and I'm gonna go back into that transform each, and I'm going to continue to mess around with it. I want to also change the rotation so that, you know, if you notice that before, but without the rotation, there was quite a straight line at the top there, and I'm just going to actually make sure that that doesn't happen. I want it super random hand. I'm really trying to space them out a lot. I think I'm gonna be pretty satisfied with this one. I'm gonna say OK, I wanted to be a bit different than this one. So I'm going to do a couple of changes here, Teoh. Try to make it quite different. So in this one, I still had quite a bit of this darker area in here. I'm gonna do is auction shift. Select this edge. Let me show So you can see holding down auction and shift. And I'm selecting that whole edge that hic Alay and I'm gonna do the same thing down here. And a leech is I'm actually gonna save right now, and you'll see here that this is the third test of Mike Drauzio pattern. Now, the other thing I want to do here is just get rid of some of these darker shapes. Mexican, Turn off my hand. You turn off my smart guides. I'm going to make a new color group here, and I'm going to just select some of these and dragged the man just so I have a few colors from this document to work with. Maybe grab one of these lighter PCI colors. Always double click on it. here at the top and make it even lighter. And I'm gonna select a couple of these darker ones. If I option click on it. I can go up here to same feel color. Anything that had that feel is selected, and I can choose a lighter colored feel. Yes, that's the only one of that. And then a couple of these I can just literally get rid off. Really not gonna make too much of a difference to my pattern movies in a little closer and lighten them. So now I've got another version of my toronto. So let's just select All will go into my pattern options palette. Commander possibly gets me there, and then I've got a couple of adjustments to make. I'm gonna change my increment command k and change this to all point and let's go in there again. And this should help move this together a little bit more quickly. Remember, hold down your shift key if you want to jump in bigger increments and you're using only your up and down arrows here. So I've created another really ready pattern, and it's funny how once you put it into a pattern, you do notice darker shapes or lumped up shapes A lot more. Now, in this case, I would possibly do 1/2 drop and just just fill the screen to see how that looks. I'm going, Teoh, take one more crack addicts. I want to make a lighter one. So I'm going Teoh, apply all the same settings is the last time. Like Okay. And I think I'm gonna just get rid of this outside edge here because I think that's kind of given me too much of, ah, line going down here, and it's gonna lighten this one and this one, this one and this one, maybe even these two. And let's make a pattern after the Scott seems a lot better. Let's just adjust the spacing a little bit down my shift key and let me show the tile edge so you can see so you know that it's this vertical line on both sides that were affecting at the moment. And then let's do the vertical. So that will be in between these only down my shift key. And that's pretty during good. I like that one better. And so I'm going to escape being looking over here, we could probably do something here. But for the purposes of this class and the fact that we're going to be using it behind other patterns, I think it's going to be OK. So but escape out of that, let's just apply that new pattern and look at the three that we've created and, you know, quite a difference. As faras, you know, light, medium and dart. He'll probably take me to lessons, too. I really do all the stuff that I want to show you here. I want to keep the lessons fairly short, though. I'm gonna do this part real quick. I want Teoh export this watch library. So what I'm gonna do is go to my swatches and select all of the unused ones and delete. Hm. This will just leave what I've used in this document. Plus, of course, the default black and white ones that have to stay in there. And I'm going to save it as a library like illustrator library. So I'm just gonna call these Terata, so I'm not sure if that has to sense. No matter. I'm gonna call it Peach and meant Toronto, and we're gonna go into the document that I've been fiddling around with and experimenting with father background ideas. Okay? They're all import and will test those. So we're gonna experiment with that in the next lesson. And that's going to be where we're gonna try using these in the background of some of my existing patterns, just to get a sense for how these could work. All right, so I'll see you in that next lesson.
9. Adding Backgrounds to Existing Patterns: Hi, guys. Welcome to lessen eight. So, in this lesson, I want to just basically explore the use of these textured patterns in already existing patterns that I have. Let's get started. So for this lesson, I have brought in a few of my own designs that have created your probably seeing these if you've been in my other classes, cause these air all creations resulting from those classes. So mainly, what I want to show you here now is the use of all of these different backgrounds and textures that we've created throughout this class. So I want to add that last tour also tile that I created. So I'm going Teoh Open Swatch library user defined. And here I'll find mine. So peach and paint that it created, they come in here. I can just individual click on these and you'll see them being added into my main palette. I think I'm gonna add these colors This Well, I'm dragging that whole folder and I've actually got my Canadian folk art collection here, and those are a few of those that I'm using at the foreground to our experiments. I'm actually going to just drag this whole have over here and I don't need any more. That way I can switch quickly. If I want to go in and use some of those, I'm gonna add a few more. So I'm gonna just quickly do that. This from some of my own archives. So for now, of God's, these six that we can try are different backgrounds on that we created. So let's start with this one here. This one. I'm gonna change Teoh this color way. I've got the separated onto their own layer so that I can quickly wrap the one that I want to work on. So we just go to that layer and then I would target the background. That way I'd be just affecting the background and not the foreground. I've also made swatches of each of the textures that we'll be using. So all of my different examples that just makes it really quick for me to copy these watches over into another document. I wouldn't have to do that whole export process like I did at the end of the last lesson. I could just copy it and go to whatever pattern it was that I wanted to make changes to his pace it there and they would automatically be added to my swatches palette. And it just hit delete on the ones I've pasted in here and you'll see them here all added to my swatches palettes so you could see that I have placed a few of the background. I just want to work with you on a couple of these just so that you could see the process. I've got a couple of them here in really small scale. So I'm gonna use my shortcut command option shift D, and I'm going to adjust the scale here not to make it small at this time, but to make it bigger. Okay, I see I didn't actually separate this onto its own layer. Just that when I guess I'm going to select all by option shift dragging over it, I'm going to cut it command back. And then I'm gonna make the new layer and then paste that in place using command shift V. So let's just experiment with a couple of the patterns that we did create. Zoom in a bit and let's try that final Troxel style pattern that we had created Phil for also wrong. One selected. Of course. Yet I only want I'm gonna de select by clicking somewhere else in the image area. And I only want this one selected. Let's click on that Toronto pattern and you can see that that has appeared in the background there. I'm gonna do a bit of a scaling on that just kind of reduce it down in size that you can see that thought would work coat absolutely perfectly in the background here. Very subtle, but the colors air, actually, just about perfect. And you can see that that just adds a really pretty kind of, ah, soft texture in the background. Yeah, it would be perfect for behind a pattern. I wouldn't even worry about the pattern. Pete, I know that we created this one that last class as 1/2 drop repeat. But I think it wouldn't matter as far as the repeat on that background, because it's so well hidden behind the floral. So that's a pretty cool technique there on this one. Here, lets locate the layers here so you can see that right now the background has one of the florals in it. Here, Just see here. Yeah. See, it's got that other floral in that I'm going to select that actually lets slept before. Oh, first to do this one at 300% and then will select that background. And let's feel it with was thinking one of thes polka dots and look how cute that looks with just a simple dot pattern. This would actually be a really fun one to select all and take into theory color, too. And just for the fun of it, less change to First of all, let's just experiment with doing this. This is kind of fun. Just it's super quick, and you can see how changing your honor colors to adapt to the background could be a really fun way to find another idea. Or he you could change to a completely different color way and do the same thing. Or you could also individually go in and change some of the colors so we can't ever really go back. But let's I'm gonna council here, and I'm gonna do that again. And there was one a kind of light that one there, and we can actually individually go in now and just change the intensity or the saturation . Whatever you wanna call it of the color I'm in C. M. I came out here. You can change it, but what you can also do and see him like a is You can just hold your command key and you can drag all the sliders at the same time. You can double click on the color and then change it completely. And let's try with color. Do you think the things color here is probably this stark color release? So let's try changing that Teoh Just a whiter it white on her percent white while hellis try 100% white. No, that didn't work. I'm gonna try a light pink, I think really light. And then the black I'd like to change to white. Not that one. I thought that would be the old line. Let's change this one, actually to red dot reddish and this must be my lines here, so I'm gonna change those to bite. And I mean very quickly I can come up with a pretty cute color scheme, and really, the possibilities here are endless. But you get the idea. You can see how fun this could be with whatever patterns you've got going on in the background. So there's two quick ideas now. This one here saw was the kind of weird woven pattern that I had done just with the brush tool on a colored rectangle. Gotta really limited palette here, so it should be pretty easy to come up with some multi nets. Let's try, maybe in darker brown, and then this peach, maybe more of a grey. So very quick changes on that one for the fun of it. Let's just try doing this also in up your black and our foreground as a pure white. So that could be fun. I think I would change the scale. So when we get out of the re color tool, I'll change the scale of that background color going to my layers palette. I want to select just the background, and let's just change the scale without you. About 50%. Why does that make me feel like or think of Christmas? I guess it's the trees. Let's try 20 so you could see hope, much versatility. Having these extra patterns is giving us and all the fun things that you could dio just using the re color 20 or changing the foreground I mean, I could go on and on. Honestly, I really could, About all the different things you could do here. I've also got another one. I want to show you real quick, though, and that's this one here. I did that trick of adding my color swatches by just quickly copying the swatches here and then take them into this document and pasting them. Now, I can actually just get rid of them. They're here in my swatches. So for this one less experiment with actually filling the different parts of this floral pattern I also created here just with one single dot I created a couple of red patterns polka dot patterns. I want to show you real quick once I apply those how cute they were something that was that open this and this and that is a really fun kind of me to give you ideas. Let's just say that is a fun way to create a very, very different looking pattern. Instead of using those tiles that we created the background we actually have and being used to feel our foreground as well. Just think about that now. We could also have changed the scale on that we could change the background. Tile colors could be a much darker color so that you could see your pattern better. Let's just go back to the blue, and I want to change this to be the concentric circles. Now I've got it over laid on a kind of a beachy colored background, so that doesn't work with this color scheme. But we can easily select that other peach layer over here could easily replace it with a dark Navy sort of a color. And then this pattern really stands out. This looks like it would be just great on a bandana or something. Now, I also have those other textures that we created using the beach and let's try was textured patterns, so that could be super cool and fun to. So I am absolutely fueled with ideas now, all the different things that we could do, and we actually have done this pretty quickly. We created a bunch of different patterns, probably in less than an hour's work. How fun is that now? Experiment with the end, figure out some really neat, different things that we could dio. I'm going to just pull my swatches out here. I don't have Teoh switch back and forth all the time. I'm gonna change his color background to likely darker blue. And I want to change this one so that you can see that block texture a little bit more. Try that one. Me just really. It's It's all experimentation for you at this point, um, or you experiment more. You'll know what kind of things work well together. There's still so much for you to experiment with beyond color as well. And that's things like thes scale of your pattern. No, that's pretty easy to change If you were to select that layer man option shift D will scale your patterns as long as you've got transform patterns at the bottom here selected. And you know you can experiment with different skills to try to arrive at one that is pleasing tea. And then, of course, experiment with all of the different feels that you have created Teoh. Decide what kind of thing works for you, you know, think about now with your design work, what you might want to do different. I am gonna go nuts with all of this, trying to figure out different things that I can do experiment with and look at that one pattern on pattern. That's exciting. I really hope you guys do a lot of experimenting at this point. Don't be limited by the ideas I've given you. Do some exploration and see where it takes you. Let's go through the actual steps here of creating a pattern with a pattern. So the main thing I want to show you here is that patterns can't be created using anything that's painted with a pattern. So we're gonna have to do so steps to prepare this for the pattern making process. I'm gonna lock this background layer. Using the shortcut command to it is selected all by dragging over and wouldn't have to do is go to expand. And then I want to expand both the pill and the stroke and then that I could now make into the pattern. This looks like it was a grid to me, So let's just check this out now. We're doing a lot of processing and you know what that means means that illustrator processing power that has at the moment is a bit limited. So amongst the other things that you could do you know, I always was closing the documents here. You can also make sure that you don't have a lot of other programs. Run a starting your machine sometimes will make a difference. It's really quite amazing how much computing power something like this takes. And, ah, well, illustrator actually does handle it. Not only is it remembering all those levels of undo but in the background here has created my pattern tile. So that's a new pattern tile that's been added here. Let's make ourselves a nice big example, and I'm gonna slide everything over here on the screen. I am super super happy with this are really think that this is going to be something that I am born to explore big time. You could see that my spacing on that last tile was not perfect, like in the pattern maker tool. I really love this. I think this holds a lot of potential for future pattern design for me. I've done textural stuff before, but mostly in photo shop. You may have taken or seeing my other textural floral pattern design class, but had it not been for a particular student asking me how to do this in illustrator. I might not have ever explored this. So I'm really thankful for that little in the bum that got me going on this different avenue of exploration. So I think for the fun of it, next would be really great to try all thes on mock ups. So I will meet you in the next lesson where we will take a look at some of that kind of stuff. All right, I'll see you there.
10. The Project and Mockup Examples: Hi, guys. Welcome to lessen nine in less nine here, we're just gonna do a bunch of random little experiments. I thought it would be fun to just kind of show you a few other things that I haven't shown you throughout the class that I think are quite important. I have copied this pattern here from a collection that I've been working on, and I just kind of like it cause it's got some really bold silhouettes. So I grabbed it and brought it into here. And then once I had it in here, I filled it with ah bunch of our textures. So I've done the marker lines you probably recognize here this is the market lines that we created in one of the other lessons. And then here we've got the straws, Oh, tile. Kind of a pattern that we've created. And I wanted to just fill a couple of more shapes here. I'm going Teoh select the same feel color and that I'm going to fill with dots and resize it. An auction ship De and actually, I'm just going to get rid of this one here because we're not going to be using it. I just want you to see the original. And you could see how fun and interesting that's already starting toe. Look now, one of things I want to show you that I didn't show you in the other lessons. Waas How to change the color off an existing pattern to do so is actually very simple. Just dragged the pattern out from the swatches palette and this has got the complete repeat . So remember when we was created it, we just put one daughter in there. But this is the one we created with the pattern tool that gave us the complete repeat. And I want to change the color of those dots so I don't want to select that square in the background. So I'm going to select everything, but I'm gonna drag select with my option key to get rid of the square that defines the pattern. And I'm going to fill that with this color that I'm going to be using. Now all I need to do is grab that and you see, now I'm grabbing it with the little square dragon, get into my palace, and now I can select everything that's the same here, like same feel color, and now we can switch it out for this other color of dots. Also, what I'd like to do here is even gonna try actually, a darker one. So I'm gonna select D, select the square, fill out one with the darker shade of that color and drag that in there. Let's select these again. You know why it won't work here. I'm gonna go up here to select same deal color than it does seem to work. I'm gonna do the darker dots, Don't. What I'm gonna do is copy, so I'm copying that completely command ship V, which paste it in front, and then I'm gonna fill it with this lighter kind of a beige color. Then I'm also gonna go in here to the transparency palette and reduce the opacity so that I have just a little bit of a brown in there. And that's just a fun experiment that I wanted to do and show you. I know I don't have these guys colored right, But I'm sure you get the idea. So remember this whole class started because of this pair of shoes and how much I liked this textural background that was in behind these florals that I had done. So let's just check this out with some of the other stuff that we did these two patterns here, remember, I thought these would be pretty cute on a pair of running shoes, so I have just placed that pattern onto the smart object. And now you see that being replaced here with my new pattern, and I think that is super adorable. And I love, love, love, the texture, a little polka dots and behind then that plaid texture that we had created just with a square and a bunch of white painted lines. I also took the pattern that had the other picture that we created with a square and a bunch of lines, and I dropped that in behind that particular pattern to make in this dress. I just love that I really like texture, but I just love that. I think that almost any sort of ah nice, bold pattern that you have will work great over any of those textures that we created. Now remember, we also had created that floral with polka dots in the background, and I thought that one was really sweet, A swell So just with that little bit of experimenting that we've done in class, we've come up with some really cute, really interesting and quite intricate looking final patterns just by adding texture. Here's a quick look at that brown floral that we were just working on, and I would need to do a little bit more work on it cause I've missed some sections here inthe e terraza I would have to obviously address, but just Teoh, if you're really quick, look at it for you to just assess how successful patterns can be. And I actually really love this marker one. I think this marker one would be really, really useful. I'm good. Experiment with that a lot more. I think I'm gonna make a fume or like that's really good old hand drawn textures might be an idea for another glass. Who knows? That's just these few experiments that we've now done have really inspired me. So I think I'm gonna be doing a lot more of this kind of thing. Now I've got one last little thing I want to show you, and that's gonna be a really good idea for a class project for you. This project here was one that I was kind of messing around with last night. Just Teoh have a little bit of experience with filling the different shapes. And doing that color change on some of this watch is like I just showed you. So what I had done is just grabbed that set of dots exactly like I just showed you change the color, dragged it back in, and I did that with several of them. So, for example, this this one here, I've now got in a couple of different colors as well. So that was one of the things I did was go through and make a bunch of different color versions of each of my textures. And then I went through, and I applied them over other areas of color for that particular pattern. So, for example, here I got this set of dots overlapped over a different field of color in behind it. I've also experimented by going in and changing the scale on a lot of them. So if you see here, for example, the concentric circles, this is the just straight grid Repeat of it, and a very small repeat. This is, uh, Hex by Roe. I think that we did for that one and, of course, a much larger scale. And I've over laid, you know, the dark over the light, the light over the dark and done a few things like that just to really get a handle on how I could work with my textures. Another thing I would recommend would be to drag select, so you get both the foreground and the background. So I'm drag selecting over the two together and then experiment with going into your re color tool and trying different color groups if you've got them set up, or just try different random changes of color until you find something that you like. Ultimately, what you need to do or want to do is get comfortable with using all of those different tools so that when you are working with your textures and your patterns, the ideas come very easily and the execution is very efficient. So for your class projects, I'm recommending that you do something like this. I literally just drew the shapes real quick with a passel tool pencil tool is shortcut and on your keyboard. When you get close to the very end to make sure it's closed well down your option key, it will close the shape. I just did several overlapping. Let's feel this one de select before you draw 2nd 1 remember? Option when you're right at the end, I'm gonna change this to be a higher number. So that will close even if I'm not super close. Gay. Feel different. Alternate color and again, another alternate color. You could do squares, rectangles, whatever you want. Circles do a combination. What I did is I. Once I had done the drawing, I simply went into Pathfinder and divided. And then I had all those different areas to fill with different shades or colors. And then course I went through and did. The pattern feels okay, and you could do whatever you want. It's all up to you. It's just whatever you want to experiment with. And then once you've got a bunch of shapes here than cut this, I'm gonna make a separate layer. You probably won't have this on your document, but I'm going to make a separate layer. Command shift V will paste it in place. And I just wanted you see this because we've got that group there and then I'm going to do compassion, V and that will give me the second group. Now I can go into this group here to do my patterns, so just individually select. And I'm making sure that I am on that second group. So the top group. So let's just go through and just really quickly fill these with a bunch of the patterns that I've created. So I've got each one of those filled with the pattern, and now I can go through and just individually select like I moved that slightly. So Command option Ship D playing with my size. Here you can experiment with all of these different things, but mainly it's the size that I would be working with and something like this, where you've got to side by side, that air the same. It's fun to experiment, then with a really different scale, just so that you get the idea of what they do and how they look and how, when this is at 10% how much different it looks, when is at 20%. So you get the idea. You're basically just going through and changing sizes, experimenting, and then the next thing I would do is do the colors so you could go in on your layers. And this is your group that you've got patterns in. You could call it that when could be your solar colors and then go in and select and individually change those for the fun of it. Let's just move that out so that we can select quickly. So I'm going to use this method of selecting and then I can change the colors more easily is when I might want to change it. Teoh a soft greens that has the green on green tone. Try bright yellow on that one. This one, I think, needs to be a blue or gray. So this is just a total exploration for you at this point, just so that you can get the idea of what each of the different settings will do. So I hope you can have some fun with that. That's a project that should take you just our two for experimenting, and then when you're done, you should have something fairly similar to this, and it really depends on how elaborately you drew that original. So have some fun with that and Definitely. If you are interested, post your results. I'd love to see the patterns that you've created. All right. Okay. So I will meet you in the wrap up. See there.
11. Outro and Wrap up: thanks so much, you guys for hanging in there till the end? I hope I've blown your mind with some really great ideas that you can apply on a day to day basis. I'd love to see you create a couple of textural patterns and share them here. You know that sharing is a great way to come up with new ideas or to share your ideas for other people to come up with new ideas. I'm sure that makes sense to you. If you're looking for artists, resource is check out my to Pinterest sites. The 1st 1 is called Delores Art Delores. Nah, sprint. And the 2nd 1 is Teacher Delores aspirant I share tons of resource is and you'll probably find a lot of examples of the things that we've been talking about. I create boards for almost every class that we do or a referred to boards that I already have. If you've got a minute, can you please leave a bit of a review? I really appreciate all of your comments, and I've learned so much from the sharing that you've done. Sharing information about our lives and our practices is a great way to nurture for the development. Make sure you let me know if you've got some ideas for me. I love challenges. I really hope to see you in more of my classes so you can get a really good overview of pattern design, art, art, journaling and anything else that I've done. I love to see returning students and make sure you let me know if there's anything I can do to help you in your journey. Check out my stores. I've got one on SAS alive. Got when I'm red bubble. I've got one on society six and I've got one at art. If we're here in Canada, make sure you post the name of your store so I can check it out as well. I guess this is bye for now. See you next time.