Transcripts
1. Class Introduction: Welcome to this class on how to create
botanical patterns. This is part two of the class. Create water color patterns
inspired by nature. If you haven't
watched part one yet, I would advise you to do that. Just click on the link to the class we find in
the about section. If on the other hand
you have already some flower motifs you can
use to make a pattern, Feel free to ignore the previous class and
just keep watching. But first of all, let me
introduce myself. Hi, I'm Katia. I'm an artist and
online teacher. I'm based in sunny
Sicily, Italy. In this class, I
will show you how I scan my watercolor motives, different ways to clean up your painted motives using
Photoshop, but also procreate. Then I will make the
pattern in Photoshop using both the patent view method
and the manual option. Then I will show
you how to export your motives from
Adobe Photoshop and make a pattern in
Adobe Illustrator without the use of image trace. You won't have to lose the pintally style of your motives. By the end of the class, you
will have learned skills you will be able to use in
other projects as well. Although this class can be
used by beginner students, some experience of using Photoshop and Illustrator
will be beneficial. If you're ready,
let's get started.
2. Class Project: The project for this class is of course to create a
botanical pattern. You can use any of the methods
I showed you in the class. You can use the patent to the manual option
or illustrator. Then you can upload
your pattern on POD websites to decorate
different objects for the house, for yourself or your pets. Don't forget to post pictures of your pattern in the
project section. I can provide feedback
and admire your patents. If you have any
questions, don't hesitate to ask in the
discussion section, just make sure that you
click on Ask a question. Otherwise, I won't be notified and might
miss your question. Get your materials
ready and let's go.
3. Scanning the Motifs: Now that you have your
botanical motives ready to be scanned, it's time to scan them and then we can bring
them into Photoshop. I'm not going to go into
too much details about scanning them because
I have an old scanner, it's a light 210 cannon. I'm sure you will have
a different scanner. But more or less it will be the same sort of
window and settings. And that one thing I
advise you to do is to use at 300 DPI,
possibly more. I'm going to use 600 because if you scan your
motives at a higher resolution, you can have them larger and
you can make them smaller. But if you scan them
at a lower resolution, you won't be able to enlarge
them afterwards with Photoshop because you will get pixelation and it
won't look very nice. Start with a higher resolution and you can always go smaller. I'm going to preview it. Some people like to
adjust different settings to change the color
and make it different. I don't really do much in here because I do all the
adjustments with Photoshop. I think I will just leave it. As you can see, some flowers are a little bit cut off because the page is slightly
larger than. What I'll do is
I'll do two scans. I will do one for all these flowers and then
I will move the page. In another scan for the flowers, we're going to need
these motifs separately. Anyway, It doesn't matter if
they're in different pages. And also with Photoshop, if you want to have a motive, something that is entire, you can always
stitch it together. There's a functionality in Photoshop that allows
you to do that, But in this case, we
don't need to do that. Just to show you some of
the things that you can change the light,
make it darker. But as I was saying, I don't really bother to
do this adjustments here. I just scan it and
then do the rest. It will take a little bit of
time because it's 600 DPI, It's a bigger file, but it's really worth it to scan it at a higher resolution. Okay, you can save
your file somewhere, you can easily find it. Then in the next lesson, I will show you how
to start cleaning up your motives and detach them
from the page background. I'll see you in the next lesson.
4. Object Selection Tool: Now that we have our motives
scanned and ready to go, we can go into Photoshop. I opened Photoshop. What I do normally is just open the folder here where I have my motives and just pick one. I'm going to just
pick this one and drag into Photoshop
and then let it go. It will open the page. This is the right sides for the document so you
don't have to worry about creating a document which has the perfect sides
for your paper. What I do now is I do the adjustments before I
start with the cleaning up. I go into image and adjustments. I usually go into levels and try the auto feature because sometimes it works quite
well, like in this case. If it doesn't, you can always play around with these
little sliders here. The first one will
make it more white, Then the middle one
is for the mid tones, so you can play around
and change the. Then the last one
is for the darks. It will make your colors darker, but I think I'm going
to stick with the auto. It seems quite a good
result for the. Just click. Okay. Actually I need
to do the lock there. If you press Alt
and use your mouse, you can make the
image a bit closer. What I do is, okay, we'll start with
this flower here. There are different ways
to do the same thing in Photoshop or Illustrator
is the same thing. I will show you one of the ways this is the
object selection to you can use this
one for example. Basically what I
do is I just click and drag all around the shape. It should select the object. We see how it goes. This one works when the colors
are quite strong. When you get here,
you just let it go. It just see the
object and select it. It doesn't matter if here
I went over the petal, because the program should
see where the pixels are. We see if it does it, okay? As you can see, it
selected the shape. It's going all the
way around the shape. Let's see if it doesn't
select the shape by itself. Then where you can
do is you can go into this little window
here on the left. And click, which is the masking
window I think is called. In this case, it will show you what is selected
and what is not. As you can see,
everything else is green except for the flower
which was selected. I'm not sure why it selects this and this when
it go over it. But you can see here, it is selected. We
can leave that here. But if you don't want, for
example, this little bit here, one thing you can do is
press the B for Brighton, You will have a brush. You can see here, always on the left
there is selected. This means that whatever you paint with your
brush will be concealed. The black conceals. And it is a bit like procreate if you used procreate at all. If you want to reveal something because it
hasn't been, for example, this bit here wasn't selected. It's green and it
won't be selected. Then I usually press
the X on your keyboard, and it was switched to white. And the white reveals, if you paint over it, it
will reveal your image. We can check that everything
has been selected here, for example, Maybe
a little bit more. I think it's fine. In here we have some of the paper which I
don't want to see, I don't want to pick up. I'm pressing the X to go back
to the black, to conceal. And I'm pressing the
left square bracket on the keyboard to make the
paint brushes molar. Usually the paint
brushes up here, I use the hard edge
brush for this, people use different
brushes bigger. At the moment I'm
using the mouse, It's probably better
to use the tablet, the drawing tablet
if you have one. But as you can see, I'm
just doing it with a mouse and it's okay here. It's not really a problem. There's another little bit here because then if you
have a dark background, you might see the white
specks a bit more. I'm just getting
rid of the white, Maybe something around here and we can always adjust it. This T is a bit more complicated
because there's all this, the stamins of the flower, but we can check
this afterwards. At the moment, I just
wanted to show you how I select the flower. When you're happy with it,
you can click again on this masking window icon. Then what I do normally
is control C and control V. If I open the layers panel, you can always go to
windows and layers. If it's not in here, then I just click on the eye
here to conceal this layer. As you can see, we
have the flower here. What I do normally is if you go on the plus sign down
here next to the bin, make another layer,
bring it to the back and I'm going to
press on my keyboard. It's giraffe, it's black here. Pick a dark color and
just fill this layer, this layer here, which you can switch on and off if you want. This will allow you
to see if there are white bits like this one. For example, when the
selection was made, this wasn't completely smooth. Unfortunately, with Photoshop, it's one of those things that you use when you're not in a hurry because there
are adjustments to do. We'll show you all the
different adjustments, but it takes time. It's something that
you have to be prepared for just to
take a bit of time. In the next lesson, I'm
going to show you how I proceed with adjusting. For example, this
perimeter here that is not nice and smooth and getting rid of the extra white, and so on. I will show you that
in the next lesson.
5. Adjusting the Motifs: In this lesson, we're going
to see how to refine and clean up our motif
that we isolated. What I do in this case is to go into the eraser and
get the so too. I need to select it again. Use the left bracket here. In this case, with the eraser, I'm going to use a soft brush. It won't be sharp,
basically the edge. It's all a matter of
going round again. It would be easier if you
use a drawing tablet, But at the moment
I'm using the mouse, you can see that sometimes it might be not as easy as when you
have a drawing tablet. But you can still do it. You don't have to go
in and buy the tablet, basically, I just go around
and smooth the perimeter. You can see because you
were using the soft brush, it doesn't give a clean cut, it makes it a little bit
more natural looking. You want to do this
with the entire shape and every one of the
motifs that you clean up. And you can see
here, for example, there are little imperfections
which you can adjust. Also, while you doing this work, you can look at little
imperfections here. For example, there
is a little stain. Sometimes it could be the color, it could be on the paper. What you can do is if you
use the on your keyboard, which also this one here
is the clone stamp to, but I like the shortcuts. If you click the S and
then I make a little bit bigger and you
need to click old, of course, Hold down
the old key and then click somewhere near the stain that you
want to remove. And then click on the staines. Working sometimes leaves
this obvious mark there. What you can do, you can
also use this one here, which is the spot healing
brush To this one is the J, and it will give you the letter when you hover over the icon. Let's make it a bit bigger and make the brush a
little bit bigger. And you just click and
drag it on top of it, and it will remove it without making it very, very obvious. This works for small things
like that stain, for example. And then in here, I like this as it is because it's the
nature of water color. But if you don't like that, there is this little bit of
orange going into the green. You can use the clone stamp to and maybe make it
a little bit smaller. Click somewhere
near as you can see the stamp to sometimes
makes it obvious that there is a change there
that is being used. It depends where you use it. Maybe we can try with
the spot healing brush, but you can still
see a little bit. Of course, if you
look at it like this, you won't be able to
see that correction. Then in here you
can use the so two. So you can press on your
keyboard for the so two, then the clone stamp tool
maybe could work here. I usually click, click and
drag because it might give you some weird effects of always remember that this
will be a smaller scale. You're not going to have
this close up view. When you do your pattern all you have to do is
basically go round, use your so to spot
healing brush to maybe the clone stamp two and just correct the few mistakes
that you see around. For example here you can see
that adjust it like this. I'm going to do that
for the entire flower then I'll show you what I
do next once this is done.
7. The Pen Tool: In this lesson, I wanted to
show you a different method for cleaning up your motives. As I was saying, there are many methods
to the same thing. One method I like to
use is with the pen to. I know many people are scared, worried about the pen to, but it's not that bad. Once you start using it, you just go here in the pen
to press on your keyboard. And basically, I start from one point as you can see here, because I wanted to show
you the drawing on camera. I left it quite dark and
you can see it here. But maybe with Photoshop we can get rid of the dark
line of the pencil. You make sure when you
do your painting to have very faint lines for
your pencil here. I just click and
drag a little bit, then it's a matter
of practicing, but you just need to click
and drag and make it closer. It will follow the
contour of your motif. If you don't like
one of the points where they are situated here. For example, I want
to move this one. Click on control and click
on the little square. When you click on
control are able to move the point and
also you're able to adjust the handles to make it to give it
a different curve. Then let go of control
and you can carry on doing your contour
of the object. You do this for
the entire shape. And I'm going to speed up
this a little bit in here. As you can see, I'm putting the line on this side
of the pencil line, I'm cutting it off. Essentially the most
important thing to know is to remember
is to creak and drag. So you can have these
little handles and you can change the shape
of your curve. I tend to do short ****** here, I won't go and do this, although sometimes depends
on how it is you can do it, but there's more control. If it's a shorter
space, for example, I'm going to do this, I will speed it up because this is
basically the same process. Click and drag. Just practice with this and you will see that that scales, not that bad. Then once I've finished
the entire shape, I will tell you what to do next. All right, so when you arrive at the point where you started, you should see a
little circle next to your cursor which
is shaped like a pen. Just click there and you
will have your shape. Outlined. Now what we need to do is to go into this
here, which is Parts. Again, if you don't
have it there, you can go to Windows
and go into Parts here. There's the little menu. If you click on the menu, you can then click Selection. You can change here the feather, which is how sharp or blurred
they will be, the contour. And then you click okay, You have your selection here. But at the moment actually
everything else selected. I haven't found a way to do this at the moment.
Straightaway. So there is, what
you need to do is go into select and inverse, or you can press shift control. Now, it doesn't look like
it's changed anything but the little magic Ns
are around the flower and not around the entire page. Now, control C, control V. We
have the flower by itself. I do the little
feathering thing so that this is not too
sharp and as you can see, I'm going to put the black
layer that we had before. As you can see, it doesn't give it that
paper cutout effect. Then inside here, we have
some white areas which we can clean the same way with the
pen and just outline this. For example. I'm going to do
this one which is smaller, just to show you
again how I do this. When you get to a sharp point, you can double click, will
give you this shop point. Instead of curving, we've
done another selection. Here again there's
a little circle. There we have a close selection. We go to Paths and the
menu and make selection. I usually leave it as
0.3 it should be enough. Then shift control to inverse. It's selecting this little area. In this case we can do
delete to get rid of the selection is control D and as you can see we
have this area deleted. If you don't like it the way
it is, if it's too sharp, you can always go and
make some adjustments. I hardly ever use
just one method. I use different
methods combined. I'll do the same thing here. You can erasor if you
don't want to use the pen. In this case, just go round. I have the mouse here. It's not exactly the
easiest thing to do, but there you can
go round like this. Then this bit here, you can either erase
like this or you can select the lasso to
under this two here. Then just go around
it like this and then delete and control D. And then
just get rid of the white, make the brush smaller. Maybe a little bit here as well. There's one more here. I'm going to use the
pin to for this one. As you can see, you can
use different methods. Doesn't have to be just one. Usually actually the
methods are best combined, close the path, make selection, this is okay, 0.3 shift control, I to select this bit
and delete and then control this bit here
I don't like too much, you can always do
the adjustments. Then again, if there
are imperfections with the J healing to you
can get rid of them. Maybe even pencil lines can make them fade them or
make them disappear. Here for example, there
was a little bit of paper showing you adjust this. Then where you can do, you can also see
this little areas here where there's no paint. For example, with the, with the clone tool you can hold the old key
and click near it. And then in this case
you can use this tool because it won't show too much because of the
texture of the watercolor. There's another little bit
there, do the adjustments. You can get rid of some of the
hard ages if you have any. Here for example, there
is a little bit of white. It needs a little bit of time to be adjusted way you like it. Okay, This was another
method that I use. Then in the next lesson, I will show you one more method, and then I will show you
how I go forward from here. I'll see you in the next lesson.
8. The Magic Eraser: In this lesson, I'm
going to show you another way to get rid
of the background. Although this way I don't normally use it
because it's a bit fiddly and it always leaves a little bit of
the white behind. When there are things like this, it won't work properly. I'll show you what I mean.
I'll make a copy of this. I just quickly and drag it
to the little plus sign. It's always good to have
a copy to work with. The method that I was talking about is with a magic eraser. If you click it, I'm going to make sure
I'm in the right layer. You just click the white, which is what you
want to get rid of. But as you can see
at the moment, it leaves a lot of white residue behind it takes away some of the white
from the butterfly. That's not very good. What you could do is you
can get the lasso to, for example, and maybe select some of these that
don't have much white. This for example, doesn't have any white control C control V, you have this
flower and then get the magic res and bring
the tolerance up to 20. Maybe the higher it is, the more pixel it will
delete of this color. As you can see, that's taking the background completely off. However, it leaves
all these edges here. If you have something defined, maybe you can use this method, but I don't like it that much because it's
not very precise. But I wanted to show you
this method as well. There is this
possibility as well. But I prefer to use the methods I showed
you before with the pen, with the object
selection for example. I'm not to use this, I'm going to delete it. I wanted to show you
another little trick I use. Once I have the motives done, what I do is I'll
select the motif and do control C and
then go to Edit, Paste Special and
Paste in place. Or you can do shift control V. Now you have going to actually get rid of this
one for the moment. Now you have two copies
of the same motif. What you want to do is you
want to go on the bottom copy, go to filter, go
to Blair and Gcm. Blair. What this does is it makes the object
underneath blurry. What I'm going to do actually, is make this bigger so you
can see what I'm doing. We have the bottom layer
selected, go to filter. Blair, Cassian, Blair. If I click Preview on and off, maybe it's still
a little bit far. Make it even closer. If I switch on the
preview on and off, you can see around the edges, it's more or less soft. You can change that
with this slider here. It will be very blurry
or it will be less. I do something that
is quite subtle but which makes a difference
when it is not there. This is without the b,
this is with the blare. I do this because this
avoids that paper cut effect 1.8 to two's plenty. I think you can do this
for all of the motives. What I do normally is I make
a copy of the original one. This is the top one here. If we switch it off, you can see that this one is the blurry one. I make a copy, just
click and drag, bring it to the bottom. The two, I will flatten them. You will have to deal basically with just one layer
instead of two. I'll select them and
then merge layers. You can do this when
you completely show that you are with the result. I do this with all my motives. This one here, for example, control C and shift control
V, it's underneath. Then I go to the bottom one. Of course, you can
name your layers. It's easier for you to see which one is which
we are you working. Then I go to filter
Blair and cost Blair, it's already applying the
1.8 so as you can see, it gives that little
Blair effect around here. You can make the copies
beforehand. That's this one here. I bring it at the bottom. As you can see, this
is the blurry one at the bottom, at the top. And I will select them
and merge the layers. These are ready for the pattern. Now we need to finish creating
all the other motives, and then we can start
building the pattern, which we will do in
the next lesson.
9. Make the Pattern - Pattern View: We are now ready to
make the pattern. Of course, there
are different ways to make a pattern
with Photoshop, and everyone uses a
different method. One way to make the pattern is to use
the pattern preview. It's in view and then you
go down to pattern preview. This will give you basically this screen.
I'm going to close this. It will show you as
you make the pattern, how the pattern will look like. You can arrange your
motives and you will see straightaway if there are conflicts and how the pattern is actually going to look like. One reason why I don't
really use this, at least to build the pattern, is because I might
be wrong here. But I find that you can
only do a full drop, which is basically when you see the motives repeated
um, on a square. I like to do my patterns in a half drop because at least
the repeat is less visible. With this method, you see
straight away the repeat. I don't tend to
use this type of, of two from Photoshop, but if you want to
use it, do this. Basically you arrange
your motives. You can see straight away if there is a conflict,
for example. These are very close, you
can move it a little bit. It's a bit like the pattern tool that you are in Illustrator. For example, here I click
on this flower here. If you press control can turn motives then to
come out of this enter. So you can do the pattern,
and then if you want to repeat some one of the motives, you can just click on it. Then click and hold, or press and hold the old
key on your computer, and then click and drag. And you have another motive. Then what you do
is you do control. And you can move it like this, or with the motive selected, you can go to edit. And let me see if I
find it transform. And then here you have flip, horizontal, vertical,
even rotate. I only use this
for Fizontallylok. The other way you can do this
with the flowers as well. Let's say we want this old
key and click and drag the what was it
transform? Fprizontal. Now it looks the
other way and you can put it somewhere here. Once you have
everything filled up, then you will be able
to see your pattern more clearly. Let's see where you can also do is, for example, copy some elements. I'm going to copy this leaf. I'm going to go to the lasso to make sure you
have this selected, you just click on it. Then with the
lasso, I'm going to select the leaf and
control C control, and just press V
on your keyboard. Then you go back to the
pointer and as you can see, you made a copy and
you can add it here. This motive will become
different from this one. Not hugely, but still is
enough then if you want to group these together, you can merge the
layers. Let's open this. We have layer 14 is the leaf, this is here, flower. If I put them close
to each other, I All the shift key and
select both of them, and then right click
and merge layers. Now, this layer, as
you can see, this one, they have this little thing here which is because they are, they are a smart object. I forgot to mention this
before, I apologize for that. But what I do, normally, once I have my motives already cleaned up
and ready to go, I click and convert
to smart objects. I do this for many reasons, it's a good good thing to do. But especially because if you shrink them and then
you want to enlarge them, if they're not smart objects, they will lose definition and they will start to pixelate. But if they are smart
objects, they won't do that. You can shrink them
and enlarge them. This is a good thing
to do for this reason. I'm going to put
this somewhere here. You can move this on top of the flower by moving the
layer as you can see. Now the feet is on top, or let's put it back. You can do control shift and right bracket,
square bracket. You will move the motif
up in front again. You can merge it or you
can leave it as it is. But if you want to merge
it, I will make a copy, because otherwise it
will be merged and then you will have to separate it. A bit. Annoying, this
needs some work. But just to show you now, you can see the pattern. But as I was saying, I don't
like to use this method because it's a full drop
repeat and it's easy to find. The repeat is there are some empty ******
which we need filling. It would need a little bit of work to make it a bit nicer, but this is basically how do, how you build it with
a pattern to, well, it's not exactly a pattern to, there used to be one
but they discontinued. It's just a pattern view. When you finish this, you will have to define
your pattern, but we will do that
in the next lesson. I will show you in the next
lesson my way to do pattern. I see you in the next lesson.
10. Make the Pattern Manual Option: In this lesson,
we're going to build the pattern using the half
drop instead of the full drop. Of course we're going
to do this manually. The first thing we do, you need to make sure that
you have your rulers here. If you don't go to
View and rulers also, you need to check that. Go to Snap to and
document bound. Then you just click
on the ruler and drag the guide here
with snap to your, to your artboard, let's say. This is a method that I've learned from the very talented, very nice artist and
pattern designer Sarah was. I'm not sure if other
people use this, but I loved it and
hopefully she doesn't mind that I'm showing it to you
because it's very good. I do this because when you move your motif to the side
of your art boards, not like with Illustrator, where you can still
see the entire motif, in this case is cut off. What we're going to do is something that will
show you the motif. Still when you move it,
we need to go to image. And let's see, canvas site. It's 25.4 I have it in centimeters, so
I leave it as it is. And I just do plus, let's say five and plus five. This will add 5
centimeters all around. And what happens
is when you move your motives to the corners, to the edges, you
can still see them. We'll have to put the
back where it was. But now we see where the boundaries of our art board is and we see the motives. Then we just have to start
building our pattern. I'm going to do control using
the same methods as before. We just use the control to
move them and position. Let's see, let's put another
one on, the white flowers. I'm going to rotate
this transform, flip horizontal, although it
looks a bit like this one. Maybe I'll leave it as it was. Maybe I moved this a little bit. This, we probably need
some work anyway. But I just want to show
you how these things work. Now, we need to move this
motif here at the bottom here. If you made patents before, you know that everything left
needs to be on the right. Everything that is on the
bottom to be the top, and versa, and so on. We need to copy this down here, We need to make a
copy of the motive. First of all, we'll click and drag this
where there is the little plus sign just
there and it makes a copy. Now it's made a copy exactly
where the other one was. Click on it and then click
a control first of all. Then in here I usually
put cursor in there. We need the y axis, which is the vertical one. I do plus was 25.4 centimeter
and as you can see, it's already moved down here. And then just click and enter. Now we have a copy there. If we need to move it, we need to select both of them. Click Shift while you're
clicking on the other one, because otherwise you will get the motive cut off in here. Maybe we can add this one. Move it a little bit. Actually, I'm going
to put it upside down because if your motives are
going in all directions, then if you're making a fabric, you can use it in all
different directions. But if your motives in
just one direction, then the fabric, you can only use it in one direction and
you might need more. More fabric to do your projects. I'm going to put this little
there, maybe this here. Let's try. When I
use this method, I build more or less of the
motif of your artboard, and you'll see why in a moment. I'm going to maybe replicate this all down the old
key and crick and drug. I'm make it the
other way around, transform and free Pizonto. It looks the other way even though it
might need to be moved, There will probably
be some conflict because this is a bit over the. Basically what I normally
do is actually I don't put anything at the bottom but just on the left
and on the top. And then I do all of these at
the same time and just make sure that your
background is locked because otherwise you will
select the background as well. I selected these motives here, I click and drag them
to the plus sign. I do the same as before. Control in here. I do plus 25.4 As you can see, they moved down here and then I do the same
for this side. Quick and drag and
select all of these. And then click here
and make a copy. And then control in this
time is on the x axis, you do plus 25.4 it says pixel
there, I add centimeter. I don't know why I said
pixels, but anyway, you have your motives in
here on the bottom now to do the half drop is the same method I use for the patterns I do
on Illustrator. I select everything
and then do the copy. Going to the plus, then control. Then this time we need to move the motives to the right
and towards the top. On the x axis, it will be half of
25.4 is 12.7 okay? We move them in here, and then we need to move them up -12.7 We have the first half
of the motives done. There will be some
extra ones here, which I'm going to delete
because we don't need them. Okay, Then we do the same thing. I will select this A
here and make a copy. Go to the plus
sign, then control. We go in here on
the x axis is plus 12.7 there on the y axis is
plus 12.7 As you can see, it goes towards the right. On the y axis, it goes down again. I'm just going to select, even if you can see them,
it will select them. I think I deleted something. Shouldn't. Let's see. Okay, this one is still here. All right. Now we
have some motives that are on top of
each other and we can just adjust them, move
them a little bit. In theory, you
select this motive, here is basically this one here, you select this one, this one and this one. Move them at the same time. But I find that
it doesn't really matter too much if you move the central motives without
moving the other ones. As long as you make sure
that if you move something that is on the boundaries, then you have to
move or the others, then we just need to
check and see if we like how these are arranged. This one here, for example, is going on top of this flower
and these are the same. I'm going to move them
a little bit down to, if you think that this is basically the same
flower going towards the left end, move
it a little bit. I moved this one earlier. What I'm going to do actually, is I'm going to add a leaf
here like I did before. I'm going to copy
this one, I think. Okay, I'm going to
merge these two. If you hold the shift key, you can select both. And then click Merge Layers. When you merge them, it
takes away the smart object. We'll make it again
into a smart object. Let's see what else again, you will need a little
bit of work in here, there is a conflict. I'll move it a little
bit, see if it works. All right. We can look what
it looks like as a pattern. To do that, we're going to
put this back as it was. Otherwise you will get space. You go into image
and canvas site. It was 25.4 or you could do
minus five initial work. This is the tile. What we need to do is to
define this pattern. We go to edit and down
to define pattern. You can give a name
to your pattern. And you go, okay,
so this one here was 25 centimetres
more or less square. What I do is I make
another file, new file. And then make a file
which is bigger. Let's see, we do it maybe 40 centimeters by 40 we created. Then I will add the new layer. I will go into patterns. If it's not there, you can go
into windows and patterns. We go find our Beca pattern, which is the last one
where we click it, it will show you the pattern. This is a bigger square. It will show you if there
are maybe motifs cut off or if there are ******
like this one for example. That is adjusting
were you can do, I can double click here.
You will get the scale. You can adjust the scale. If you click in here and you
just scroll with your mouse, you can make it smaller. When you make the scale smaller, you can see better
the empty ****** like this one around this B, for example, needs
to be adjusted. This flower here needs to
be moved a little bit. This flower here, for example, as you can see here, there is a problem there
which is cut off. We can go back and adjust
these little mistakes. Which one is that?
One is this one here. In fact, I didn't
notice this before, but this flower
is repeated here. But here we can move it, I can make it a
little bit smaller. And you need to press
the shift key to keep the proportions, okay? Define pattern. I put
here number two, okay? And then in here, this
is the new pattern. As you can see, it's changed. That was the previous one.
That was the new one. And make it a little bit bigger, it's fixed this
problem, That's it. Basically, that's how you build your half drop pattern using the manual
version in Photoshop. Of course, I need to
fix a few things here, for example, to close, I don't really like
how that looks, but this is just a matter of adjusting this
little bit afterwards. I hope you found the useful.
11. Export the Motifs: In this lesson, I would like
to show you how to save your motives to use them to make a pattern
in Adobe Illustrator. There are the pros and
cons of this technique, but you can actually
use these motives which are clearly watercolor
with Adobe Illustrator. This is something
I experimented. It probably can be improved, but at the moment it works where you need
to do, you need to. Unfortunately, each one of these motives needs to
be saved separately. I usually do like this right
click and I go into export. Then I leave it as PNG
and I will export. I have a folder here,
especially for this. I'm going to save it.
We could rename it. You will need to do this
for every single one. We'll save all of them. Export PNG export. I'm not going to rename
all of them and save. I'll speed up the video and then I'll show
you what to do next. All right, so we have
saved all of the motives, and then in the next video, I'm going to show you
how to arrange them, how to use them to make a
pattern in Adobe Illustrator. I'll see you in the next video.
12. Make The Pattern in Adobe Illustrator: In this lesson, we're going
to make the pattern using Adobe Illustrator and the
motifs that we saved before. I'm going to make a open a file. 2000 by 2000 is fine. I will leave it
CMYK color for now. If you want to upload
your patent to a POD site or spoonflower
or red bubble or whatever, I advise you to check if
they want RGB, CMYK color. For now, I'll leave it
as it is and Create. Then what I do is I will
import the motives, but what you need to do
is you need to embed the motives instead
of just placing them. Control shift P like Paris, and then select all of them. I will uncheck Link and this
should embed the demotives. Then I will start placing them. This might be a bit big, but we can always change
the sides afterwards. I'm not going to
image trace them, because if I don't
ima trace them, then they will retain
this water color. Look, oops, that
was way too big. Okay, let's see. Going to maybe recite
some of these. We can't make them too big, but we can make them smaller. If you make them too
big, they will start to lose their resolution. They will start to plate a
little bit because we're not image tracing them. This is also all right, we see as we go, as we make the pattern. If we need to make them
a little bit smaller, we can start building
the pattern. Let's see, they probably still a little bit big
for this artboards. I will make some of
them a bit smaller, maybe turn a little bit. There are drawbacks
to this, of course, because these are PNG,
they are transparent. But if something is
underneath, like, let's see for example, this butterfly is underneath. See, You can't click
on it directly, you have to go behind it. It's drawbacks as well. But I like that I can use this watercolor in all
its painterly style. I can use Illustrator to make the pattern maybe
a level like this, to move the motives to be
crossing the boundaries. I do this little trick control K and says 1,000 pixel already
here, leave it as it is. But you can type here the
amount that you need. This is 2000 pixel, 1,000 pixel. We bring this to the center. Then what I do is I press on your keyboard
and the down arrow. It makes a copy release old
and press the down arrow. And I do this instead of 2000
and bring it straight to the other side because it will be helpful when
I do their job. Let's see, I show
you what I mean. I might do this one directional. We'll see this needs
to cross here. I think they are still
a little bit too big. We'll see, I don't like all these white flowers
all in the same place. And this needs to
repeat down here. So this flower here
can't go there. Might actually replace
this one with this one. Okay, let's try, it will get
rid of this because now. We need to select these
ones and I will group them. Control what I do is I press the old key and
then the right arrow, and then release the old
key and the top arrow, and then click on this again. That's why it's useful to group them because
you don't have to try and select them with
these ones in the way. Press the old key and the right arrow and then
release old key and down arrow. Now I will group all of them. Right click and
group shift control. Okay? And I will get rid of the extra motives here as well. There are some
adjustments to make. That one there, for
example, is not good. We don't need that
one, this one here, because they were
a little too big. They were going over
the middle line here. Now we need to copy these
motives on this side, on the right side, and there
will be some crashing. But we can adjust this because I can always move this one, for example, that I will
probably make a small, I get rid of this for now. There need to be copied down. This one needs to
be copied down. Even if it's a half drop, you still need to have
the same motives. What's on the right? It
needs to be on the left. What's on the top needs
to be at the bottom. Now let's have a look. I'm going to try this a
little bit nicer in here. There is some crashing. What I do is I think I will
delete this one. All right, it's not
perfect far from it. But just to show you how
to make the pattern, it will do. Let's
get rid of that. I could fiddle
with this all day, but let me show you
how to do this now. I will give it the
background Milan and we do 2000 by 2000. Use this to put them like
center it on the artboard. If they're not there, you can always go to Windows and align control shift left
bracket, square bracket. Sends it to the back. Then I have a palette which
I like to use. You just click on the folder here and
it will appear here. I'm going to give it
a nice dark color. This is what is
better, the flowers stand out, especially
the white one. Then what I do is I'll click
on the background control, C Control for back while
it's still selected, you get rid of the fill and
the stroke if it has any. It shouldn't because
the top square shouldn't have any stroke, otherwise the
pattern won't work. Then let's see if it's working. We select everything
we make the pattern. This only works if
these are embedded. If they're not embedded,
it won't work. Let's make a nice big square and see if the pattern works. All right, here's the pattern. As I was saying, it
could be better. Some of these things
are crashing here. Is this one here, for example, that I didn't realize
this one was so close. We can move it a little bit, but we can make
it maybe smaller. I'm going to redo the pattern with the
adjustment that I did. This area here, it's
a little bit better, but it could be
better even still. But this was only to show
you how to make the pattern with these assets
saved from Photoshop. You make the pattern
with Illustrator, but you keep the
watercolor style. The important thing is
to embed your pattern. I can see here, I keep seeing
all these things to change. But yeah, you embed your motives that
you saved Photoshop, you make the pattern
as you would normally. The problem with
this is that you can't change color of
your motives that easily. You can change the background. I'm going to ungroup this. You can change the color
of the background, but you can't change the
color of your motives. Because the recolor artwork is not going to work with
something that is not image as. Unfortunately, this is why I was saying there are some
drawbacks with this, but I like rub this color. If you want to change the color, it's a bit of a lengthy process, but you can go back
to your Photoshop, change the color there, and
then remake the pattern. Unfortunately, this is probably
the only way to do it. If you have some
flowers like this, which are quite close to the
real colors of the flowers, you probably don't
want to really change the color anyway. This is another way
to do your pattern. And I showed you in Illustrator
how to do the pattern, because at least for me, I find it so much
easier to build an illustrator than in
Photoshop if you want. Once you have your motives,
you can just save them, like I showed you, and then
just do the pattern this way.
13. Use Procreate to Remove Background: In this lesson, I
wanted to show you another method to get
rid of your background. I didn't show you just
this because some people don't have an ipad or you
might not like to use it. But what you can do if
you have an ipad is to insert a photo of your
motifs like this one. For example, in a new
file you go into layers, you switch off the
background color, then make a copy of this. Just toggle off this
bottom copy because it's always good to have
an extra copy Anyway, if you have more than one motif in one page like this case, you want to have
a copy to reuse. Then you click on the
selection tool there and make sure that you have
selected freehand and add. And then you can
start, for example, I'm going to do this, choose
a place where to start. And you can basically chase the motive that
you want to isolate. If you make a mistake like this, just tap with two fingers. You can lift your pencil. As long as you keep going
from the same point. I actually advise you to lift
your pencil every so often. Because if you make a mistake, after you've done
quite a bit of work, you tap two fingers. You will go back all the
way, quite a way back. When you get here, you need to tap on the dot and you will get all the lines that you hopefully can see
Yes on the video. Then you click on the Layers. You click on the picture,
you click on Mask. Now all you have to
do is pinch this two. As you can see, you isolated. Let's change the
background color. And you can see that the
motive is being isolated. It's much easier and
quicker than Photoshop. Of course, you might need
to here just adjusted a little bit when
once one is done, you can do the other ones. Just make another copy and do the same thing
with the automotives. Once they're all done, you can just send
them to yourself. Share. I will use PSD so you can open them either with Photoshop or Illustrator
if you want. In that case, you can send
as an e mail to yourself. You can work with the motives as if they were, they are separate. If you send them as PSD, you will keep the layers. That's it. There was just
a quick demonstration on how to use the ipad. If you don't have Photoshop or don't want to use Photoshop, I find this way is much quicker. I just wanted to add because I didn't specify this before. This paper I used for
painting was 9 " by 12 ". If you want to keep
the same proportions, you can do that by
using the measurements. Going to inches, we do 912. This page will be the same as
the I did my paintings on. If I make that picture
fit this page, then I will have the
same proportions. It's something that I
didn't mention before, but that's what I do
because I don't want to shrink or enlarge the motives. Okay, I hope you found
the lesson interesting.
14. Final Thoughts: Congratulations on
completing the class. I hope you have enjoyed it and that you have
learned new skills. Make sure you post pictures of your pattern in the
project section so I can give you my feedback
and I can admire your work. If you like the class, please leave a good review
because it really helps and I will really appreciate it if
you like to keep in touch, Don't forget to hit the
follow up button here on Skillshare so you can be notified as soon as I
published a new class. You can also find me on social media or you can
check out my website. You can also check out my profile here on skill
share for more classes. Thanks again for taking the class and I'll see
you in the next class.
Katia Galante, Botanical Artist and Illustrator
