Creating Groovy 60s inspired surface pattern designs in Affinity Designer V1

1. Course Introduction: The 60s were a decade defined by bright colors, fluid patterns, and psychedelic imagery. This arrow was a huge turning point for the design industry. It also saw creatives move away from earthy tones, adds Dao caricatures and pinup style icons that dominated the design world of the '50s, the '60s were a time for creatives to experiment. And that was incredibly evident in the graphic and surface pattern design of the era. From pop art to optical art to the loose melty vibes of psychedelic design. The time brought about new styles that were often inspired by the psychedelic movement. This does span multiple genres and impacted art, movies, fashion, music and wore. The style inspiration of this era has found its way to modern day design aesthetics. Early in 2022, I shared my annual surface pattern design and graphic design trends forecasts. And one of the most popular trends for 2022 was this groovy, psychedelic inspired 1960s throwback. I continue to see it in the groovy florals that I see in fashion fabrics and interiors, as well as the ever popular mushroom motifs that have come about in this month's class, we are going to be experimenting with these concepts and applying them to surface pattern design to create some fun, groovy, 60s inspired designs in Affinity Designer right on our iPad. Hi everyone. If this is your first class with me, welcome. If you're a returning student, welcome back. I'm Jen and I will be guiding you through this creative course. I'm a freelance graphic designer, illustrator, and educator based out of the Midwest and around Bella and Sophia creative studio. If you want to learn more about me, you can visit me online at www.bellasophiacreative.com. And you can also check out my YouTube channel, the creative studio. There you will get a behind the scenes view of the work that I do as a creative freelancer and educator, as well as access to a huge library of additional free tutorials relating to art design, illustration and so much more. So what is this class about? As I mentioned at the top of this video this month, I'm coming back with another surface pattern design course. We're going to be tapping into inspiration from era's past and creating our own Groovy '60s inspired psychedelic patterns in the affinity apps right on our iPad. I will also share my process for sourcing research and the steps that I take to build a collection when it comes to the skills that students will learn before we jump into learning how to create the designs, we will learn more about this transformative era as it applies to the design world, would influence the era and some popular motifs that we see continuing to be used even today. We will tap into research to help us create a narrative for our collection. Then using that narrative tap into keywords that we can then use to pull inspiration for our patterns will build a mood forward that we can reference and our sketching process as well. Then we will begin to creation process. We will sketch our motif concepts, refine them, and then begin to build the patterns in Affinity Designer. Then we will finalize and export those patterns. And I'll show you how I set up a file system and save my layered files and create worksheets so that they can be sent to clients for future use. So who is this class for? This is more of an intermediate class. So in order to follow along, I suggest you have some basic knowledge on how to create surface patterns. But if it's your first time building your pattern in Affinity Designer, don't fret as they take my time walking you through this part of the course. If you want to have a basic understanding of pattern design, I do suggest checking out some of my other Intro to surface pattern design courses. I'll make sure to link them in the course description. So when it comes to the class projects and the tools that will be needed, the tools that you will need to work through this class include an iPad and Apple pencil or a stylus of your choice, and the Affinity Designer app. For your class project, you will be creating a mini collection of three prints within the Affinity Designer app, you'll want to create a hero print. A secondary print, and a coordinate will be designing these prints using the steps and techniques that we go through it together in the class. Make sure you check out the class resources for the course guide that you can reference as you work through the class. I'm really excited to create with you today. Let's get started. 2. 1960s - An Era Defined: The 1960s were a decade defined by bright colors, florals, fluid patterns, and psychedelic imagery. This era was a huge turning point for the design industry. This aerosol creatives move away from earthy tones, add style caricatures and pinup style icons that dominated design world of the '50s. The '60s were a time for creatives to experiment. And that was incredibly evident in the graphic and surface pattern design work of the era. The 1960s was an important decade for fashion because it was the first time in history that clothing was geared towards younger markets. Due to this, it featured a wide number of diversified tracks. It was also a decade that broke fashion traditions and this really mirrored the social movements during the period before fashion brands tended to design for the mature and elite members of society. However, during this huge social and political revolution that transpired during the '60s, power of the teenage and young adult market became too great and too important to ignore. During this time in history, we saw some great movements including Pop art, psychedelic art, op art, minimalism, and conceptual art. A lot of these art movements continued to influence pop culture even today. When we look at social influences after the controlled moderation of the 1950s, consumers were really ready for something radically different. The swinging '60s brought about that change and what's considered the decade of exaggeration in design and in fashion. I think short hemlines, bold colors, and wild patterns. This was also a time of social and cultural upheaval with women's liberation and civil rights movements, rock and roll in the summer of love. All of this radical change had a direct impact, an art design music and so much more. Psychedelic style was a very characteristic style of the 60s. This movement referred both to music and visual art and is seen in a variety of design work. It's evolution during the time period was influenced by the hippie movement, the whole idea of flower power and pacifism. There was a lot of interests in the culture of the Far East that influence the art and design of the era. Spiritual belief systems like Buddhism and Hinduism, more of special interest to many Westerners during this time. The term psychedelic music was supposedly first used in 1966 by a band called 13th floor elevators as a description for their album, the psychedelic sound of the 13th floor elevators. Psychedelic rock was characterized by freedom of form. Musicians use exotic instruments, influence of jazz and music of other cultures like Indian influences to create their sounds. We even see this influence and design things like posters and album covers from the '60s and '70s can easily be recognized by the use of vivid, flashy colors, strong contrasts, and lots of elements. The 60s album covers. You'll see how images melt flow with the music. And then it's often paired with typography. Recurrent elements we see in this work were wild fluorescent tones, which reflected visions often described by those under the influence of suppose at mind-altering substances. Some of the most influential artists creating these psychedelic inspired posters and album covers include five graphic designers known as The Big Five, withdrew Moscow. So Richard Griffin, Alton Kelly, wass Wilson, insanely mouse. In the late '60s, they even set up a studio called Berkeley Bonaparte. 3. 1960s - Art Movements and Inspiration: Now that we get a little bit of an idea of the social movements that were happening. Let's talk a little bit more about the design movements in the art influences of the era. Some of the origins of the Groovy trends that we see during the 1960s reach as far back as the 19th century, the last ten years of the 19th century was the era of the art nouveau movement. Posters from this period are very similar to many of the projects from the '60s. Design elements included flowing lines for ornamentation and inspiration by nature. The big difference though, is that during the '60s, these designs were often flattened and the colors are much bolder and wild. We still see rich ornamentation, vivid colors, people and animals shown coexisting in symbiosis. And finally, this idea of the duality of the image which was supposed to resemble those narcotic visions that we mentioned earlier. So let's talk a bit more about the design movements. We see a variety of Art and Design movements during this time as well. And some of the most popular included psychedelic art, as we mentioned earlier. It's a QI movement that we saw during this timeframe with lots of its design identity actually pull some Art Nouveau using hand-drawn illustrations and typography cells that leaned really heavily on curvilinear shapes and vibrant almost neon color schemes. Then we can look at pop art. This was very popular as well and developed from consumer culture. We saw a lot of style mixing from different media and different times. It's usually known for its use of everyday items and branding for businesses. Some of the most popular art that we can think of when we look at pop art and include artists like Andy Warhol and they're famous. Campbell's Soup can painting. The pop art movement is also known for really eye-catching deliberate collages of the familiar artists that used to paint society as they saw it, as well as a comic feel with the use of half-tones. Another movement of this time, those popular was optic art. It's also known as op art. It was primarily inspired by the repeating abstract patterns of the previous decade, but with updates and Color Themes similar to the modern day optical illusion apart, basically try to confuse and amuse people through vibrant color schemes and dizzying arrangement of shapes and other design elements throughout the design work. Whether it'd be on patterns in paintings and posters or artwork. This isn't all the movements, but these are a few of some of the more popular ones. 4. 1960s - Motifs and Colors: So now that we understand the cultural shifts, some of the art movements, Let's talk a little bit more about motifs. Some of the common motifs we see during this era include the following. Florals, daisies, large flowers and smaller ditsy Floral wild flowers and Art Nouveau natural elements. Paisley and tie-dye were some of the most popular motifs that we see during this time. Laurels were used in abundance. Large-scale designs are printed in saturated hues, purple and red and hot pink. They were often paired with complimentary and vibrating cues of blues, vivid greens and oranges. Oftentimes, we're very neon feeling of fact. When we look at Art Nouveau inspiration in the past, they were created with very soft tones, obviously to create a more realistic feeling. But when they were reinterpreted in the '60s, there were recreated with a pop aesthetic to reinterpret a wide variety of motifs from a range of really classic folk and ethnic sources. These more popular art inspired patterns were simplistic, flat, richly colorful, bold pallets. A cartoon like style developed and was used by many designers with forms often defined by strong outlines and fills. Occasionally simulating the data mash use for things like printing half-tones, as I mentioned earlier, when we look at more of the psychedelic prints, we see wavy patterns, rainbows, butterflies, mushrooms, and graphic geometric prints. When we look at these psychedelic inspired prints, they were often a mind-bending mix of optical swirls and wavy shapes created an eye popping really intense colors. The designs were loud, bold, and extravagant. They were well-known for their fluids swirls and designers often use bright flat color and cartoon like outlines with segments layered in apparently random arrangements. Designers like Jacqueline Larson are well-known for psychedelic prints. He launched the butterfly collection in 1967, a group of intentionally fluid and free-flowing bold patterns printed onto stretch ray on, during this time frame, we also saw a lot of Gangnam checks, many stripes, plaid and poker dots. These are basic prints, often used as coordinates, but they were often showcase and really bold, bright colors, especially those neon color themes that we've become accustomed to seeing during this era, want to look a little bit deeper at color. The 60s were known for their bold color choices. Following the 1950s design trend of soft pastels and attics that were intended to evoke a very wholesome suburban comfort. The color trends that we saw in the 160s were far bolder and much more experimental and expressive. Just as I highlighted earlier, this arrow is set against a rapidly changing in war expression ready political and social setting. So it only makes sense that the color palettes don't explode it into bright bold options that included oranges and yellows, blues, greens, and reds. The color palettes of the 1960s design was all about expression, passion, and making a statement. Going back to the Art Nouveau style of the past, we look at the pallets. Artists were using palettes, allowing them to achieve much more realistic effects during the originating timeframe of this movement. But as I mentioned before, during the '60s with the reinvention of the art movement, there is a radical change with bright colors. Most well-known for those eye popping colors like lime green, magenta, lemon mimosa, Jade, hot pink, and tangerine. These mixed with things like Paisley swirls and daisy flowers created the very psychedelic inspired print that was often favored by the '60s hippies. Now that we have a better understanding of the '60s and their impact on design, as well as some design movements, motifs, and color themes that were popular. Let's dive a little deeper into the research phase of this process so that we can begin translating these ideas into sketches. 5. Tips for Creating Collections: I wanted to share some tips on creating the ever coveted surface pattern design collection. I know it can be hard thinking in terms of collections. So I wanted to offer my thoughts and some tips to get you going in the right direction. Let's get started. So what is a collection? A surface pattern collection is a group of designs that work together to form a range. The number of designs in your collection can vary. This will be dependent on any number of factors like the type of products you are looking to have them work with. But a general rule of thumb is that most collections are typically 6-10 designs. A surface pattern design collection is usually based on a set brief, and the designs within the collection will be tied together by a theme, color, and style. That brief can be given to you by a client. Or if you're an independent creative, you'll likely be coming up with those concepts when designing and collections, there are some things to keep in mind. You want to have a really good understanding of your target market. Make sure you know exactly who you are designing for and what their requirements are. Be aware of the current trends and make sure you use these trends as influences within your designs to attract clients. Also, all your designs should be cohesive. Essentially you want them to work together. If you look at all the designs together, no design should stand out as not feeling like it works with the collection. The French not look the same, but they should coordinate and almost feel like a family and feel similar to one another. In addition to your main hero prints, you should also include coordinate prints in your collection. Coordinate design should use their own independent motifs and images, but should still feel similar to your hero prints. And those hero prints of those strong prints with bold designs, great color stories, they're a little bit more dense and they really make a statement. So e.g. if your design collection has a floral theme, you could use smaller or less complex floral elements on your coordinates that's still feel like they support those hero prints. Another helpful tip is using the same color palette within each design. So what this does is help tire collection together. You can use a different number of colours and each design or add an extra colors. But in general, you want the palate to stay the same across the entire range to help create stronger collections and create visual interests in your collection. I suggest keeping in mind the layout that you choose for each design. There are different repeat types. Some of the most popular include the full job, half-drop, brick, diamond, repeat stripe, OG and tossed. But by basically mixing different repeat types, you can create visual interests and also stronger repeats I share how to create some of the most popular types in one of my surface pattern design courses and in a few videos here on YouTube, I'll be sure to leave the classes and the videos linked in the description box below. Now, what I would like to share is my process and developing a collection. So this process can vary depending on who is grading. But for me, I have some key steps that I worked through as I worked on creating in collections. The first step is to research if you're designing for a specific customer or a brand, you want to take your time to understand your client. Current trends, research online, checkout, the news industry related sites and look at retail. Then you'll want to flesh out your concept. I like to write down themes, ideas, and they start to develop a story for my collections. What is it inspired by? Who is the person that you can see utilizing it? You want to develop a narrative to help you explain your visuals, then you can use the keywords from this narrative to help you begin the next step in the process, collecting visual design inspiration. So once I have a narrative, I utilize that to source keywords to collect design and color inspiration. I like to collect from a variety of places including outdoors books and of course, researching online using places like Pinterest. I can research those keywords in line and then pull them together to create a mood board. The next step I suggest is creating a mood board. You can use something like Affinity Photo to create a mood board. But if you also just want to keep it simple, you can use Pinterest to pin all of your imagery and color theme ideas into a private PER more that you can reference as you begin the sketch process. When it comes to the visuals that I pull, I like to include motifs and design elements, color themes, and any additional supporting visuals that can help me as I began drawing, once my mood board is complete, I can start sketching and creating motifs and design elements to use within the design. These can be hand-drawn or computer-generated. I like to sketch both traditionally and digitally. I can scan work in or I can just sketch directly on my iPad using something like Procreate or in the affinity apps. Both of these apps allow me to take my work from concept to final repeating pattern really seamlessly. And I think this is nice because it allows my process to be streamlined. Typically, I like to create ten to 20 motifs to start with. And then I can think about how they'll all work together before I start the next step, which is creating my designs. What's my motifs are finalized? I can begin to build my patterns within the apps that I'm working in. So depending on your needs, you can use programs like Photoshop or Illustrator. But personally I prefer Affinity Designer for vector patterns and Affinity Photo and procreate to create raster base patterns, you don't necessarily have to only work on one design at a time. You can go back and forth between patterns. So you can kind of work on the whole collection and see how everything is working in vibing together if you know what products your designs are going to be used on, I would consider this during the design development process, this will likely impact the pattern type that you'll use, as well as the scale, which is basically the size. If you know you're creating something that is for wallpaper, your print might be larger than something that is, say, creative for a blouse, It's really important that within your surface pattern design collection, there is a standout hero design. As I mentioned earlier, this design essentially should be your strongest and your main print. You can then design your collection around this main design. Remember, you should have primary print, basically your hero prints. Secondary prints that support that hero. They're not as strong, but they're not as simple as something like those coordinating prints that are then often solar and smaller in scale. And that work well with both those hero and secondary prints. A great way to look at how these prints work together is to look into quilting fabrics and how different patterns work well together within things like wills, a good rule of thumb is to have two hero prints for secondary prints and for coordinating prints. Finally, you will want to present your designs. This might include showing how your designs work on a product using mockups, or creating a catalog style portfolio that walks the viewer through the collection, including the narrative that you originally wrote for it. 6. Tips for Creating Your Narrative: As you research and work to understand your client and current trends, use that research to inform your narrative. Decided a story for your collection. One way to make your collection come to life is by designing with a story in mind. Tying your collection to a meaningful ideal will make the design to personal and feel more fleshed out in terms of concepts. Incorporating words to explain the why behind the collection you're designing will help you reference those ideas as you work through the creative portion of the design process. When designing patterns, think in terms of theme and storylines. Take that theme and apply it throughout each pattern in how you describe the collection. You can keep it in mind when you come up with a title, the collection, the names of each pattern, and even the color names that you choose for your collection. As you come through the research you have completed, take note of the imagery that you see. Do you see animals or wildlife? If so, what kind are there specific florals or plants. Write those down. Do you see a key theme in our current example with the 60s era, perhaps you're drawn to the psychedelic MOD or op art movements. Take note of that. If there is a feeling or a vibe that the visuals give you, think about that and if so, put those feelings into words, these observations are the base of building your narrative. You can also create a concept mind map to help you explore all angles of the subject. You can pull specific visual ideas for your illustration from the concepts developed in the mind-map. Now you can begin to build your narrative. When building your narrative, consider who you are creating for. Is it a new mom looking for acute fabric for her baby dress and interior design are looking for wallpaper to set a mood and a client interior. Think about how you could speak to each of these individuals. Begin by setting the stage for your collection. What is it inspired by and what do you want the reader to envision? Is it inspired by the soft, warm summer breeze and mid summer and a field of wildflowers right outside your door, builds on this idea and include descriptive words that inspire the motif designs you will be creating. Then describe the color themes that will be used throughout your collection. Creating names that relate to the concepts that you have come up with. Then you can close out with some final thoughts. Your narrative doesn't have to be very long, but you want to pack creative punch by including strong descriptive words and sentences. 7. Creating the Moodboard: So now that we've completed our narrative, what I like to do is take some of those concepts and ideas. I'm going a bit of the research that I did and use that to find actual visual inspiration. I'm one of the easiest ways to go about this is to utilize Pinterest. Pinterest is a fantastic app for this. Personally, I've already created a board on my account that was basically focused on 1960s style. And I've pinned a lot of the different elements that I've researched. So a simple way to go about this is just to use the text that you had for your narrative as search terms. If I go back out to my general account page, I'm going to hit the little I'm gonna hit the little search icon. And then in the top bar I'm going to tap on search Pinterest. And I'm just going to look up stuff like 1960s fabric, 1960s psychedelic prints, Art Nouveau, since that was one of the movements that we saw a lot of. So let's search up 1960s fabric and just see what pops up. Alright, so we get a ton of really bright and colorful prints. They have that kind of groovy effects. So if I see something that I like, I'm just going to tap on it. And then when the little pop-up comes up, I'm gonna hit Save and I'm going to pin it and then I'm going to pin it to my 1960s groovy Pinterest board. And I'm just going to keep going through, see what I find and just save things as I go. Once they're finished pinning everything, I can go into my pin board. I'm going to select my 1960s groovy style. Then I have all the pins that I created. You can use this as a mood board by itself. But if you also want to just scale it down, pull the specific items that you really like. I suggest creating a mood board in the affinity programs. So I'm gonna go into my mood board that I already have here. Basically I gave myself a mood board that's defining the era as I see it and pulling inspiration for motifs, the overall vibes that I'm getting in want to portray in the work. And then some color inspiration. This is actually quite simple to make. What we can do is go up into our gallery, hit the plus icon, select New Document, and then we'll set up a new document. And I'm just gonna do a simple loved by 17 document just so that I have space to place items. So I'm going to tap on my measurements. I'm going to change them from points. I'm going to update it to inches. Then my width is going to be 17 and my height is going to be 11. And just because it's digital, I don't have to have too high of a DPI, but if you do want to print this out or something like that, you might want to update your DPI at a 300. And then I'm just going to select Create art board in my orientation should be landscape and then I can hit Okay. So now I have an art board set up. And what will basically do is just create this. We'll add the text for the three sections and then just pull our images in. So before I do any of that, what I like to do is go in and save the images that I know I'm going to use. So I'll go into Pinterest, tap on an image. And then I'm going to select the little three dot icon. And then I'm going to select download image, and that'll download the image to my iPad. So I'll just go through and do that for all the images that I want to utilize. Tap on it. Hit my three dot icon, select download image. And then I'll repeat this process for, you could do it for all the images if you want, or just the select few that you know you want to utilize in your mood board. Once I'm done downloading all my images, I can exit out of Pinterest and then I can go back into my affinity up here and they can start to place images. So the first thing is I want to do is add a bit of a title and add the subtitles for the three sections that I'm going to utilize. So I'm just going to go to the left hand side of my app. There's a toolbar here. I'm going to select this Artistic Text tool. And I'm gonna hold down on it. And then I'm going to select from the pop-up frame text. And I'm going to create a frame. And then I'll get this pop-up. You could update your fonts if you want and the size. I'm going to update this to 16. And then I'm just going to add a title. I'm going to name this 1960s and error to find. If that is not big enough for you, you could always just double-tap with your Apple pencil to highlight it. And then you can increase the size here. Once they've done that, I'm going to tap on my Move icon. I can move it to the corner if I want. Then I can select this whole thing and just duplicate it and reuse it for the other titles. So I'm gonna go into this three dot menu. I'm going to select Copy, go back into that 3D menu and then select Paste, and then drag it down. And then I'm going to paste again, drag it down, and then paste one more time. And drag that down. I'm going to update placement of these. And then I'm going to update the text itself. So I'm going to zoom in so we can see what we're doing. I'm going to take my Apple Pencil, select my text icon, and then double-tap on the text. I'm going to update this to say motifs. I'm gonna go to the next one, tap and again. Then I'm going to update this to say vibes. And then I'm going to update this third one. I'm going to double-tap it, highlight, and then I'm gonna delete that and I'm going to update it to color story. Now I have kind of like the headings for each of the areas that I will be working with. Now that we have an area for motifs, the overall feeling, and the color stories that we want to create, we can start placing images. It doesn't have to be anything complicated. We can just place images resize, and then save this as our reference point for our sketching. So what we're gonna do now is place the images. And we're gonna go to our document menu here in the upper left-hand corner, select Place Image. And then we're going to select import from photos because that is where the images that we downloaded from Pinterest have saved in. And then you can just hit recent. Then you should be able to see all of the images that you've downloaded from Pinterest. So I'm going to select my first in terms of some of these motifs, like the mushrooms for more of that psychedelic feel. I'm then you'll get a pop up. You just have to drag your Apple pencil cross to place the image. And then I'm just going to repeat this process for all three sections. Go into my document menu, select Place image, import from photos, and then go in and find the visual imagery that I want to utilize. Alright, once we've placed all of our images, what I like to do is pull together a color palette from the color inspiration that I have found. So what's nice is you can utilize the shape tool to create your color palettes. And then you can use the eyedropper tool to pick up your colors. What I suggest is, I have some already pre-made here, but I want to show you how to make the rectangle first. So what I'm gonna do is go to the left hand toolbar here, select my rectangle tool. And then I'm just going to create a rectangle in the size and shape that I like. Then I'm going to go into my right hand studios and select my color studio. And I'll get this pop up. I'm going to remove the stroke by tapping on the outline and then selecting this little white circle with a blue dashed through it. And that will remove your stroke. And then I'm going to tap on my fill. And then that will pull up the fill so that it's in the front. Then I'm gonna go to the left hand toolbar. And I'm going to select my eye, my eye dropper tool, which is your color picker tool. Then I'm just going to zoom in to one of the areas of color inspiration. And then I'm going to tap on that and it's going to fill that rectangle that we had with color. Then we can repeat this process. So I'm going to select the rectangle with the outline. Go into my color studio here, tap on the outline, remove it. Tap on the Color Fill so that it pulls to the front, tap on my color picker tool and then just go in and pick a color that I like. And then it'll fill it for me. Then I'll just repeat this process to add the next two additional colors that I want. And then our mood board will be complete. Now our mood board is complete and we have all of our visual inspiration. So we have inspiration for the motifs that we would like to use and pull inspiration from for our own sketches. Combo of some of these 1960s florals in psychedelic feeling, imagery, mushrooms, and anything that you can think of in terms of '60s photos here. And then I'm just pulling together some of those like bright neon, kind of clashing colors that are really well-known during this era and creating a color palette from that. We can use this as inspiration. So now that this is complete, we can begin our process of translating these ideas into sketches. 8. Translating Research to Sketches: Now that we have our inspiration board, what I like to do is just to use the same file, just add another artboard. And that way I can reference between the two artboards as I'm sketching. So to add a new artboard, all we have to do is go into our document menu, then select our boards, and then just make sure that the preset remains as document. And then select the plus icon to insert a document in that same size. And what you'll see is we get a new art board added into our file so we can reference back-and-forth between the images. And I just like to do this, just kinda keep my file system cleaner. You can take these ideas, print them out and sketch them by hand. But I just, I just liked the idea of being able to just sketch digitally because it's quicker and more convenient for me. So in order to sketch, what I like to utilize is affinities ability to switch from designer to which is a vector program to a raster based pixel persona. And this allows me to utilize some of those more sketchily, pencil and brush tools and things like that. So I'm gonna go into my menu here and you'll see three icons. One is your designer persona, one is your export persona, and then the center one, which looks like pixels, is your pixel persona. So I'm going to tap on that persona. Then it's going to give me all of the raster based tools. And I'm going to select the paintbrush tool. And then I'm gonna go into my right hand side and select my brush studio, and it'll allow me to pick different brushes. You have your basic brushes, but I want to go into my pencils. If you want to tap on those brushes, it'll give you this pop-up and you can just scroll through. There's all kinds of options, dry media, engraving brushes, inks. There's a lot of really great brushes that you can utilize because I'm sketching, I'm just going to select a pencil brush and then you get a whole bunch of different options like HB two before b6b and things like that. I'm going to select the six B pencil. Then I'm gonna go to my Color Studio here. And I'm going to update the color fill from whatever I have it to just a plain like dark charcoal black. And then I'll test it out to see what it looks like. Now that we've selected our brush will all want to do is look at this bottom area, this pop-up here. You can adjust the opacity, the flow, the hardness of your pencil, the width. And then I would suggest making sure that project Alpha is unchecked. And then you should be able to draw on your screen. And we get this nice kind of pencil lead textured effect. You can zoom in and zoom out. You could also increase the width as well. And it'll be bigger and thicker. I like this width right here, 47 for now, just so that I can do some sloppy sketches and pull in some inspiration. So I liked the idea of utilizing some of these mushrooms. So I'm going to bring them over here just so that I can reference them as I'm drawing. And obviously you don't want to copy exactly. You want to modify, refine created in your own style. So this is how I utilize references as I'm working through finding inspiration for this era. So I'm going to make sure my paint brush is selected. And then I'm just kinda create some relatively sloppy sketches in terms of what I'm looking for to recreate these mushrooms here. If you don't like something that you've done, you can just double tap to undo. Now that I'm done with those, I can resize them if I need to. I can move this image back to my motif section in my mood board. And then I can pull some additional elements that I want to sketch. So like I like this beautiful retro dress and I like the, the kind of simple daisies that are on it. So I'm going to take these mushrooms that I just drew, tap on them with my move arrow tool and then just move them out of the way, resize them just a bit, and kinda pull them off to the side. And then I'm going to zoom in on the imagery here. Or this drastic kinda get a better idea of what these flowers look like. So there are some more stuff you're looking, ones, ones that have longer petals. So I think I'm gonna do a combo of both. So as I work through sketching, I tried to get as many elements as possible. It saved 15 to 20 should be good about you may use all of them or you may not use all of them. I just kinda keep in mind the overall feel of what I'm trying to go for. I really do like this kind of psychedelic vibe. So I'm thinking more along the lines of some of these more statement making motif pieces like the flowers and the mushrooms. And kind of like the squiggly lines where you're seeing a combo of both waveforms and floral pieces together. I think that'll work really nicely. Then I do, I do like these kinds of shapes as well. Um, and I think what I'll do is just make as many motifs as I can. And then we can refine them down and then see how the work together in terms of a collection overall, so that things don't clash too much, but that they have a flow to them. As I'm drawing, I'm keeping in mind the silhouette, the shapes as I'm walking through all this. I'm also keeping in mind the overall feel of the shapes that I'm seeing. There's not too much geometrics. A lot of the stuff that I see have this curvature and this kind of soft line affect the melting look. Except for these two images which fall in line with more of the Mod style of this era. And it might be beneficial to create some simple checks to kind of add four coordinates to balance some of them more like in your face motifs. Um, but I'm not sure if I'm going to use this kind of concept too much, but I did like the colors a lot in this one. And I think the geometric shapes are really fun and cool. And it works well for more of the MOD as well as the op, art style like the movements of this era. But I have a feeling that I'm probably going to go more with the nature psychedelic inspired pieces because it's something that I really enjoy. But this could also be a direction you can take as well. Once I'm done sketching all of my very simple, easy, messy sketches, they're not perfect way to clean these up, obviously. Once I'm done with this, I want to say have at least 15 to 20 motifs that I can play around with, build patterns out of and continuously work with to create a larger body of work. As I'm building out the patterns themselves. Then we can save this. And then we can basically begin the process of refining and finalizing these sketches into colorized motifs that we can then begin to build our patterns with. 9. Refining Sketches: So now that we're done with our sketches, but we want to do is refine them and color them. Just to make things a little bit easier, I like to group everything and flatten my pixel or flattened my sketch layer and then pull it into a new file so that I could have that be my colored final versions of the sketches. So what I'm gonna do is make sure that all of my sketches are grouped together. The easiest way to do that is just to select the first layer of group. Drag right? Over all of the additional layers. And then you'll be able to then select this little puzzle icon and it will group everything together. Once I've grouped that together, what I can then do is merge it so that it creates one pixel layer. So once I've selected that group, I'm just going to go into my edit menu and I'm gonna duplicate it just so that I have a copy just in case something happens. I'm going to turn off one of those groups. I'm going to make sure one of them are selected. And then I'm going to go into my Layers menu here. And there's an icon that looks like a stack of papers That's gonna be your Merge options. So once I select that, I'm just going to tap on Rasterize, then what will happen, you will see is that there will be a new pixel layer created. I'm just going to select that pixel layer, go into my Edit menu and select Copy. Then I'm gonna go back out into my gallery by hitting that little arrow. And then I'm going to select the plus icon. I'm going to set up a new document that is the same size as my sketch layer, which is 11 by 17 landscape. So I'm going to update my measurements from points to inches. Then my width will be 17 " and my height will be 11. I'm going to update my DPI to be 300. And then I'm going to make sure that my orientation is landscape. I have a transparent background. And then I'm just going to tap on create art board and then hit Okay. Once I'm done doing that, then I can go into my Edit menu and I can select paste. And it'll paste my sketches onto our new art board. I can resize as needed. But what we want to focus on is basically outlining and coloring these elements here. So you can do one of two things. You can use the pen tool which allows you to create your Bezier curves. It's a bit more technical and it will work really nicely for beginners when you're working with more geometric shapes. Or you can utilize your pencil tool, which still allows you to create bezier curves and you can edit them with the node tool and things like that. But I feel that it's just a little bit more organic feeling, especially if you have to create curves. So I'm gonna be using the pencil tool to basically outline. We'll do is select our pencil tool. And then in the bottom area of your iPad, you'll see that there will be some options. You'll want to turn on scope, which basically allows you to add more lines to your original line work as you're outlining. You can adjust the width and then you can tap on. There's a little arrow that's right next to useful. And that is your stabilizer and you can update it to be a Window Stabilizer, rope stabilizer or No Stabilizer. I prefer to use the rope stabilizer and you can adjust the length of it just based on what you feel comfortable with as you experiment with it. Then I'm gonna go to the right-hand studios here, select my color studio. I'm going to tap on my outline and then I'm going to update the color. Then what I wanna do is go back into my layers, select my sketch, my pencil sketch layer. And then I'm going to tap on my layers options, which is at three dot menu, tap where it says pixels and update it to say sketch. Then I'm going to lock this in place so it doesn't move. And then I'm going to bring the opacity down just a bit. Then I'm going to start drawing on top of this. And what's nice is that you don't have to create a new layer. Because as you begin drawing with the vector tool, it's going to create a vector layer automatically for you. The easiest way I've found to do this is just to zoom in really closely outline as we go. So I'm gonna make sure my pencil tool selected. And then I want to kind of see what the width is for my current lines. I think 2.8 will work nicely for this. Then I can begin outlining. And then I'll just continue this process to outline all of the different shapes that I have. Then if I want to disconnect lines, once I create my first shape, I can just tap on my Move tool, tap out of that shape and then just tap onto my pencil again. And also what's nice is that you can rotate your screen as needed just to make it easier to outline and draw using two fingers and then rotating left or right. And then I'll just walk through this process doing the exact same thing for all of the other elements. What's nice though, is that you could also use your shape builder tool as well. So you can tap on. Right now I have the Rectangle Tool live, but if I tap on it and hold down, it'll give me a bunch of different options so I could take my lips and then create a circle. And then I can just go into my Color Studio, makes sure that there's no fill. And then that outline is the same color as what I have for the rest of my files or for the rest of my outlines. And then I can just adjust and edit as I go. So if you have simple shapes that are in there that you can use the shape builder tool for. I would suggest it because it just makes it a little bit faster. Then we can also use your pen tool. So I'm going to tap on the pen tool and this is basically, you're creating Bezier curves and you're creating lines segments with zero point. So the last point you have, the more organic that shape will feel. So I'll start with just to create this first curve. I'll add a third tap back on the original and then I'll close it. And then you can go into your Node tools and adjust these line segments as well. And it's okay if lines go over, you can always tap them and readjust as you need. And what's nice is you could also take this curve and then just duplicate it by tapping on it, going into your edit menu, selecting Duplicate, and then rotating it using your move tool to create your puddles. And your sketch doesn't have to be like your outline doesn't have to be the exact same as your sketch. You just want to use your sketches kind of like a base layer for what you want your elements to look like and you could always revise as needed. So now that I've done that, I can go in and continue outlining the rest of these elements. As I outline, I also like to start grouping things together because essentially each of these lines segments are just line segments on their own. They're curves that we've added, um, so they're all separated. So what I like to do is just select my move tool and then I can drag over whatever it is that I was working on. It'll select all of the segments and then I can go into my layers and double-check. Can you see them all highlighted? And then I can just select that puzzle icon to group them all together. That way everything is grouped together. Once I'm done, if I don't like the way my segments are connecting, I can just select my node tool, which is a second arrow from the top. And the left hand tool studio. I can just tap on the line segments and adjust them as needed. And then just like it did before, once I've created all the line segments, I'm going to select my move tool, drag over those segments, go into my layer studio and group them just so that I keep everything together. I'm gonna go into this geometric looking sketch here. And we're going to use the pen tool just to create these simple lines segments really quickly. So just keeping, keeping in mind minimal points and where those points are in terms of corners will make it easiest to outline the shapes. I'll select my pen tool and then I'll just basically outline and then remember to close it at the end. And this is relatively quick and simple. And I just keep in mind the most minimal points based on the overall shape. And then I always close it by tapping on my original first point. And then I can go back into my pencil tool and just continue outlining this. And then we'll jump into coloring. 10. Coloring Sketches: Now that we're done with refining and outlaying our sketches, we can start the coloring process. So we want to do is go into our layers on the right-hand side of our screen. Once you are in the layer studio will see all of our layers, all the different elements that we added to our art board, including our sketch layer. So I'm going to tap on the sketch layer, which is at the very bottom. Turn it off so we can see what we're working with here. And then what we'll do is start the coloring process. So in order to do that, what I like to do is create a new layer, is create a new layer. And then we can also add in different ways of approaching the process. Whether it's using our fill tool or our pencil tool to recreate the outlines to fill it with color. So we'll start with the Pencil Tool, which is what we've been working with before. Anything. Again, I like to ensure that I have all of my elements grouped together. So if we go into our layers here, we'll see some of these are separate. So I'm just gonna go select my move tool and then drag over any of these elements. And then group them so that they're all each, their own individual groups of pieces that we can move around. And you know, everything is grouped together because you'll see they have their own selection bounding box as we tap on them. Now that everything is grouped together, what we'll do is utilize our pen tool or pencil tool to outline and fill in our color. So what we'll want to do is update our color fill. This isn't going to be my final color option for this. We're just going to use this as an example. And then we'll build out our color palette based on what we have in our mood board. So now that I've created that I want to find this group, my layers, and it's right here. Then I'm going to select the plus icon in my layer studio here. And I'm going to create a new vector layer. I'm going to tap on it and then I'm going to tap the three dot menu here for our Layer Options. And I'm going to change the name from layer one to color layer and then Daisy so that I can differentiate what the layer is. So I've done that. I want to make sure that this layer is underneath my daisy layer. So I'm going to select it, and I'm going to move my color layer underneath my daisy layer. Then you can also rename this layer just for ease of use. I'm going to tap on where it says, I'll tap on the group, tap on my layer options menu, tap where it says group, and change it to Daisy, and then hit Okay. Once I'm done with that, I can select the new layer. For our color layer. We can begin to use your pencil tool to fill in that layer. So I'm going to select my color studio. I'm going to update my fill to this yellowish color. And then I'm going to zoom in and then I'm going to just basically outline underneath where my original lines are. And I want to make sure Skulpt is turned on because we want to build these lines as we go and don't worry if it's not perfect because again, we can utilize the nodes and basically I'm creating close sections that will fill in this linework. And you want to make sure you have your color turned on. And then if anything, like I said, if there's gaps or anything that doesn't look right, you can just select your Node Tool and go in. And you can adjust so that your color is exactly where you'd like it to be. And then you can just continue this process for the rest of the elements. But keep in mind, this way does take a little bit longer, but it does give you a much more, but it does give you much more control over where you're placing color. So what we'll do now is utilize the full tools and other option for filling our shapes with color. It's a little bit quicker than using the pen tool option. So in order to do this, we're going to select our fill tool. It's the option right underneath our pen tool. And then you'll get this popup towards the bottom of your screen and your interchange your type from none to solid. Then you can go into your color wheel and you can update the color. So this will fill everything. Or if you want to fill the colors within the center of the flower and the petals, a different color. We'll have to individually select those pieces. So what we can do is go into that group, open it up, and then select the curves that we want. So e.g. we want to update our. Centerpiece, the ellipse from the petals. So we can select the ellipse in that group, go into our color wheel, and then we can update the color here. The other thing to keep in mind is say perhaps you want the outline of this center to be the same color. You can update your color outline as well, your stroke by tapping on your Move Tool going into your color options, tapping on your stroke, and then just changing it to be the same color. And it can update that and say you wanted this to be on top of the petals so you don't see the strange outline of the outside part of your petals. What you would do is you would just take that ellipse and drag it so that it goes above all of the petals and your shape. So this is just a quicker way to go about filling with color. But you could also go in and individually update these as well. So e.g. perhaps you don't want the graphic outlines on these. You can select all of those layers, go into your color tools, or go into your color studio. Select your outline and then just turn it off. Or you can just fill it with the same color and you'll get more of a non lined kind of artwork for this type of thing. But you can go about the process the same way. Even if you have lined artwork, you can again utilize the full tool. So tap on that, click your fill tool, change your type to solid, and then you can update the color. And then you can even go back in as well and adjust your line stroke and things like that so you don't want it to stick. Wanted a little thinner. You can go in and revise. That's the beauty of working in vectors. You can change and revise things as needed. Now, when it comes to this kind of line work here where that all of the elements are closed shapes. You might have a little bit more trouble using the fill tool because that Phil will fill till wherever the line is. So my suggestion is just to utilize your layers in a way that allows you to fill shapes and colors and kind of block them out as you need them. So in this case, we don't want that white showing. So we would just want to have the outline of the full flower itself at the top above the rest of these layers. So I would select that layer and then I can use my fill tool, change it to solid, and then update the color. And then this way, this is covering these back pieces so you don't have to worry about the white overlapping. If you use your full tool. Or your other option is using the fill tool for the closed shapes and then utilizing your pencil tool to fill the rest. Just want to make sure you don't have stroke. In this case, I would suggest adding additional layers to keep your color separate from your line work if you want to utilize the linework options. Another option you can utilize to color in your line work is by utilizing the fill bucket tool and your pixel persona. So to do this, what we need to do is switch out of our designer persona and into our pixel persona similar to what we're doing when we're sketching. So it's that middle option up here. So we'll select pixel persona, and then we can select our flood fill tool. And basically it'll flood fill based on closed lines. So to do this, we'll select our flood fill tool. It looks like little pink bucket. And we can select an element that we want to color. And then in this bottom area, you'll see a pop-up. But we want to, what we wanna do is update the mode so that it's bill if it isn't already. And then we want to update our stores to current layer and below. Then we can update our tolerance so that it fills all the way to the line so I find anything above 40 should work. You want to make sure contiguous is selected and your blend mode is set to normal. So we added a new pixel layer. You can just hit the little plus icon in our layers studio here, select pixel layer. And then what I like to do is just select that layer, drag it so that it is above the element that I am coloring. And then ensuring that bucket tool is still selected, I can update my color. I then all I have to do is tap in the areas that I'm trying to fill and you want to make sure that the line work is completely closed or else it'll flood fill the whole entire page. And then all we could do, just double-check. I still see a little bit of white here, but what we can do is take that layer that we just created and drag it underneath our group layer. And it should help with that. But if it doesn't, we can just go back undo by tapping with two fingers. Update our tolerance a little bit more. Then making sure I'm still on that same pixel layer. Select my flood fill tool and then tap into the areas I want to color. That's a lot better. And then I can take that pixel layer and drag it so that it's underneath my line work. And then again, if there's anything that you're noticing color wise, you could just select your paint brush tool, make sure you have the correct color. And then making sure you're on the correct layer, you can just go in and clean it up. So this is a little bit faster. But again, you just have to keep in mind the size parameters that you're working with so that you don't have to worry about increasing it just because this is a pixel-based option. Let's say I want to update the color of my life, my vector lines here, all we have to do then is go back out into pixel persona and then select that group. And then I'm going to open it up and then just select my elements individually. And then you'll see they're all highlighted in blue. That means they're selected. And then I'm going to go into my color studio, tap on my stroke, and then tap on the green that I originally had to fill with and then just adjust it and find a darker version of this. And then we can update our line work as well. So now that we understand how to color, Let's look at building our color palette. Keeping in mind that within a collection we want to have cohesive colors throughout. Obviously, these are just examples that we're working with. So we'll want to make sure that all of the elements have a similar color story. So the easiest way that I go about doing that is within my mood board. I just created a color story. In my mood board, I created this color story. I can go in and select these elements, and I can drag these color swatches over to my new file. I'm just going to go to my Edit menu, select Copy, and then go back out into my gallery, go back into my new file here, and then I'm gonna go into my Edit menu. I'm going to select Paste. And then I'm going to drag those colors over off of my art board. Then I'm going to add those colors into my color swatches. So I'm gonna go to the right-hand side, select my color studio, tap where it says swatches. And then we're going to start to add these colors. And so I'm just going to turn off my outline right here and then just pull my color fill to the front. And then I'm going to utilize the color picker tool. So I'm going to tap on my first color, which is a screen that will pop up in my color wheel. And then I'm going to select this little hamburger menu. And what I wanna do is add current fill to palette, and this will add it to my swatches palette here. And then I'm going to repeat that process for the rest of these. So using my color picker tool, I'm going to tap on the pink in my swatches menu, select the hamburger menu, and then add current fill to palette. And then repeat this process for the rest of these colors. Once I've added all of these colors, and then I can begin to map out where and how I plan to utilize them. So obviously anything that is green, I can utilize this lime green for. And then I can play around with the additional colors for some of these extra elements like the flowers and things like that. So we can always go back in and update. So now that we know how to color and we have our color palette, we can go in and color the rest of our final flowers and different elements that we have. We can start the process of building the pattern. So I'm gonna go back in here and start to update my colors. You can use one of the three options that I've shared with you. I prefer the color fill because it's a little bit quicker. But the pencil option is usually the most effective because you can specify what you're working with. And it keeps it a vector items so that you can scale up or scale down as needed. Whereas that flood fill tool though and pixel persona, It's really fast, but it does work in a raster based options. So you want to keep in mind your file size. 11. Building the Pattern - Creating the Template: So we're gonna go to our main gallery and then we're going to select the plus icon. And we're gonna set up a file. So what we're gonna do is set up a live preview along with our pattern. So we'll want to set up a new file. I'm gonna do a smaller based on your needs. You can size this as big or as small as you want. I'm just going to go with a basic 2000 by 2000 foot pending where you're going to upload this and what platform you're using. You might want to adjust your size up to 4,000 or even more. We're going to select New Document. And then I'm gonna change my measurements from points to pixels. And then I'm gonna change my width from whatever it is to 2000. And then my height to 2000. I'm gonna change my DPI to 300. And then I'm going to create a transparent background and then want to make this an art board so that we can add an additional artboard. Once I'm done, I can hit Okay, and then we can begin to set up our file. Right now we currently have what will be our pattern tile, but we want to do is create a live preview that we can see over to the right side of this pattern tile so we can see whatever we're doing here, how it's affecting the pattern as a whole. I'll show you a quick example. So I'm gonna go back out into my gallery. And here's an example of how this works. Whatever I put here will show up here in all four quadrants. And what's nice is that if I change something on my pattern tile, it's going to change on the right-hand side here. So whatever I do to this tile will revise this final look of the complete pattern. So let's go back out into our gallery, select our new file here, and then we can begin to set this up so we have our base setup. Now we need to create the live preview. So what we're gonna do is duplicate this art board. And to do that, we're going to just select it using our Move tool. And then we're gonna go into our document menu and we're going to select where it says Artboard. And you'll get this popup at the bottom. And you'll have different presets that you can select. I'm just going to keep it as a document. Basically, it's going to make an exact replica of whatever the current document is. And then I'm going to select the plus to insert that art board. And now you have two exact matches. But what we wanna do is create an art board that is actually double the size of this original. Because basically this tile will be tiled four times. So to create a quadrant four, each section of the full pattern. So to do that, what we'll wanna do is once we've added that new document and we're going to resize it. We're going to transform it to on the right-hand side here we'll have our transform studio. We can select that transform studio. You'll get this pop up. You'll see your dimensions are 2000 by 2000. So what we wanna do is double this. So we're going to tap on our width and we're going to update it to 4,000. And then the same thing with our height, we're going to update that to 4,000 as well. Then when we zoom out, you can see we have doubled our file size and each tile will go into a quadrant within this file. Now what we're gonna do is work with the symbols within our program here. But first, we'll go into that original art board and we're going to add in a title. I'm gonna make this a color that's easy to see. Go into my swatches. I'm just going to utilize that blue to select that art board. And then I'm going to create a rectangle that goes over it. And I'm actually going to turn on magnetics on my lower left-hand side. This will ensure that whatever shape I'm creating will snap directly to the size of my art board. But if I need to, I could always go into that transform studio and update that as well. Then what I wanna do is also make sure that I have a color. So I don't want a stroke, I'm going to turn the stroke off. Want to have a color fill, and I'm going to update it to that blue rectangle. So I'm gonna go down into my rectangle tool and then drag across my art board. And you'll see everything lines up and snapped because you'll have a red and a green line that shows that everything is within that square. But just to double-check, I like to go into my transform studio and look at the dimensions of the shape I just created. And it is 2000 by 2000 pixels, which is perfect. That's what we need. If it wasn't, you could always just update it to be 2000 by 2000 and then your positioning for x and y should be zero-zero. I like to just double-check and make sure everything's okay here. Because if anything moves, it could potentially impact. The preview. Now what we wanna do with this still selected is create a symbol. So we're going to open this symbol studio. Again, it looks like a Mercedes symbol. That's the easiest way to describe it. It is the eighth option down on the right-hand side within your studio. So I'm gonna select that Symbol Studio. And what we'll wanna do, making sure that blue square that we just created or whatever color you're using is still selected. We're going to add a symbol, that symbol studio. You're going to see two options. One looks like a hamburger menu. So we're going to select that menu. And then we're going to select add symbol from selection. And then you'll see that that square pops up. Now what we wanna do is copy that rectangle. So we're going to go into our edit menu at step three dot menu in the upper left-hand corner. And we're going to select Copy. And then we're going to tap into our board two. And then we're going to go back into the Edit menu and we're going to select Paste. I'm going to do this four times total so that we have four squares. And you can double-check to make sure you have four squares by going into your layer studio. And then you should see four squares. Now what we're gonna do is move these squares into place. So I'm going to close my layer studio and I'm going to open up my transform studio. And we'll wanna do is ensure that each of these blocks are in each quadrant of this square. So the first one should be at 00, the next one should be at 2000s zero. And then we'll keep doing that until all four squares are in place. So for this first one, I'm going to tap on it and I'm going to select my position. So the first one it will be 00, the next one will be 2000s zero. So I'm going to tap on x and I'm going to update it to be 2000s. And I'm going to keep my y at zero. And then I'm going to tap on the next square. And I'm going to keep it at zero for x. And then I'm going to update the y to be 2000. And that's going to pull it into my lower left-hand quadrant. And then I'm going to tap on my last square. And I'm going to update my positions to be 2000 by 2000 and that should pull it into the lower right quadrant. Now all of my squares are in place. If you're noticing any fine lines, don't worry. I noticed sometimes this happens within my art board too, but that does not mean that you are going to see any lines within your final exported file. It's just sometimes the lines will show up on my affinity, but there's no actual lines. So another way you can double-check this is just to select your art board, select your square, and then just make sure there's no stroke around that original symbol. So select a rectangle, go into your color studio and just make sure there's no stroke. And you should be fine and good to go. Alright, so now that we have this setup, I like to save this as a template and reuse it. So I'm gonna go out into my gallery. I'm going to rename this. I'm going to select the little hamburger menu, select Rename, and then call this pattern template. Then basically every time I want to create a new pattern, I can just duplicate this template. So I can select that little hamburger menu, select Duplicate, and it'll duplicate that whole thing for me. So I don't have to redo this over and over again. So for now, I'm just going to duplicate this four times so that I have four of these in total. And then we'll be able to utilize these for our pattern. What we can do is just edit the name and rename them as well. So it be like pattern one, pattern to pattern three, pattern for. So I'm going to rename this to pattern one and hit Okay, rename the next one to pattern to, and then hit Okay, and then so on and so forth. For all my additional patterns. 12. Building the Pattern - 2 Hero Prints: Now that we have our pattern template set up, you can go into our motif files and we can select the elements that we're gonna be working with and we can copy them and we can drag them into our new template. I'm just going to select my move tool and then drag over the elements that I want to work with for my first pattern. Once they've selected the ones that I want, I can just go into my Edit menu, select Copy, go out into my gallery and go into my first pattern, and then paste them off to the side. So I'm going to select my edit menu, select paste, and then just drag these off to the side. I can resize as needed if I need to, and then I can begin placing my elements. So the important thing to keep in mind when you're just doing a basic straight repeat, is that whatever you put on one side, it has to be matched in the exact same location on the other side, whatever you put at the top has to be matched in the exact location at the bottom. So I think I'm going to utilize this girl here. I'm going to select her hit Copy, tap into my art board, select my edit menu and hit paste. Obviously she's really large, so I'm just going to re-size. You're holding my finger down so that I can keep her in proportion. Alright, so I'm going to start off with my sides. So I'm gonna put her off to the side here. And then we can start to build in the centers after we have placed her what they've placed her in here in order to start seeing a live preview work. What we want to make sure that she's actually placed inside of the grouping of our symbol. So if we look at this art board, we'll wanna do is select that element and drag it so that it goes right on top of the symbol layer. And then you'll see all of these pop up. Now what we wanna do is copy her and make sure that we placed her in exactly the same position just on the right side of our art board. So I'm gonna go into my Edit menu. I'm going to select Copy, go back and select Paste. You'll see the second option comes up. Now we can go into our transform studio. And then what we wanna do, because our board is 2000 pixels, is just go into our AKS position, tap on it. And then we're going to select plus 2000. And it should move her directly to the right in the exact same position. And then what we can do is just double-check and look at our repeat in here. And it is placed correctly because you can see our elements are starting to complete themselves. I like to do my edges first and then fill out my center. So what we're gonna do is utilize this girl inner edges and then fill in our centers with some of these flowers. And I think this orange mushroom will work well with her as well. So I'm going to select her face once more. I'm going to copy it and I'm going to paste it. This time I'm going to move it towards the top. And then, like I said earlier, whatever we put up top has to go in the bottom as well. So once I've placed her where I want her, I can double-check to see if I have any issues with placement. And it looks like there's a little bit of overlap here. So I can just move it around and see what works best. I think this is going to work well. Then what we can do is copy that and then paste it. And then we can go into our transform studio. And this time because we're going up and down ready to be working with our y-axis. We're going to select why. And then we're going to select plus 2000s and then hit Okay, and it'll drag it all the way down to the bottom. If you notice nothing is popping up. That's okay. Again, just to make sure you take that element, drag it so that it is inside of our symbols. Or you can just drag it on top of the symbol grouping. This is what we have so far. Now what we can do is start to pull in some of these other elements to the flowers we have here. Just going to select Copy, tap into my art board, and then select Paste. Then again, making sure it's on top of our symbol. That way it pulls in to the entire layout. And what's nice is that you don't have to keep things the same size you can write or size. That's the nice thing with this. You can edit as needed and then rotate and place and see what works nicely within your layout. You'll want to have a variety of elements, things that are a little bit bigger, things that are smaller. Just to make the space work nicely for you. Again, whenever you put up top needs to go on the bottom. So I've added this flower to the top edge to kind of see how it will work with all of the additional phases. Now we have to copy it, paste it, and then bring it down to this lower area here. So since you're going from top to bottom, we're, we're using the y-axis. So I just want to make sure that element is selected. And then I'm going to tap on y. And then I'm going to hit plus 2000. If I was going from bottom to top, I would type in negative 2000. Alright, so now let's see how this looks. I think I like how this works. I did want to utilize this mushroom here, but I don't think I want to have it outlined. So I'm going to select it and then I'm going to make a copy of it and paste it. I'm gonna move it just so I can see what I'm working with. And then I'm gonna go into my Layers, open up that grouping with it. I then just turn off my outline layer. It looks a little funky right now. But you'll see that once we pull it in and resize things, it's going to have the blue as our outline. So I'm going to resize this a bit, and then I'm going to drag it and place it into my layout here. And if it's not popping up, just go into my layer studio, tap on it and again drag it that whole group so that it goes right on top of our symbols layer, then it should pop up. Now that I have everything in place that can revise, see what works, see what doesn't work, and play around with things so that I get a better picture of how things are flying. So e.g. if we zoom in here, this flower element is overlapping with the hair. We may need to adjust the placement of this flower here. I'm going to select the bottom one and I'm going to delete it. And then I'm going to go into that top right one and rotate and adjust how things are looking. And then see how that impacts the rest of the layout. I'm gonna make a duplicate of the revised floral element. And then I'm gonna go into my transform studio, tap into my y-axis, and then select plus 2000 and then hit Okay, and then let's see how that worked. I think that's better placement. I do notice that there's a bit of a blank space here, but I feel like that kinda gives your eye some space to rest because this is a, a rather bold and busy layout. What we could do is remove one of the heads if we wanted, and just keep them on the side and add floral elements to the top and bottom. But I do like how this feels. And it definitely gives me that kind of like '60s psychedelic vibe, especially with the color effects and the overall placement of the elements and the use of the different motifs like the flowers and the mushrooms. I think this is a good first hero print. Now we can move on to creating our next one. So what I like to do is just select those same elements that I've been working with, keeping in mind whichever ones that I'm planning on working with for this next layout. So I'm gonna take some of these flowers. I'm just going to copy them by selecting my move tool, dragging over to my edit menu, selecting Copy, and then going out into my gallery, going into my next pattern, and then pasting them off to the side here. And then going back into my original files and then copying any additional motifs that I like by just selecting them, going into my edit menu, hitting copy, going back out into my gallery and then tapping into my next pattern, and then pasting them in. Then resizing as needed, keeping my head, keep your finger down and it will resize and proportion. I think I'm going to take this mushroom as well, copy that, and then go into this file, edit, paste. Can I think that's it for the elements that I want to use for this one. So I'm going to play around keeping this blue background, but we may revise as we go. So I'm going to take some of these floral elements, A3 size, and add them to our art board. Again, making sure that they're dropped onto our symbols so that everything shows up. And remember, whatever we do in here will show up here this time around. I'm going to start working in the center and then work my way out. If you're having any issues with placement, again, you can just turn off your magnetics to get more fine tuned placement. I have that magnetics turned on because of the placement of our original rectangle. We can also turn it off as you're working in your art boards. Since I'm adding this to the upper edge, I'm going to go into my transform tool after I've duplicated it, go into my white panel, select plus 2000, and then it'll pull it down to the bottom. I just means I have to move this pink one around so that it doesn't fight for space reasons. And putting this on the left edge, I'm going to copy it, paste it, and then go into my transform tool again. And then I want to make sure it's on the right-hand side as well. So I'm gonna go to my exposition and then tap in plus 2000. And it will pull it directly to the right for me. Then what I'll do is revise some of the placement of these pink flowers so that it's not so heavy on this right-hand side with these. And then since I put this pink flower on the lower right-hand side, we're going to want to have it in the upper right-hand side as well. So I'm gonna go in to my layers, find that flower, go into Edit, select Copy, go into Edit, select Paste, go into my transform studio, tap on my y-axis here. And since we're going from bottom to top, we're going to type in negative 2000. Then hit Okay, and it'll pull it up to the top. And then we can kinda see how this is starting to form and work together like this placement. So far we obviously have some blank spaces that we want to fill up and I don't think I want to reuse any of these. I'm gonna go back into my original sketches and I think I'm going to pull some of these flowers and we can use them within this newly out. So I'm going to select these two. And then I'm gonna go into my Edit menu, select Copy, go out into my gallery, go back into my file. Then I'm going to edit, paste them off to the side here, then make a few copies of them so that we can utilize them in this layout. Now they should pop up in here. So now what we wanna do is kinda revise placement, figure out where it looks nicest. Again, thinking about this almost like a puzzle. Figuring out where it'll fill and where it makes sense, and then just copying them and pasting them. To finish this section out. I'm going to pull this one to the edge to see if it'll help fill out some of these blank areas that I am noticing. Once I pull it to that edge, I'm going to make a copy of it. And then I'm going to paste it. And then again we want to drag it to the right. So I'm gonna go into my transform studio, tap on my exposition, and then suck plus 2000. And it'll pull it over to the right. Let's see how that looks. Kinda clashes with this area here. So I'm just going to go in and play around with the placement of this and move it a bit and then see how that feels. Okay. I think I like how this turned out. It's fun and funky and groovy. We've got those floral elements and it's kind of it highlights how you can keep things simple but still make it feel complex with the utilization of different elements, different sizes, but the same motif concepts. So in this case the floral. So I think this is another strong hero print. 13. Building the Pattern - 2 Secondary Prints: Now what we'll do is go in and start playing around with creating some more of our secondary prints. Then we can begin working on some of the simpler prints, which actually honestly will most likely consist of some of these elements just in single format, repeated throughout the tile. So I'm gonna go back into my original motifs. I'm going to select all of them. And then we're going to copy them. And then we're gonna go into our pattern three art board and we're going to paste them off to the side. Then I'm going to pull in some of those additional elements that I created, like these curves and the more geometric looking pieces, I'm just going to bring these over to the side and resize them. If you notice that your stripes get a little funky, that's okay. Just go back in and resize as needed by tapping into your Stroke Studio and then adjusting your width as needed. Then I'm also going to go in and select my colors here just so that I have easy access to them. So I'm going to select them, copy them, go back into my art board and then I'm going to paste them just so that I have somewhere to pull from. So in this case, I think I'm going to use these stripes here. And I'm going to update my artboard background. So I'm gonna go into my right hand studio, my layer studio. And then I'm going to select our board one, go into my symbol, and then select my rectangle. Then I'm going to go into my color studio and my swatches. And then I'm going to select a color from the swatches that I was using. And I'm going to have this be more of a neutral color because I'm gonna be utilizing all of the colors with the stripes. And then I'm going to have to re-size them just because they're so big. So I'm going to move these to the side. I'm gonna go into my layer studio here, find the stripes that I just pasted. Select all of them. I'll tap on the first one and drag right over the next until I have all of them selected. And then I'm just going to group them by selecting this little puzzle icon. And then I'm just going to re-size these down. I'm just going to move them off of my art board and then just resize it. And then again, I can go into my stroke elements and adjust as needed. Now I'm going to drag this so that is right on top of our symbols so that the grouping goes within our symbols layer and we can see what things are going to look like in our live preview. I still think these are a bit big. So I'm going to resize this down, go back into my stroke, adjust the size of the stroke, and then resize this up again. If you find that your art board moves at all, just go to your rectangle, tap on it within your symbols, go into here, or go into your layers. Tap on your rectangle under your symbols. Go to your Transform tool, make sure everything is at 00 for x and y. And then go into your layer options so that three dot menu and select Lock, and that way it won't move. Now we can go back into our layers, find that group with the rainbow, re-size it as needed, and play around with the placement of this. So whatever goes on the left has to go on the right. So I'm going to copy this, paste it. And then I'm gonna go into my transform studio. And then I'm going to tap on my x position and I'm going to tap plus 2000. And that I'm going to copy this again, paste it, and play around with placement. Whatever is up here should be at the bottom. And I like actually this, it's simple, but because of the curvature and because of the different colors, I think it works really nicely. So I think we'll keep this as is. I'll go back into my file, select the elements that I want to use. Pull them off to the side here. Then I'm going to select them. I'm going to hit Copy, and then I'll go back into my new file and paste these in. So I'm going to update the color of my rectangle based on the swatches that I've been using. See what works. Nicest thing is pink. My work. But I also feel like this darker color makes the brighter colors pop more. I think I'm gonna go with this darker brownish black that I have here. And then I'm gonna go into this mushroom and take out the outlines. And then we can utilize that as well in here. Then we can just resize everything down so it's not so large. Once I have all my elements, I can select them all by tapping on one and then dragging right over the next ones. And then tapping on all of those layers together and then dragging them so that they go right on top of my symbol. And they'll start to show up in my life preview. So I'm going to start with my edges first and then work my way in for this one. So I'm going to select this mushroom and move it to the edge. I'm going to copy it. And then I'm going to paste it. And then I'm gonna go into my transform tool, tap on my x position. And then I'm going to tap plus 2000 hit. Okay, and it should pull it directly to the right position, on the right-hand side. Positions, some of these floral elements, see where I liked them. And then if I pull it on an edge, again, copy it, paste it, and then go into my transform tool, select the icon, and then tap plus 2000. And it will bring it to the right-hand side. And then just make some duplicates of some of these smaller elements in here. And then kinda play with placement of where I'm going to position these. Anything that goes on an edge I need to duplicate and bring it to the opposite edge. So I'm going to select this flower and the upper right hand corner here, going to my edit menu, Copy, Paste, go into transform, select my y position, and then select plus 2000. And it'll bring that duplicate towards the bottom. Then we can start to see how everything is looking and if anything is out of place. So in this case we have to select this little rose looking flower, hit, Edit, Copy, Edit, Paste, go into transform, tap on our exposition and then select plus 2000. Hello. Okay, I'll make some more duplicates of these mushrooms to start to fill out space. Then what do you think I'll do is use more of these orange flowers to fill out the centers. And these clear spaces for this one. And then we'll be done. I think we're done with this layout. 14. Building the Pattern - 4 Filler Prints: Now we can start to duplicate some of these again and then start to fill out with more simpler pieces. So I'm going to select the little hamburger menu. And then I'm going to duplicate this and I'm going to change the name from pattern for two, pattern five. Then hit Okay. And then I'm going to tap into this, then clear everything out of this art board by just going into my Layers menu, selecting art board one, and then releasing it. And then just selecting all of the elements with in my symbol folder here, tap on the first and then drag right over the additional elements. Then you can just hit the trash can and your Layers menu. Now what I wanna do is actually go into my sketch, the colored art board. I'm going to pull this end that geometric concepts and see what we can do with this. So I'm gonna select it all. Hit Copy, go out into my gallery, and then tap on my new file, get rid of anything that I don't want. So like these flowers, just select them and then delete them using the trash can. And then I'm going to go into my Edit menu, select paste, paste this over here. And what we'll wanna do is obviously update the color of our art board here. I'm going to select artboard one, go into my layer studio, go into my symbol, tap on my Rectangle, hit my color wheel, then go into my swatches and updated. I think I'm going to use this tan again because they think this will probably work the best with the multiplied elements here. I also have kinda like an off-white we could utilize as well. So maybe it will work with that. So that way we don't have any too much interference in terms of the overall color. Obviously, we need to resize this down. So I'm gonna hold my finger down on the screen and the pull from the corners. Once every size everything down, I can pull it onto my art board here by dragging it. Then tapping it, or tapping the group in my layer studio and then dragging it on top of our symbols. Once I put these in here, then I can resize and duplicate as needed. And then kind of play around with the placement of these different elements. I can also go in and edit and revise the shapes as well by using my node tool, which is that little white arrow. And then I can play around with the placement of this just so that I can get some of that fun like overlap effect, but still have everything kind of work together and this kind of shaped outline. It doesn't have to be perfect. Just have fun with it. Because even though it's very simple, it gives it a bit of visual interest. So what I'm gonna do is, uh, work on placing these on my edges and then I'll fill out the center. So I'm gonna put it on my left edge here. I'm gonna go into Edit, Copy, Edit, Paste. And then we're going to go into our transform studio. I'm going to go into my x-axis. I'm going to select plus 2000 and then hit Okay. And it'll pull it to the right. You can just double-check and make sure everything is in the symbols if it's not, So you're going to select that group, drag it so that it goes right on top of your symbols. And it should pull up now. And then I'm gonna do this at the top as well. I'm going to hit Copy, Paste and drag this so that it is at the top of my art board here. And then I'm going to go to edit, copy, edit, paste, or go into my transform studio, select my y-axis, tap on it and then hit plus 2000, and it should drag it towards my bottom. And I've got this fun kind of graphic. Geometric prints that I think will work nicely with the colors that we already have and kind of plays into that whole like '60s Geo vibe that we pulled in from our inspiration board. Now I want to focus on some simpler coordinates. So I'm going to select this most recent pattern, and then I'm just going to duplicate it by tapping on the little hamburger menu and then hitting Duplicate and do that two times. And then I'm going to hit that hamburger menu again and select Rename. Update this from, from pattern five copied patterns six. Then rename the next one, pattern seven, and then copy this one more time by selecting that hamburger drop-down menu, select Duplicate. And then we're going to select that hamburger menu again, select Rename, and then change this to pattern. And then hit Okay. So I'm gonna go into patterns six. I'm going to go into my layers, select my drop-down for our board one, and then select all of the elements with in my symbol grouping here. So I'm gonna select the first one drug right across the next. Repeat that. So everything is selected and then hit the little trash icon. And it'll delete everything off of my art board. And then I'm going to update the color of my art board by selecting the rectangle. Go into my color studio here, selecting my swatches, and selecting an updated color. I think I'm gonna go with this pink for now. And then I'm gonna go back into my sketches here and pull in some of these simpler elements that I've been using, like these little flowers. So I'm just going to copy that. And then I'm going to paste it into here and pull it off to the right. And then select some of these other flowers that I haven't used, copy them, and then go back out into my gallery, select my art, my updated file, and then paste these in there as well. Just so that I have a selection to pick from. Now that I look at some of these, I feel like this pink might not work while it might clash. So what I think I'm going to do is select a different color. I'm gonna go into my layers, select my symbol, select that rectangle within a symbol. Go to my, go to my Color Studio, and then update the color to the cream I was originally using. And let's see what these look like when I place them on top. Yep, I think this works nicely. So I'm going to keep this very simple. I'm just going to use this orange and yellow flower in our layout and just do a simple repeat with this. So I'm going to start in my edges. I'm going to copy this. I'm going to paste it. Once you have everything where I want on one side, I'm going to select all of these. And then I'm gonna go into Edit, Copy, Edit, Paste, then go into my transform studio, tap my x position, and then type in plus 2000. Then it'll pull everything over to the edge. And then I'm going to do the same thing and add these elements to the top. So I'm going to select one, I'm going to copy it. I'm going to paste it. And then I'm going to place it up top word, like it. Then I'll just copy it again, copy it again, and then paste it. And then I'll go into my transform studio, select my y tap on that and then hit plus 2000. And it'll pull it down to the bottom. And then just copy this element again, paste it, and then move it. And then I'm going to copy it, paste it, and then go into my transform studio for why? Tap on that and then hit plus 2000 again. Then hit Okay. And our bottom should be filled out and now we can just fill in the center. So I'm just going to copy this flower and paste it a few times. Then we'll play around with placing everything into our centers. And if you're noticing that nothing is popping up on your preview, you can just go into your layers studio, select everything. So tap on your first flower and then drag right over the rest until you select all of these elements. And then you're going to tap on them with your Apple pencil. Drag them and make sure that they go right on top of your symbols. And it should all pop up over here on the right-hand side. Now it's just a matter of placing everything where you'd like it within your layout. Anything I want to keep this really simple. Kind of like a diamond effect on the centers to kind of fill out that middle part. And this is the final pattern. All right, so now let's move on to our last two. I'm going to keep them similar to this, with just some simple floral elements. Not too much going on, but still impactful. So now let's go into pattern seven. Again, go into your Layers, open up our board one, tap down on your symbol, and then select anything in the symbols layout that you don't want in that grouping. And then you can just select the trash icon and it'll delete everything for you. I'm gonna go back into patterns six and pull some of these floral elements. I'm going to copy them and then go into patterns, heaven, and then just paste them. And I'm gonna look at my overall color palette. I have some dark colors and light colors. I think what I'm going to do, since this is going to be more of a simple floral layout. I might play around with the colors. So we have some of these dark colors. I think I'm going to pull in some of these lighter colors like yellow. I'm going to select my rectangle on my symbols. So I'm gonna go into my layer studio on the right-hand side, tap on our board one, select my drop-down menu, and then select my rectangle, tap on my Color Studio, go into my swatches and select this yellow. And then what I wanted to do is pull in this pink. Alright, so since this color will get blended out with the yellow background, what we'll do is go back into our original sketch. I'll make a copy of this and then we could just update the little center here. So with that element selected, I can go into my pixel persona, select my fluid-filled tool, update my color, select that element. Tap on the pixel layer, makes sure your mode is set to fill your sources current layer and contiguous is unchecked mark. And then we can go and we'll update our color, select our flood fill, and then tap on the yellow center to update it. Then we can just select that all, copy it. Go back out into our gallery here, select our new pattern file. And then it will go into edit and we'll paste it in. And now we have this flower with the orange instead of the yellow. And then we could just make a few copies of this and paste it. And then we can start pulling this in. I like the large size of this. I'm going to increase it just a bit. And we're going to use this for our simple layout here. So we've done a bunch of smaller florals, but I like the idea of doing a nice large one. So I'm going to increase the size. Then again, I'm going to work from the sides and then fill in our center. So once I place it where I'd like it on my left side, I'm going to hit Edit, copy, edit, paste. And then I'm going to go into my transform studio. I'm going to tap on my exposition and then select plus 2000s and then hit Okay, and it'll pull it to the right. And then I'm going to copy it again, paste it again, and then I'm going to drag it to the top here, play around with placement. Then I'm going to hit Copy paste. And then I'll go to my transform studio, go into my y position and then slept plus 2000 to bring it towards the bottom. Then again, if you're noticing nothing's popping up on your preview. Just go into your layers, tap on your elements, and then drag right over the next one so that you're selecting all of them and then tap on them with your Apple pencil and then drag all of those so that they go right on top of your symbol. Alright, this is what that final print will look like. And oh, it looks like there's nothing in the center here. But I like that kind of effect where you get a bit of a diamond shape. So I think we're going to keep this as the simple pattern. Then I think we'll do one more simple floral coordinate here. So we'll open up pattern eight, go into our layer studio. Open up Art bird one, release or symbol group. Select the first of those elements, drag right over the next ones and then hit the trash icon to delete. Let's select our rectangle and update the color. So we use that yellow. Now let's look at using maybe that kind of neon pink. And then let's go into our sketches and figure out which elements we want to pull in this time. I think for this one, what we'll do is utilize this yellow and pink. I'm going to select that. And I think I might select this little leaf pattern as well. And then I'm going to copy it. Go back out into my art gallery, tap into my new file, go into Edit and select, Paste, and actually drag these out, though, before we start doing anything with them, I'm going to revise this leaf patterns so that doesn't have an outline. So I'm going to select the group, select that drop-down arrow. And then I'm going to tap on the outline group and just uncheck market. Then I can drag this in here. Then we can play around with the placement. As I look at this, this kinda hurts my eyes a little bit. So I might adjust the pink color here. So I'm going to select my Symbols group, select the rectangle, go into my color studio, go into my swatches, and then see what other colors we have that might work better. Alright, I'll stick with this orange. And then now we can start playing around with copying, pasting and placing these elements into our layout. I'm going to select the first flower, drag right over the leaves and then I'm going to take my Apple Pencil tab and then drag them so that they go right on top of our symbol. That way it'll show in our live preview. So I'm going to make a few copies of this and see how we can make this work. So I'm going to work on my edges first and then work through my center. So once it place these first two elements, I'm going to select them and then I'm going to copy them. And then I'm going to paste them. And then I'm gonna go into my transform studio, go into my exposition, and then select plus 2000 to get them over to the right side here. And then I'm gonna go into the elements in the middle here and pull some of these up top. Then I'm going to copy them. I'm going to select the first one and then drag right over the leaves. So at both are selected, I'm gonna go into my Edit menu, so a copy, and then paste. And then I'm gonna go into my transform studio. I'm going to select my y position and then I'm going to select plus 2000 and that should bring it to the bottom for me. Now we have to do is fill out the center here. So I'm going to select one of these yellow flowers, select Copy, paste. And then just start placing them in. And then copy and paste again. And then see what this looks like. I like how this looks, but I feel like everything is the same size. So I might resize some of these central flowers here so that I can fit more on sovereignty size. I'm just going to duplicate them and see what it looks like when I play without within this layout here. Once I've done that, I don't like how that looks. So I'm just going to undo by taking two fingers and tapping to undo until I get back to where I was originally, which had just those two larger flowers centered. I do like how this feels better. So that is our final print. So basically we have two heroes to secondary prints. And then four of our coordinates that are a little bit simpler. There's less going on, but there's still as visually interesting and a prenatal gap. So now that we're done with creating our files, our next step in the process is exporting these. And then we can talk more about how to save these and group them into a look book page, as well as how to organize them in our file system. 15. Exporting Tips: Now that we have all of our patterns completed with it, I like to do before I export these is basically just test them out. So the easiest way to go about this is exporting your tile and then testing it in a new file. Obviously, you're also testing it when you see the live preview. What I like to see it on a bigger page. So what I suggest you do is go into your first art board, select it, select our file here, and then select Export. And then we're just going to save it as a JPEG. If you had a transparent background, you might want to export it as a PNG. But since I have color, I'm going to use JPEG. I'm going to keep the file name as is. And then I'm gonna hit Okay, and then I'm going to find the file that I have in my system for this specific class. Then I'm going to hit Save. And then I'm just going to go through this process with all of the pattern tiles that I've created. So I'm going to select my tile, not my tester. I'm going to go into my file menu, select Export, keep the file name as is. And then for my area, instead of selecting whole document, make sure you select selection area or selection only so that it only selects the, the actual file that you're working with that tile. And then hit Okay, find the file that you have on your system and my cases, the class project, and then hit Save and then repeat this process. Go back out into my gallery. Go to my next one, select our bird one, go to my file menu, select Export. Make sure it's a JPEG. Keep the file name the same, and then change my area from whole document to selection area or selection only and then hit Okay. And then I'll repeat this process for all the additional ones that I have so that I can test these each one-by-one. If you have any issues with the selection area. If you're having issues with the selection area or selection only, you can also just go into your art boards and just select Art board one. 16. Testing the Pattern Tiles: Now once everything has been exported, we can just create a new file. Go into the upper right-hand area of your gallery view. Hit the Plus select new document. I'm just going to do an eight-and-a-half by 11 file. I'm going to update my measurements from 0.2 " and then change my width to 8.5 and my height TO 11, and my DPI to 300 in case I want to print this out. And then I'm going to create an art board so that I can do multiples in one file and then I'm going to hit Okay, now I'll have one art board and we can add a few more so that we can test multiple patterns in here. So I'm going to select this art board, go into my file menu, tap on art boards. And my bottom area here that pop-up will allow me to update my preset, keep it at document. And then I'm going to select plus to insert a duck, to insert an art board. I'm going to have four total. And then I'm just going to select all of them with my Apple Pencil. Go into my Edit menu, that three dot menu, select Duplicate, and then I'm just going to drag them down. So I have eight total. So what I'm gonna do, just test out these patterns to make sure that they work nicely in a larger format. We're able to see this. We're able to see this in our live preview, but I still like to do testers. I print them out, so this is an easy way to go about doing that. So in my first art board, I'm going to just basically add a rectangle that is the full length and the full width of this page. So I'm gonna go to my left-hand side, select my rectangle tool, and then create a rectangle that goes across. It doesn't have to be perfect. And then what we're gonna do is once you've done that, minds is just gray right now. But what we can do is update the file types. So with that being selected, you'll see it outlined in blue. I'm going to go to the left-hand side, select my fill tool right underneath your pen tool. Once you click on that, you'll get this pop up at the bottom. They'll pop up a lot. The pop-up allows you to change the type. So I'm going to change it from solid, which is what it is a solid color to Bitmap. Bitmap will allow me to select a JPEG file. So once they hit bitmap, my most recent jpegs will pop up. So I'm just going to select my pattern eight here and it will fill it. So what you can do is drag these little handles in and you can rotate and you can resize. So I like to kind of rotate resize, see what it looks like. You can play around with the placement and check to make sure there's no issues with your seamless repeat that you don't see any strange seems that everything is working great and it is in this case. And you could also adjust how big or how small you want the print to be. And then when you're done, just select your Move tool, tap out of it. And there's your first tester. I'm going to go into our B2 now and basically repeat that same process. You can also just select that rectangle that you created already. Select your edit menu, that three dot button and then hit duplicate and drag it over. And then just keep duplicating and updating that specific rectangle. So you don't have to keep making that file over and over again. Once I've done that, then I can just go through tap on it, select my fill tool, and then update the bitmap to the next pattern. And this looks good. When I resize it, I don't see anything strange. My seam is working, everything is seamless. Alright, now I'm gonna go to the next one, do the same thing, tap on it, select my fill tool, tap where it says bitmap. And then update to the next pattern that I've created. Then again, we can re-size, rotate. All of that good stuff. Alright, now we can go to the next one. Tap on it, go into our fill tool tap where it says bitmap. Click on it. You'll get your pop-up, find your next pattern. And then just repeat the process for the bottom ones as well. Now that we're done, all of the patterns are working well. There's no issues with the seams. We can go in now and export our final patterns. I just like to test them, figure out their sizing first before I export the final pattern itself. So now that we're done with this, we can just exit out, go into our main gallery. Then we can go in, and then just export our final file, just like we did earlier. We'll select the art board one. Go into our file menu, select Export. Make sure you select in your area art board one, and then just update the filename can either have it pattern one or pattern one final, whatever works for you, hit OK, save it in your designated area, and then hit Save. And you are sat with all of your final patterns. So you'll export the tiles. And this tile is specifically what you will upload to a print on demand site like Spoonflower or red bubble. You won't want to upload your pattern tester. You'll want to upload your pattern tile. Now that we're done exporting and testing, let's jump into our project file and then we can finish off with how to work through creating a pattern file system on the computer to keep yourself organized. 17. The Class Project Template: Now that we're done with all of our pattern tiles and all of our files. I have a template that I've created for us to use. You can update your name of the pattern collection to whatever you want it to be. I'm going to update this to be '60s groovy collection. You can rearrange and resize things as needed, update fonts, things like that. I just wanted to give you something to begin with. So basically we'll put our Harold Prince here, any secondary prints here. And then our simple or kind of like Blender, less complex coordinates here as well. And then you can update it to the pattern collection name designed by and put your name here and then your website. And you can utilize this as like a sell sheet when you're pitching your collections. What I like to do though, obviously is update anything that says hero print or secondary print, give it a name, and then a Spell number. That number will be the same as the file number in my system. So it all kind of coordinates. So the first thing you'll want to do is tap on one of the squares. And then we're going to select our fill tool like what we did when we're testing. Change your type from solid to bitmap. And then find our first hero pattern and then place it in and resize as needed. Tap on the next rectangle, select our fill tool, change your type from solid to bitmap, and then find your next hero print, resizes needed. And then we'll go into our secondary prints and add those in. Now, I'll tap on the first square. Make sure I tap on my fill tool, change my type from salad to bitmap, and then find my next pattern. And then I'll repeat this process for the rest of the rectangles in my system here. Once I'm done adding all of my prints, then I can go in and update the name. So to do that, what you'll wanna do is select your type tool. It's all the way towards the bottom. You'll either have the art Text tool there, Frame Text tool doesn't matter either one. You can just double tap on any of the text to this file and highlight it and update it so that it is your specific details so you can update your print names and your style numbers, which we'll go through later in terms of how I add styled numbers. And then if you need to re-center things, so it's fine, you can just select your move tool, which is that white arrow, and then adjust the placement. I like to utilize the magnetics options. So all the way towards the bottom, right above your trash bag and turn on your magnetics by tapping on it. It looks like a little magnet. There'll be highlighted in blue. And then you can utilize this to kinda make sure you are placed in the center. And then when you're done with this, just like you exported your final tiles, you can go into your file menu, select Export, and then you can export as a JPEG or a PDF. I'm going to update the filename. And then just hit Okay and then save it wherever you have your specific project saved. So I just haven't for the class project. And then I'm going to hit Save. That will now be in your file system. So if you exited out of Affinity Designer, you can tap on your little file system. You should be able to see all of your prints, as well as your collection sell sheet in your file system. 18. Organizing Your Design Files: So now that we're done with setting up our project, finalizing and exporting our patterns. What we can do is hop onto the computer and kind of find some ways to organize everything. So what I like to do is send the file that I have everything saved and including this project. So what I'll do is save all of these files. I'll hit Save so that they've saved into my file system. And I can exit out of designer, go into my file system and I can AirDrop all of these to my computer. So what I'll do is go into where I have these elements saved. So under my class project, then I can select all of these patterns and my collection cell sheets and then also my then also my actual full editable files. I can select those and AirDrop them to buy computers. Since I'm working on a Mac system, I'm going to select Share. And then I'm gonna hit my Mac Mini so that it air drops all of these files directly onto my computer. So now that we've sent all of our files from our iPad to our computer. Just kinda wanna go through how I organize these files just to have a backup of everything and keep everything situated. Because oftentimes, depending on how much memory you might have on your iPad, it might be too much to house everything on the iPad and I like to back them up on an external drive. So I've shared everything. The pattern tile in JPEG form as well as the editable pattern in Affinity Designer format to my downloads. I just AirDrop it from my iPad to my desktop. And what I do next is I basically create a folder with these files and I labeled them appropriately based on my current settings. So I have a surface pattern design file here on my external drive. And then I have a file labeled design files. And in here I have everything organized by year. So this is haven't done as many surface pattern design work is I'd like to for this 2022 year. But you can see all my files from 2021, 2,020.20, 19. And basically how I label my files is a utilize my initial and then based on the numbers that I started, so you can start at 00:01 or 0001. I just started out at 100 to make my life easier and make it easier to track what the file number is. Basically jail one-hundred, and then a dash, and then the name of the pattern, like in this case tropical plants. Then I differentiate between if it's an editable file or a final file. I organize everything by year. So 2019 through 2022. If we look at my most recent files, there's not many there, but I do have a set that I've created from my arts and crafts course. I differentiate between the editable individual motifs, the cell sheets, any testers that I may have created, and then the tiles themselves. And I include the editable tiles and the final jpegs. Depending on what program you're working with. Your files might be PSD or EPS if they're vectors or you can just save them as Affinity Designer or Affinity Photo or Procreate files. I like to save them as either PSDs or dot EPS files if I'm working in vectors just to make them easier to send potential clients. Because oftentimes they are likely working with Adobe products. And I know those two formats are compatible. So you are able to export, but you could also just save things as your Affinity Designer templates as well. Let's set this up. So currently I have JL one-sixth three, jay L17 for as my style numbers. So 175 is going to be the next one that I'm going to create. So I have eight patterns that I've created. The beginning of my sound numbers will be J, L17, five, jail 176, and so on and so forth for each of these files. So what I like to do first is go through. And rename my pattern jpeg form, and then my pattern in the editable Affinity Designer form just to make my life a little bit easier. So I'm gonna go into powder and one, and I'm going to click inside of it so that it highlights it and I can update the name. So JL is just my initials. And then this one will be one-seventh five, dash groovy because that's the name of my name of my collection and you can make it the whole name. I just tried to use the minimal number of letters just to make the file a little bit more accessible and easier to handle. So J L17 five groovy. And then I'm going to take that same one for pattern one. I'm going to copy it and then I'm gonna go into the editable version of pattern one and then rename it the same thing. Except at the end, I'm going to add editable. And then I'm gonna go to pattern to highlight it, J L17 six, dash Groovy. Then since this is the Affinity Designer file, I'm just going to add editable at the end. And then Copy J L17 six here so that I can go into my tile. Click on it to edit the text, erase that, and then paste in the new number. Pattern three will be J L17 seven Groovy. Then because this is the editable file, I'm just going to add edible at the end. I'm going to add editable at the end. And then do the same thing for the tile. Fan pattern for will be J L17 eight. And then I'll just repeat this process until I complete renaming all eight patterns. Now that I have all of the files rename, I can go into my 2020s to file and create a new file with the updated numbers and name of the collection. So I'll go into my 2022 file, right-click. I'm going to select new folder. And then I'm going to type in JL one-seventh five through J L 182. Dash groovy. So that I know this is the file where I'm going to find all of these specific patterns. And then once I've done that, I'll go into that file and I'll create new files. So I'm going to create a file for my editable motifs. I'm going to create a file for any potential cell sheets. I'm going to name this one editable individual motifs. And then I can drag that into my new folder. Create another new folder named this cell sheets. Create another new folder, testers, and then create another new folder for tiles. And in that Tiles folder, I want to create a folder that says editable and then jpegs. And I can just drag those into the appropriate files. Then I'll be able to start pulling over the specific files now. So I'm gonna take my collection sell sheet, I'm going to rename it fits so that it says JL 175 through J L 182, groovy at the top. And then just keep sell sheet at the end. And then I can drag that into my sheet folder. And then I'm going to open up my tiles folder. And then I'm going to just start dragging in my jpegs and my editable files. So an easier way to go about doing this is to organize by file type. An easier way to do this is to organize by file type. So when I have my file window open, I can just tap where it says kind, and then it'll organize it by shape eggs and the affinity files so I can select all of my jpegs. So I'll select the first in the series hold Shift and then select the last. And it'll select all of the files in that series that are jpegs. And then I can just drag those over and drop them into my JPEG file. And then all of my Affinity Designer ones. I can select the first in the series. Hold Shift, select the last, and then drag all of those over to my editable file. And then everything will have been copied into those specific file folders. If you exported your testers, you could do the same thing and just drag those into your test or files. Then if you exported your final motif file where it's just the colored elements and your mood board, things like that. You can drag that into your individual motif files, but this is just an easy way to keep things organized and easy to find. You can also use something like Excel or eight or air table to keep your designs and artwork organized. Just to make it easier so you can see what it looks like in one go and to kind of organize by categories just to keep track of your artwork. So I like to do this as well. So after I've created my files and I've organized them that I can go in and basically just add my SKU number, my style number. Two, my series. Add the titles, add my category, and then add an image so that I can see what things look like at a glance versus having to go into my system files and then preview and things like that. I can just see everything at a glance in air table. This is just another way to keep things organized. And it also helps in terms of if you are going to license products out, you can keep track of that. Keep track of the status, whether or not it was sold or licensed. These are this is just a really simple way to keep yourself organized and keep track of the artwork that you've created so that you can reuse it or pitch it or anything like that. Alright, that is it for this class. I hope you found this really helpful and informative. 19. Course Outro: Thank you so much for creating with me this month. I hope that you feel inspired by the groovy style of the '60s and that you feel more comfortable creating stylized repeating patterns inspired by that era in Affinity Designer on your iPad, feel free to share your work in the class gallery. Or if you're on social media or something like Instagram, you can tag at Bella Sophia creative. I'd love to see what you create and if you made an offer feedback, remember, if you want to learn more about me and my work, you can visit me online at www.bellasophiacreative.com. And finally, if you want to get a behind the scenes view of the work that I do as a creative freelancer. Make sure you follow along on YouTube at the creative studio. Thank you so much for learning with me today. I'll see you in the next one. Bye.