Elaborate Hand Drawn Half Drop Repeat Patterns: Combining Traditional & Digital Techniques | Kristina Hultkrantz | Skillshare

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Elaborate Hand Drawn Half Drop Repeat Patterns: Combining Traditional & Digital Techniques

teacher avatar Kristina Hultkrantz, Illustrator & Surface Pattern Designer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Class Introduction


    • 2.

      Supplies & Inspiration


    • 3.

      Instructions & Sketching Timelapse


    • 4.

      Inking Timelapse


    • 5.

      Scan & Edit in Photoshop


    • 6.

      Digitize Your Swatch in Illustrator


    • 7.

      Perfect your Swatch & Make a Repeat


    • 8.

      Add Digital Color & Timelapse


    • 9.

      Final Adjustments with the Recolor Artwork Tool


    • 10.

      Thank you for Watching!


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About This Class

Welcome to Elaborate Hand Drawn Half Drop Repeat Patterns: Combining Traditional & Digital Techniques

Learn how to create complex seamless repeating patterns by hand and how to digitize them in Adobe Illustrator.


This class is geared towards students who have already learned basic pattern making skills and are looking for another way to create more advanced patterns. This class is intermediate to advanced. You should have good drawing skills and basic to intermediate knowledge of Adobe Photoshop & Illustrator to begin. But I will do my best to clearly explain all the steps.



• 2 pieces of paper of the exact same size.

• A pencil, eraser and black fine liner pen. (note* you can of course draw digitally if you prefer)

• Scanner, or you can photograph as well

• Computer with Adobe Photoshop & Illustrator

• iPad Pro or other drawing tablet, optional but helpful.



In this class I will be sharing my technique for creating intricate and elaborate hand drawn repeating patterns with seamless flow with a more complex half drop format. Using this technique you will have more control over the composition and fluidity of your intricate pattern and in turn will result in a really stunning design where the repeated swatch is hard to spot. People will wonder how you created it!

We will cover the following:

  • Drawing tips to create intricate and interesting patterns
  • Basics of scanning and editing your work in Photoshop
  • How to vectorize your hand drawn pattern swatch in Illustrator
  • How to make your swatch into a seamless repeating half drop design
  • Basics of digitally coloring your swatch
  • How to tweak colors and test out new color palettes


I am so excited to share my tips with you and to see what you all come up with in your class projects!

Follow me and share your work on Instagram @emmakisstina with the hashtag #emmakisstinaxskillshare

Find more free content from me by subscribing to my EmmaKisstina Illustration YouTube Channel!


xoxo Kristina

Meet Your Teacher

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Kristina Hultkrantz

Illustrator & Surface Pattern Designer

Top Teacher

Hello Everyone!

I'm Kristina Hultkrantz an illustrator and surface pattern designer based in the super quaint small town Mariefred just outside of Stockholm, Sweden. You might also know me previously as EmmaKisstina on the internet. I've been working with illustration and design since 2007 and have worked full time as a freelance illustrator since 2010 and now a teacher since 2018.

If you'd like to hang out with me outside of Skillshare you can find me on:

o Patreon in my surface design collection making group called Collection Club.

o Patreon in my mixed media sketchbook play group called Fun Friday.

o My supportive Newsletter on Substack, Fargglad, for free Feedback Sessions of your work and creative business advice and inspo.

o or... See full profile

Level: Intermediate

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1. Class Introduction: Hello everyone, and welcome to my first ever Skillshare class. I'm Kristina Hultkrantz, also known as EmmaKisstina on the Internet. I am an American Swedish illustrator and surface pattern designer. I recently just moved from Stockholm with my tiny, little family to a quaint little sweet town called Mariefred and this is my new home studio, so welcome. I've been a full-time illustrator for about seven going on eight years now. I have been working with illustration and design for 10 years already so I have quite a bit of experience and I am so excited to share with you. I think it's going to be fun. Who is this class for? This class is for anyone whose been already learning surface pattern design and creating repeat patterns. Maybe you've created scatter prints and mastered that and you're itching for something a little bit more elaborate, complex. I will consider this an intermediate class. You should have a pretty good drawing skill and you should already have a good grasp of Illustrator because that's a program we're going to be using in this class to finish the repeat pattern. This class I'm going to teach you one of my techniques for creating patterns. I have several ways that I make a pattern, but this is one of my favorites because I take a pretty old school traditional way and then with hand drawing, and then I bring it to the computer later. It's also a very easy technique for an easy way to create a half-drop or brick repeat pattern. I like half-drops instead of a grid because it becomes more dynamic. The whole pattern becomes a little bit harder to figure out where it starts and where it ends, until it becomes overall a little bit more complex, elegant. It would be a bit more interesting to the eye, and that's always good when you're creating patterns. The following videos I'm going to renew along from start to finish, from gathering inspiration, creating your sketches, going through the process of creating this hand-drawn, half-drop repeat pattern, bring it to the computer, digitizing, coloring, and finalizing the final pattern. By the end of the class, you should have your very own pattern as well. I can't wait to share all of my design secret with you and tips and things like that. I also can't wait to see what you'll come up with. Let's get started. 2. Supplies & Inspiration: In order to complete this class and the class project, you'll need a couple of supplies. You'll need two pieces of paper of the exact same size. They should be a little bit smaller than what you're scanner size is to help with the scanning and bringing into the computer process. I have an A3 size scanner so I can use slightly bigger paper, but if you have an A4 regular sized scanner, use paper that is smaller than that, so an A4 or a little bit smaller. It's very important that they are the exact same size because when you're going to fit them together on all sides and if they don't match up perfectly, you're going to have a very hard time in the computer later, or your pattern will just not work whatsoever and you'll have to start over. Also, we need some dry supplies like a pencil and an eraser, and finally, a pen. You'll also need a computer with Photoshop to do some editing and then finally you'll need the program Illustrator to complete the pattern with digitizing, editing, and all that and creating the pattern itself. It helps to have some sort of drawing tablet. I'm going to be using iPad Pro, which you can also use a regular drawing tablet like a Wacom or Wacom Bamboo or just your mouse if that's what you have and you're comfortable with it. You could, of course, create the final illustration directly digitally, but I urge you to try hand drawn for a change. It is special to keep that traditional art going. Now that we've gathered our supplies, we can start gathering inspiration. For my design today, I thought I would do a tree of life, but without flowers. I think I'm just going to do leaves and just tons of greenery. I think that would be really fun to draw, and also be kind of simple. I'm trying to use different color palettes and I'm not that comfortable with green, so I'm going to go for it with the greens. I've also, lately, been really inspired by these vintage books that I found in my grandparents bookshelf and they have tons of little illustrations from botanical drawings. I think they are so inspiring and I just love going through the pages and finding different flowers and stuff like that. I will definitely be using these as inspiration, but you can find your inspiration where you usually find your inspiration, if that's Pinterest or Google or another book that you have at home or from your imagination. In the next video, we'll get started on the sketches. 3. Instructions & Sketching Timelapse: Now that you've gathered your inspiration, you have it open on your computer screen or with your books above you or whatever you're going to be using as reference, or just remind. Maybe you've done a small sketch of how you'd like it to roughly look. I should skip that, I like just to jump into the actual artwork, on the final piece of paper because I just like to see where the design takes me, rather than sketching it out beforehand. I usually have pretty good picture in my head of how they would like it to look. How do you create a half dropped repeat pattern by hand? The way I do it is by using two pieces of paper and when you draw on one piece of paper, you make sure that everything that's on this side, you draw on the next piece of paper. They line up perfectly, when you're drawing make sure that they're perfectly aligned. Then you can switch over and align them on the other side, so everything that you draw on this side of edge flows into the other piece of paper and vice versa. Just keep switching it over when you're drawing and it will fit together perfectly. Then you do the same thing on the top and bottom. When you draw things on the top, make sure they flows into the other piece about the bottom, and that they fit together perfectly. Then you switched and fit together on the bottom as well, and you just keep switching out when you're drawing. Then it goes and make sure that it flows wonderfully on these sides, on this side to this side. Then switch and see that your design is flowing on this side and everything of the motifs are spread out perfectly. Also that is looking great vertically, that it's flowing vertically, really beautifully, that everything is put together like that and on the opposite side as well. Once you do this, you'll see the design come to life in a different way than you would if you were just creating a little swatch. This way you can see where the strengths are, the weaknesses, where there's empty spaces and stuff like that. There won't be any surprises really, when you bring it into the computer later to finish it. I really like this way of working because I can see the pattern in all different angles as I'm sketching and it really works out nicely, usually. You just have to make sure that you definitely lining it up perfectly. You can use the help of a little piece of tape, washi tape or something. But I usually find that it rips the paper a little bit and I just try to just line it up as good as you can. If it's up by a millimeter, you will be able to fix it in the computer later. It's not super important. Another tip I think, is to also make sure that you keep really detailed items off of the seams, just to help yourself when you are going to put it together later. Have big items like a flower or something in the middle or close to the edge, but not completely overlapping a seam, just to make your life easier. Which you can have simpler things like ribbons or branches or something like that, they will be much easier to put together that doesn't have too many details. That's my little overview. Now it's time to get started on the sketches. I'll bring you a little bit closer so you can see what I'm working on. Here we are. We have our two piece of paper and I'm ready to get started on sketches. I like to map out the branches first, so I will just start randomly. [inaudible] very lightly and roughly. Then see as I continue up, I'm going to make sure that I have the pages aligned and then I can continue drawing upwards. I'm pretty happy with how this first branch setup is looking. I have everything setup for, looks like this is the bones of my illustrations, the structure and now I can add all the leaves, little extra details. As you see every time I draw something that comes to this edge, I make sure to line it up and continue drawing onto the other page and then I constantly switch between the pages and sides. Then I know that it's a well-rounded, nice illustration and it has a lot of balance, good flow, and all that good stuff. Now, I'm going to bring out my inspiration and I'm going to make sure that I choose tons of different leaves, different textures. I'm just going to keep adding them all over the place and we'll see what happens when I go through. Let's look for some nice leaves to draw. This book's called [inaudible] feed into house plants in color. I really like these leaves, so I think I will start up with a couple of those. I think I've finished. I have a good mix of different leaves, I don't have too many open spaces but I know it's not too crammed. I have a rule of threes, I like to use at least three of the same item, just to mix it up. I have these ones, and one, two, three. Then I have these bigger leaves, I have one, two, three, I actually have four of those. Then I have one, two, there's not always a rule for that. When I said a rule, that was quite loose. Then I have this frilly bits and I have little fillers with smaller things and vines. I think that it's really pulling together nicely and it will become any interesting pattern. I think I like it. Let's move on to the inking. That's the fun part. 4. Inking Timelapse: Now that the sketch is complete, it's time to finalize the drawing with ink and to do that, you can use your favorite fineliner pen. I would suggest using black just because it's easier. Later on I'm going to edit in the computer and Photoshop. Try to be as careful as you can when you are drawing the final Illustration, especially when you are lining up the seams so they look perfectly aligned. Also try not to make as many mistakes with your pen as possible, but you know it's inevitable, but these things we can fix in Photoshop later if you do mess up. So don't worry, you don't have to start over. So it's time to start inking. Bringing in a little bit closer so you can see the process. I will speed it up a little bit so it's not going to take forever. Okay. This is my final ink drawing. Both of them are complete. I made sure when I was drawing that they were lined up perfectly or as good as I could. I don't think I did any major mistakes, just going to be small things. So I'm going to go in and tweak clippy. I'm going to bring them Into Photoshop. I think I'm pretty happy with how it turned out. I like this look, it's going to be hard to come up with the title clip. I think. Okay. So now you have your final inked illustration, your two pieces of paper as time to put them, bringing them into the computer by scanning them. I think that's the best way. I think that's the way that you are most likely going to get a good professional look. But you can use a camera just as the same thing. Make sure to use a tripod so that you have the same angle and the same distance for both photos and also make sure that you have good lighting. So be very crisp and contrasted between the white and the black before you bring it to the computer. I will be scanning my artwork and bring it the computer into Photoshop that way so that's the process that I'll be showing you next. 5. Scan & Edit in Photoshop: Here we go. We're in Photoshop. I have scanned my two illustrations here and I have fixed the first one, I made a new file that was the exact same size as the paper and then fit it in. Now, I'm going to do a second one. I'm going to do a new file. My paper was 278 millimeters by 354 and 600 DPI transparent, doesn't really matter. Now again, merge this one, merge down. I think that I will connect it at this stage. I am going to increase my canvas on this one. Millimeters, and it was 354 so it's 708. I'm just going to go down. Here we go. I'm going to place the other one on top. Put this one in here. Place it and make sure that it fits together. I can already see that it's a little bit off, and I can fix this at this stage already. Now I'm just going to wipe out with this little nice eraser and start cleaning up. Here's my final swatch. It is all fixed from small, teeny mistakes, and I am ready to just go put it into Illustrator. 6. Digitize Your Swatch in Illustrator: Now let's jump into illustrator. I'm going to create a new document in the same size swatch there we had in photoshop. Let's see, with [inaudible] eight. Here it is. Then let's place in our swatch. That done and now it's time to image trace this, and you should be familiar with this option of digitizing. But if you're not, I'll go quickly through it. I'm going to do, I'm going to zoom in just so that I can see more detail. Maybe as chippers. Here we go and then go over here to image trace. I am going to open up the Advanced section because I want to make sure to ignore all way. I want the black and white version. I'll skip all these settings so far. See what happens when I click Preview. Pretty huge image so it could take a little while. That turned out pretty good, all the lines are solid. Here I can see that I missed the part, its going to dry on that later, but in our middle dots were are showing up here and this a little bit after that so I will make sure to increase the threshold a little bit, see if they look a little bit cleaner. Here we go. They're showing it cleaner. I don't want to increase the threshold too much because the light got thicker and thicker usually. I'll try a little bit more, just maybe there, 144 seems like a nice number. I don't see much difference, but let's stick with that. I think this works niece. Then you click "Expand" and then I'm going to do one thing just to be smart so that we can have a smaller image or a smaller file because this is pretty huge I drew to begin with, they're really big. Then all of these little blue things are dots and every one of those dots is taking up tons of space on your computer for this file. If you even just reduce it by nine down to 99 from 100, you're going to see that it takes away quite a bit from 23,000 down to 20. I think we can do a little bit more without it going crazy. With that one went down to 14 and I think that fine it's going to impress. I don't see much difference here. Became something, became a little bit smoother as opposed, but that's only good. We have to make sure that this is going to repeat properly, and we can check it right away by clicking on it, pressing Object Pattern Make, and then here we are going to select brick by column because that's how we drew it. let see now. You can see here that these ones aren't matching up perfectly. Over here, looks pretty good, it's matching up really nicely. You see now, you can see that this line was captured by image trace for that one and we're going to have to remove. But you can see how I am, let me zoom out. Move everything to the side you get away from the outwards so that it doesn't confuse us. You're going to love glimpse of our pattern. You can increase this by a 100 so you can see the whole thing as it is. Zoom in. You can already see how it's starting to look, all the leaves scattered around and trees and things like that. I think it looks pretty good so far. There is only a few things that we might to have to fix. The actual swatch, the queue is not matching up very well. It's not off bad, so we're not too bad here. That's matched very badly that we'll have to fix. Let's just cancel and get out of there and it's time to start fixing. 7. Perfect your Swatch & Make a Repeat: Welcome to the next section. In this section we're going to be cleaning up the swatch and make sure that it fits together perfectly. To do that, our first step is to erase a tiny little bit around all of the sides. This is going to help when we draw and fit it together all the little imperfections that happen both with scanning, it's human error slash error, when the computer also image traces, it works the line slightly. This is going to help me put it together again. Just erase a little bit on all sides. Here we go. Now I have made sure to erase a little portion of all sides that when I am going to fix it. Now going to take this, select it and I right click "Transform move". Horizontal I'm going to move it all so that one, we're going to have the zero and vertically I want to move it exactly all the way up. It was 708 and up by think is minus, right? Because it's backwards, that's right. Copy, did it work? Looks like it. Awesome and then we're going to do the same thing and do it to the bottom. Transform, move and this time we'll just do positive. Then this part is where the half drops comes. I can't just copy it exactly over. I have to make sure that I am doing a half drops, here we go. We do transform and then move. I want to do, well horizontally was let's see how because my document? It was 278 to 278 and then I'm going to do half of this. What was it? Three fifty four to 354. See what happens. Copy, there we go. Then a couple of more things, transform, move 278 then we're going to do minus here. Copy, there we go same lining and all that, okay? I'm going to do the same thing, copy everything over to the other side. Okay, now we have them all right here. Now I just going to fill in the tinny little spaces in between all of them. I'm going to work all of them except for the one in the middle so that I'll don't draw on that one. I want to draw on this layer only. Just to keep things organized. Let's zoom in and I'm going to use the blob brush to fix everything. Zoom in, we go. Zoom in a little bit more. It's already a pretty wonky so should have erased a little bit more on that side. But here we go, let's try to find the blob brush. Let's Shift V. I'm going to have to reduce it quite a bit because this is way too big, so 13 I think I'm then go down to maybe two. Let's try that. Three, I'm not sure. That's too fat. I think my instinct for three was perfect. Okay, there we go that's perfect. Now, let's zoom in even more and get this gap. Many is a pretty wonky and off and it's starting to bug me. I'm going to erase a little bit more so that I can split it in a little bit better and I'm switching between eraser and blob brush. I m not perfectionist so mine that it's a little wonky. This is very close up, you're not going to see this much detail of the exact lines when it's done. But if you are a perfectionist, make sure to fix it as much as you want. I'm also going to finally save my file because I haven't done that. Yeah, see, I get too excited. Call it Jungle and Save. Okay, back to designing we changed the top of the swatch and now we have to re-transform it so that it will match up with the new lines that we created. I've deleted the top swatch that had above swatch and I'm going to delete the one on the bottom as well and we transform it down. We don't need to read transform up because we're finished on that side. Do the same thing, move, transform, move. Make sure that we do zero horizontal because not going to move. We just going to move vertically and the vertically down the same size as a swatch, 708 and then copy it down. Here we go and then we're going to fix from this side. I'm making the lines gray so that I can see them a little bit better. Well, I go over them again on this side, so I have the swatch and building the same lines over the other ones that I created on the other side at the top of the swatch. Does that make sense? I could have not erased the bottom and just worked on the top and the sides but I thought this would makes sure that it really fits together on all sides. This could be a little bit redundant, but okay, so now we're done with the bottom part. We're going to fix the sides. Pick a side to start on and start filling in and erasing and fixing. Now that one side is fixed. We're going to do the same thing that we did to the top and bottom. We're going to erase and re-transform the sections. I'm going to retrace over the new lines that are created on that side so that my swatch matches up on that side. Only one last side to go and I decided to do the left side this time. I'm just doing the regular fixing and making sure everything fits together perfectly on this side and then I will re-transform that one and move it over and down half. Half of the art board and that is the last one. Here I'm struggling a little bit with my math like usual, but finally get it and then we just do the same thing. We go over all these little lines every created on that side just so that they are matched up perfectly. Then were done fixing this swatch. Just to reiterate what we learned in this section, we created an art board the same size as our swatch. We brought in our swatch from Photoshop and placed exactly on this swatch. The art board sized swatch, making sure that it was lined up properly. Then we erased a tiny little bit around all of the edges. We use the transform move tool to move and copy and place it above and below. Making sure to line up the thin lines and fixed them and connect them again in a nice way, copying that portion and bringing it to the top or bottom depending on which one you started with and lighting them up again. Then doing the same thing for the sides, making sure that you do it in a half drop format so that it will work. Now we're going to do the fun part of checking to see if our swatch did work. That we did everything correctly, which we should have. I'm going to make a triangle, not a triangle. This is called a rectangle behind the artwork that's the same size of this swatch so was to 278 by 708. Okay, just and it's supposed to be no fill and no stroke so completely see-through. Let's move it, let's see. Move it over and behind the artwork on the art board. Here we go and then make sure it's behind the artwork so that the bottom. See that again. Then select everything and pull everything over to the swatches panel. Here we go. Double-click this noodle swatch thing came up. Then created a clipping mask because we add those extra lines outside of all of the swatch to those groups and then it's going to fit together perfectly. Otherwise, we could create a clipping mask for ourselves, but this does the work for us. We don't have to, okay? Then we have to go over here to the pattern options. Right now it's the grid so you can see that it's not really fitting together properly because we created a half drop or brick by column. There, you see that the swatch is correct. Is the same size as it should be in the offset is a half. We didn't do any fancy like here you can choose a quarter or something like that. Yes, look good so far. Let's press Done and then test it. Here we go, let's create a box and paste it and there it is. We have this swatch over here and it works as you can see everything has been connected properly. It doesn't have any wonkyness as far as I can see, you can zoom in to look at where edges. We can see here it's little work. This one edge. Redo that. It may be a little bit too wonky, so obvious. Should go back and fix that. But other than that, I think it looks good. Now we have a outline pattern, which is always nice. You could just create a pattern just like this. Just to show you. Let's pick a background color. How about pink? Yeah, and then we do copy front. We get a rectangle exact same size. Here we go. Now that we know that the pattern is working, we can move on to the fun coloring part. In the next section, I will teach you a couple of my favorite coloring techniques or how I usually color in my illustrations. I'll see you there. 8. Add Digital Color & Timelapse: Now, that we have finished creating the final pattern swatch and we've tested it to make sure that it works, it is time to move on to the really fun part which is adding digital color. To start off with, it's always a good idea to have a color palette in mind if that's how you like to work. Otherwise, you could always just throw in tons of color to begin with, and then to get at the end. But I'm going to work with a color palette. I'm working on a project I thought I would use a color palette for that project just to get some work done at the same time as teach this class. Let's see, I'm going to place a little screen shot of the palette that I have on my desktop. There you are, and then I'm going to make swatches of this, like a little box. Then you can press Alt and Shift at the same time, you get another one. Then you do go Control D, you get a duplicate of the same actions. There's three, I have one, two, three, four, five, six, seven, eight colors. Three, four, five, six, seven, eight. Then we will use the eyedropper tool. Then this one, and then the last one. I think this could be a fun tropical palette to warm up this. This pattern, I'm going to remove this and I'm going to take these colors and create a new color group over here in the swatches panel, this little folder. We're going to name it because your point, there it is. I can remove these, don't need them anymore, forgot the other one, there we go. My favorite way of coloring, which I think is that it's the quickest and the easiest, is to use a light pink bucket tool so I could just fill in quickly all of my lines with color. But there is of course, different techniques you could use. If you don't have your lines, you are using outlines. You can of course, use the pen tool or the blob brush to paint behind or paint on top of. But this is the technique I will show you. I will use that blob brush also for some sections, but that will come up later. In order to use the blob brush tool, you have to select the artwork that you're going to be painting. Then we're going to hide all of these highlighted images because it's hard to cease it, Control H. Everything is highlighted still you just don't see every single little blue dots. It's easier to see this way. Then you have your light paint bucket tool over here. You can choose over here the color group that you're going to be using. I'll start out with this brownish color. That's not going to work. We're going to work on sections that are closed, set to find the ones that are closed and do those first. I'm going to use the blob brush later to close up the top so that I can fill them in later. Get what I mean? You can see which items you can fill because they are highlighted with red. It's very easy. I'm just going to continue this process until everything is filled in. Those are the only close areas that I can pretty much see. There's a few more obviously, but we need to close up the sides in order to continue to create or finish this drawing. I'm going to move over to using the blob brush tool with a color at the edges. I'll show you how I'm doing that. Start with these leaves over here. It's been easy. I'm going to select this light mint. Whoops, I forgot that they were already selected. Answer that for you're outbreak. Then use this, the blob brush you find over here. That's a good side I also want to paint behind. I paint behind my black lines. I think I will just fill in the whole thing, something like this. There we go, so that's what that looks like. I'm just going to continue doing this around all of the edges. For large areas that I don't feel like painting in is that aren't as easy to paint in as these leaves on the corner such as these big branches. I can use the blob brush first to fill in the bottom or fill around the edges. Should be there you go. Fill in around the edges. Once you have done a little outline around everything, you can use the shape builder tool. First we press the outline there. Go to shape builder tool, which is under the paint bucket tool, the light pink bucket tool. Press this, click in the middle and there you've filled it. That's a little bit quick, slightly quicker instead of having to paint in the entire thing. That's just a little tip. Now, I'm just continue working until everything is filled in. I've finally finished the coloring of this swatch. All it's lacking is the background color and then we'll test out some different color palettes. I'll show you how to do that in the next section. But before we move on to playing with color, instead of that, just double-check that it is working properly. We still have our transparent triangle in the background. We just have to select everything. Drop it into the swatches panel. Let's double-click on the swatch and then we go in here. They want to tell me that it created a clipping mask, which is awesome. Thank you, and then go down to brick by column, frequent column. There it is the final one. We make sure that the swatches is still the same size that we need it to be. We press done. To quickly test out a background color we'll just create it. I'll pick this blue one and create a bigger box. We have the front, then I have another one of same size and press the swatch. There it is. Where pattern is complete. Like I said in the next section, we'll finalize the pattern by checking out different color palettes and using the recolor artwork tool to do that. 9. Final Adjustments with the Recolor Artwork Tool: Now we're on the home stretch. Our pattern works. It's been fully colored. Now it's just time to tweak the colors to find some fun things that we like, some color palettes that we like that we are going to stick with. I think what I have going on right now is close but not quite what I would want. So I'm going to show you my new favorite thing in Illustrator. I discovered it last year. It's the re-color artwork tool and it makes life so much easier, better when re-coloring your artworks and testing out different color palette really easily. So you just select the art work that you want to color and you click this button up here. "Re-color artwork" It says, and then you're brought in here. You can just tweak individual colors by double-clicking on them and just switching them out. I could make this darker just to show you. Like so. If you don't want to change it, just drag over. So you can make changes in that way, you can randomly change the color order of your specific color palette that you have going. So you can easily test out some crazy, this was cool. Or that, that's very striking. So you can easily and quickly go through your color palette, and come up with ideas that maybe you hadn't really thought of. Which is really neat I think. You can also input more palettes that if I had created previously and a couple of more pellets here. They would show up here as well, and you can go through. Like we can test out the bright pellet. This is going to be horrific, but that was fun too. We can randomize that one as well. It's very modern art. This is a look to any you like. Well, so this is hours and hours of fun. Didn't get very far with this one, but I think I've been looking at it so long so that I've grown a custom to it. But let's do something new and different. We go, made a copy. There we go. Now do the same thing, copy this one and then I'm going to re-cut artwork tool, and let's play around with these randomizing and find something interesting, a little bit different. Well that means,that looks cool. These are like awesome as yellow. So the only problem with this is that if you do fall in love with something, you can't go back once you click the button again. So if you like something, be sure to keep it there, like save copy of it. I think this is pretty cool, but I think we could get better. Pretty cool to get a light version or dark version, they're still quite similar. So I want to do one more that is a little bit more different or outside of my comfort zone just because they usually always stick with the same look. It's always fun to try something new and different. So let's do randomize this palette again. Yeah, like that's so cool. Those look like bee leaves and that's neat. Well, that was striking. See, I would never come up with this by myself. But once you see this, like whoa, that's cool. I want to save that one. I'll do one, now I'm addicted, I have to. We could go back to this one. There we go and last one we'll see what happens when we look for something in here. Isn't it crazy that I have the exact same colored palette, but it's creating all these different looks and styles? I think that's amazing and this is just eight colors. So imagine if you had a color palette that you chose a whole range of different colors that you could choose from, and mix together. You'd have an infinite amount of options and be really cool. Here's my four different color versions. I think my favorite so far is this one. I don't know why. I think just because the leaves, they're are similar like in a shadows, and some of our popping out in the vines and things like that. So I'm very pleased with that one. That's pretty much it. Maybe just to show you one more thing, do one more. Copy everything here. Just to show you what it looks like if you input a different color palette. So, wait a second. Let me bring in one of my user defined. Yeah, this one that I did previously for another project. It's this one and I move you in there. There we go, let's do this. Now my latest collection that I did if we call it this, there we go. Now we will have a whole different look and that's cool. Just that one. But we'll run through a whole different one. I don't remember how many colors I have here, but I have a lot. So, look my God, it's just like one up the other of amazing palettes. That's insane. That one's good too, and that one's good. The hardest part is picking which one. Oh my God, I like that one. See that there's a problem now. I've gone back. I've gone past it, so then I've lost it forever. Let's see it begin, start over. Sometimes it goes in the same order. Yes. So that one's good. That one I really liked. No, we'll have to save that one. I like this one. Then even though I said I'll just do one more, let's do one more. That's nice too. This is difficult, but it's really pretty. We're keeping it there. So here we go. Now you can see that you've learned all about my technique for creating these intricate types of patterns with lots of branches and leaves, or other items such as flower within each other and through each other. You can put as much detail as you want in these and they will always look amazing as long as you take the time to make sure that they fit together nicely, and you edit them pretty. Then what he did to the coloring part, which is amazing, you can have an infinite amount of different styles and colors. This is seriously the finest part. So I can't wait to see what you come up with. Then I definitely can't wait to see the different color combinations that you've come up with. I really hope that you've enjoyed taking my class, and you've learned something, and you've been inspired. I hope to see you again soon. We'll just round off the video series with a more traditional action. 10. Thank you for Watching!: Well done. At this point you should have created also your own hand drawn half drought repeat patterns, so hard to say. I hope that in this course you've learned something new or that I sparked your inspiration to create another pattern. I think it's quite addicting to create patterns this way, it's really fun to combine traditional and digital techniques. Even though I love some digital, I am really looking forward to seeing what you created for your course projects, so please do share yours and also share its sketches and your process and as well as the final image. Then make sure that you also have two-color ways so we get two different moods or looks. I hope that we'll stay in touch on social media. You can find more free video content with me on YouTube, just search for Emmakisstina or you can also catch up with me on Instagram at Emmakisstina as well. Feel free to also use the hashtag EmmakisstinaXskillshare to share your work with me on social media. Thanks so much for taking my class i hope to see you again. Bye.