Transcripts
1. Introduction and Preview: Hi guys. Welcome. My name is the Lloris NASCAR, and and I'm coming to you from Sunny Manitoba, Canada. I'm bringing you a new course today called Enhanced Floral Line Art in Illustrator. Gonna teach you a technique that kind of looks like screen printing like a layered screen print. And I'm gonna show you one method where it looks like it's a little bit off register. I'll explain a little bit more about that when we get to it. One of my main goals in teaching this class is to show you that there are multiple ways to solve a lot of design challenges. Onley, practice experience and repetition will help you become a more versatile artist. That's really what my goal is here. To help you become more versatile and capable of dealing with issues. I know it can get frustrating at times. Let's just try to work through all of these problems as efficiently as possible. I'm gonna show you as many tricks and tips that I can, but I could tell you even professionals make booboos. That's why it's called development. For example, remember that I'm not a professional filmmaker and as you can see, I'm not in a professional studio here, so you may, at times here background noises. I am sorry about that, but can't be helped. Amongst the skills that I want to teach you today are the making of custom guys. The use of the Pathfinder pallets correcting negative space issues within a pattern, layering and the use of the layers palette. Really Superfund live paint tool. A couple of techniques, actually for colorizing your artwork. And then at the end, we're gonna use the re color to a little bit, just so you can experiment with different color ways for your pattern. Are you ready to get started? All right. I'll see you in less than one.
2. Overview, Examples and End Goals: I guys walk up, the less one. I'm so glad that you committed and you're here to learn. So this first lesson I wanted to spend give you kind of an overview of the course and show you what we're kind of aiming for. All right, let's get started. So, like I said, I've created this course to help you find ways to enhance a simple Leinart drawing. I personally have to know how many at least a dozen different line art layouts that I've done in the past for our licensing. And I'm trying to figure out different ways that I can use this Leinart to just get some more mileage out of them, so to speak. So this is one that I've pieced together from an original, I think maybe even two original. I'll give you a look at both of these. So there's this one that I see a merry gold here, and this one which has miracles and panties. This one is Well, I think so. I've taken three or four of these and I've reimagined the artwork in this way in order to be able to use it for a pattern. So I've gone through the process of laying out my pattern. And if you see over here in my swatches, I've got many iterations of the pattern as I went through and tested, So you're probably gonna laugh, But I'm gonna show you basically the process as I worked my way through this and all the different test that I did in order to arrive at a usable pattern design. So this was very, very early on, and I'm working my way through and adding different elements, moving elements around, experimenting with the type of pattern, whether it was maybe originally a grid pattern, probably way back here and eventually I've kind of got it laid out at the half draw. I've gone through all these tests in order to determine things like the overlap of the flowers. Some of them I've been filled with white, so the overlap would work, and you can see that it is definitely a process. There are a lot of steps before I arrive at what I consider a usable had and repeat, I'm gonna show you this reduced down a little bit so that you get a better idea. Just gonna transform the pattern. And here you see the pattern. Pete, Let's go even a little bit smaller. So that's a pretty usable pattern. And I've got a couple of other tests that I dio when I'm trying to determine whether or not it is complete or not. So part of what this course is going to do is give you some ideas of ways to enhance something like this. And I was kind of looking online and found a few examples of some really nice screen printed fabrics. And in some cases where the registration on the screen printing is not 100% perfect. And so you get some really need effects when the second or third colors not necessarily lining up just perfect, then you'll see what I mean. So this was one of the colored versions that I experimented with, so I just really only just started working on the colored relief. I guess you'd call her their release around the flowers. So about it, this offset path in behind, and I've purposely moved it over his hand out to you. I'll give you a second to take a really good look. Well, I can tell you immediately. Upon looking at this, I could see that there were some issues with my what you call the white space around the some of the motifs eso this negative space in between. Here is a problem for me and one of the other thing I first of all really like are these lines running through this pattern. I love the I guess you call the juxtaposition of this law to this line. So you've got kind of a elongated seeker of here and then here as well, and I love that they're kind of opposites, but I think we could enhance that more by drawing this line out a little bit further. So I'm going to be playing with that a little bit. So those are the couple? A couple of the first things that I saw when I was looking at this, and in general, I think I want to just work on these bits of negative space to try to balance them. It's really busy here without enough negative space, I think, and then in here it's got a little bit too much negative space. So those were a couple of the things I'm gonna be working on in the upcoming lessons and then we're gonna play around with the outline or the offset path that is behind all these flowers because I really love this, and it's the look that I was kind of after. So we're going to work on that and fix a couple of the problems that I see with the offset path. The problem isn't necessarily the path itself, but here, like in this area. What I'm finding is that the offset path is too heavy for the line, which tells me that probably these little swirly lines just need to be increased in size. So running too little tests like this has really shown me a lot, and that will give me fuel for the upcoming lessons. So let's move right into the next lesson where we're gonna take a look at adjusting some of the issues that we see here in the pattern. Before we go on, I've got a few things will go over, and it might take a couple of lessons to do that. So let's get started. We'll see you in the next lesson
3. Dealing with Unbalanced Negative Space: Hi, guys. Welcome to lessen, too. So unless into here, I want to show you how I deal with negative space issues that kind of cause problems with the overall look of the pattern. All right, let's get started. I'm about to stir church, doing my assessments on my pattern. And I want to just show you that what we often do when I'm working on something like this is I print out a couple of versions of the pattern to have them sitting here right beside me. Don't have a lot of room here, As you can see in pretty crowded, I'm a little bit displaced right now. I'm actually working in my living room and I've got a little table here. Little death set up, and I am right at the window. And I actually really like this spot. Anybody who's been following my classes, you probably know that where the process of having a tiny house built, which we're going to have basically just north in the lot straight over there. And my daughter is buying this house. So I've been moving my studio and yeah, it's just it's kind of a mess, So I've been lurched in this position here, working for the last few weeks. So, like I said, I usually print out a couple of versions of my pattern to have sitting here beside me as I work popped back into my original pattern here that I've been working on. And we're going to start to make some of the changes that we have observed by looking at the other color documents. One here. So, amongst the things that I noticed that I wanted to fix, we're gonna work through three or four different issues. I'm going to start with a really simple one. I kind of took a look at this marigold here, and I thought I could definitely do some improving. This one here caught my eyes path. So I want to show you how I go about fixing that I want to split it into. So I've selected it here, and I'm gonna copy it. I'm going to just take my brush tool and I'm going Teoh, just start painting and you see how it's grabbed my original path and just altered it. I didn't mind the side, but I wanted to divide it, so I'm going to pace the one that I copied command shift V will give me it right in the exact same position. And I'm gonna do the same thing and I'm gonna paint from this side. So I have essentially paired it quite quickly and easily just by selecting it and then working with the brush tool to make alterations, you can always zoom in on it and make additional corrections. I'm going to actually delete this point here, and I think I'm gonna grab this particular path and bring it over a little bit. So that was a quick repair of just one little thing that bothered me and going to actually , while I'm in here in this area, enlarged, I might as well make other repairs. This one that would pull a little bit further in will just delete that one. Pull out one radio, and that's an improvement in my opinion, for that particular flower. I think this one here, I could have also divided where I think I love you is just tuck it in a little bit more, make it a little bit square of a pedal, and then just move one of these chapter lineup These air very stylized flowers so it's very forgiving. I mean, I could probably look at every flower here and make adjustments, but let's keep them quite stylized. All right, So I'm going to make some changes also in this area here. I've already decided that I wanted Teoh look at the colored version here. I wanted to try to work a little bit on this area to reduce the appearance of the size of that negative space there. So I'm thinking I'm going to enlarge this flower and just generally move around a few things in here. So that's this flower here, and what I've done is I've separated it onto its own layer here. Originally, it was a part of this main group here, but now you can see that this has all been separated and that's gonna help me actually work on these individually. So within this layer, I've also can and separated this flower and put it in its own group. That allows me to then just maybe work on positioning. So I'm just changing it slightly. I'm enlarging it here and just take a close up look at this so we can see what else has to be adjusted. So adjust this stem here, Here. I wanted to cut off. So I'm going to, you see, on the keyboard, which will divide the path that I can simply eliminate that part of the path. But I don't want their anymore. This one needs to be continued. So there's a number of ways you could do that. We could just move this point and adjust the line. Or we could grab our brush tool, continue the line to where we want it. Sometimes I like doing that better because it doesn't affect the rest of the line. So I don't have to make as many adjustments. So I've got that showing up that space a little bit better. You see here that it's given us a problem the stem of this flower here. And just because I don't know for sure that this is going to be the exact right position her size, I don't really want to cut off at stem. Rather, I think I would fill this with white so that it could just block out that particular stamp gonna go into these watches right now. It has no Phil. Let's fill it with white. That's going to do the job for us. We're gonna need to pull these guys forward. So I just switched into preview mode, which is command. Why? Which back? And then I can use theme bracket key so amusing command shift and the right bracket, and that's brought that particular one to the foreground. Looks like I'm gonna have to do it with this circle as well, so we'll select both of them and bring those to the front as well. Hey, so for now, that has blocked that stand in the background. Believe that for now, until we do another test and I'm thinking maybe I could just enlarge this one. I've got my direct, select tool which is access with a on your keyboard. And I'm just drag selecting over that. I've got a hold down, my option and shift key. Make sure everything is selected. You can see that it's all selected and then just holding my command key I can enlarge at will. Now I am going to have to move these two little points that has enlarged that. I'm hoping it will be enough to fill in that negative space that we saw right here. Okay, so that little bit of extra space has been addressed. I'm thinking that will also enlarge this leaf and this set up pods. Here we go, back to the pattern. Go into my pattern tool set my 10 by 10 half drop, which is what I had chosen for the repeat. The nice thing about being in here is it does help you visualize how much you want. Teoh. Move something. So where we know from looking at this that that pod would have to be moved up to fill that space. But I think sometimes the black and white makes it a little bit easier to see. So I'm thinking this gives me a better visual as to how far want to move it. So I'm moving this distance. I think, you know, approximately trying to divide that space and half with this hot here. So let's escape out of this. And while that's still fresh in my memory, I'm going to select claim. But I use my drag selecting that allows me to select just what I want. I didn't want this selected, and I'm going to You know what? I'm not gonna enlarging. I'm actually going to just move it up a little bit and then extends this brush strokes. So rather than enlarging it in this case, I just want it to move it. By pulling that down. I just need to adjust my curve a little bit more. I think that may have solved the problem. We'll check that it in minutes and then the other thing was enlarging this leaf years. Let's just take a look at it over here. I've already used this and basically, by looking at it when I did to check that one pansy area, it created another Swatch here, and that's watch. First of all shows us that enlarging that leaf and enlarging that Kanzi help just to fill that space. But it also will help us to visualize We moved this pot here, but it will help us to visualize the enlargement of this leaf because I moved that pod up a little bit to divide that space there. I now know that it will be better for me to enlarge that leaf and move it up, keeping the bottom of it basically lined up to where it was before. Let's go back over here so we don't want to actually change where the position of that is this bottom part. What we want to do is just enlarge it. Let's do something really cool here. We're gonna copy this. We're gonna pace hitting back, and we're gonna turn it into a guide, so command five will turn it into a guide. Now, as I make my changes, I can see that this line being the one that we want to line up to I could make my changes based on knowing that, right? So I'm enlarging belief. I could see that this leaf has now changed in shape. So it is not lined up still at the bottom. So I'm gonna use my rotate tools are on my keyboard. I'm gonna click on that spot to make it my pivot point. And I'm going to pull this back down so you can see that that line lines up to that original, which is really what I want. So having that guide really helped, if you want to get rid of the guides after what we want to do now is just clear. The guides and I should make a shortcut for that. Really? I use that often enough. Anyways, I'm gonna clear it for now. And so we're left with that's document without guides. I'm thinking I also like to just adjust the curve a little bit here to help a little bit more on filling up that space that we wanted to fill up. So we got a couple of really good changes here. I'm going to take a look at this again. In the next lesson. We're probably gonna make a few more of the ledge estimates. So just to keep this lesson from getting too long will cut it off now and I'll see you in the next one.
4. Making Some Alterations to the Motifs: Hi, guys. Welcome to less than three in this lesson. We're gonna spend some time perfecting the motifs. Let's get right into it. I'm going to do another pattern. Swatch in a second here. First, I want to deal with this little problem. And luckily, this particular leaf here was one that I had already expanded and filled with white. It's just tucked behind this leaf here. So we're gonna bring that to the foreground and because it's now on a separate layer because this pansy is now in a separate lier. I can't just use my short catch of command shift bracket. What I need to do is actually cut this, Lee, make a new layer over here, check out my layers palette, and I'm gonna move. That layer is very taught me. Drag this layer down that the empty layer is at the talk and then I'm going to paste that leaf in place so that paste in place, the shortcut is shift command V, and you can see I've pasted it so that it goes into this layer. Which is why the anchor points and paths of turned green. Because this layer you can see is labeled with a green. So that's perfect. That what's that in front? The way I want it. And before going on, I want Teoh. Check how well the enlargement of that leaf and that set a pause has worked for filling in that negative space. Let's do another test. So I'm selecting everything you can see now by the different anchor point colors that go with correspond with the labelling of that particular layer. I can actually go through and name all this stuff, but I'm just being lazy and I'm not gonna do that right now, so we're gonna do our pattern. Repeats, Change this to half drop column 10 by 10 Looking at this now, you could see that we did successfully fill in some of that negative space there. I'm not sure that would be enough, but we'll leave that for now. And we're gonna do a couple of more repairs before we go and do the color work that will help us determine if we've been successful in filling that space. Right. So I'm gonna escape out of here. A new swatch has been added. So let's just change this to the new Swatch and you can see that problem with our leaf was dealt with down here. And our negative space is now a lot more balanced right here. So a couple of the other things I wanted to do that really stood out for me. Take a look at this pattern. Repeat over here and you can see this little element that I added. A little flower almost looks like a butterfly. What I did is I duplicated that and I used it over here and over here I made little changes to them. But the problem I'm having with this one here, you can see that the lines, the outlines, the thickness of the stroll is not in keeping with the rest of our design. So that's a problem for me. I don't like that. So I'm going to select it. So if you want to select with your last suit, that's another way that you can select. You hit two on your keyboard and you can select with that. In this case, I could have easily just gone with my direct select, which was eight on the keyboard and drag. I don't even have to select or drag over the whole thing as long as I get some of it. When I'm pulling down my command option and shift key, everything will be selected. So lesson large here a little bit so you can see this motif over here. What I want to dio is rotated slightly to work with the negative space a little bit better . So I'm kind of changing the angle a little bit, and then I'm going to go in and change the line thickness. So the stroke thickness. So in this case, I'm holding down option and shift. And I'm just kind of option shift dragging over those outside strokes so you can change the stroke that this here or you can go into your stroke palate. You can just use the up and down arrows here. Or you could even use the up and down arrows on your keyboard to make changes. That doesn't seem too bad to me. Let's check the thickness of this one. This is basically two points. So I think that two point thickness that we've selected there is fine. The inside. I'm gonna go a little bit thinner, so I'm drag selecting while holding my options and shift key option. Make sure that I select the entire path and shift allows me to select more path. So this one, I wanted to be less than that to. So let's try. The one is too thin, so I'm going to actually type in 1.5 here. Let's take a look at that. That doesn't look too bad. If ever you want to hide the anchor points while you're working on something, man H will hide it. It's still selected, and this will allow you to see the lines a little bit better. I'm thinking 1.5 might be just right, and I think that's working for me like that. It makes me want to change these guys to 1.5. Now you can see I'm trying to select here. I'm thinking to myself, Well, how come it's not selecting? Well, that's just it is selecting. It's just I've got the anchor points hiding so command H. And I'm going. Teoh, try that one at 1.2. I think so. That makes me I'm happy with that. I think that's what I'm looking for. A little bit more here. Maybe I'll do the same thing with this one. Change that to 1.3. No, it's very minor change, but sometimes it's just those little things that make your pattern look a little bit more polished. Do you remember any of the other things that we looked at when we were seeing it in color? So yes, the thickness of these strokes. So I wasn't happy with the I guess what you say is the balance between the dark actual stroke, and then this lighter color that's offsets around it. So I think what I'm gonna do is create this sort of a look where we've bought a hollowed out kind of, ah swirl here. So I think I'll leave that part to the next lesson and I'll and this lesson now I'll see you there.
5. Additional Details on Stems: Hi, guys. Welcome to lessen. For so in less than four here, we're going to do some additional work on the motifs. I think I'm gonna focus mainly on stems in this particular lesson. Let's get started. I took some time off camera to just practice what I was going to do here before showing you and it's worked out really great and was very easy to do. So remember what I was trying to do was to create this sort of a look. I wanted to be a double lined stroke instead of what we've got here, because that just doesn't really work. Once we go to apply this sort of color, it just looks funny to me. It doesn't match the look of the rest of the documents. So what I did here in order to make that work is Percival. I increased the thickness of my line and what I was looking for here was to get the approximate thickness of the inside of this one over here. I want it to be less than the actual stem of the flower. But more than just a single line. So this is gonna end up being the inside So in order for that to work, what I need to do is expand the appearance of this one. What that does is it changes the single stroke to be an actual shape. As you can see here, it's letting in a ton of points. So the first thing I want to do is simplify it a little bit. I've got a keyboard shortcut for that. Mine is cement, period for my illustrated 2020. For some reason. In my 2019 I had, I think, commend Comma. I've already gotten used to this. It's no big deal. What I've done is taken it and reduced it from 52 points to 10 points. I'm happy with that. If you want it. More detail. Of course you could play with these sliders. Even 16 points is not that bad, But I think this was perfectly fine at nine point. So I'm gonna say OK, there. What I'm gonna do now is change it so that the Phil is white and the stroke on it is black . And now, with the stroke, what I'm trying to do is match the thickness of this stroke. So I'm gonna do two things here. me to go into the strokes palette, and I'm going to increase the thickness until I'm kind of close to what I want. So that's too much. This is too little. Let's try 2.5 points and you can see what's happening here at the end of my shape. It's filling in. So I want to go to the stroke palette here and make sure that I am aligning it to the outside. Now, looking at this, I'm thinking I've got this a little bit too big, so I'm actually gonna go back to before and change it from 4 to 3 points and then do all those steps again. So expand appearance. Simplify changed stroke to black, feel toe white, go into a strokes palette, increased the thickness and set the alignment to the outside. There, that's pretty close. And now what I want to make sure is that this stroke looks like these and these I can show you were created using a brush. This brush here. So what I need to do with this line here is just used my cutting tools. So that's my scissors. Let her see on the keyboard. I cut it right here, made it cut it somewhere down here and now we're gonna just apply the vast breaststroke. So I'm just selecting drag, selecting over both parts and clicking on this brush. So I have a thin and thick stroke there, and I think we need to just increase it slightly to is too much. One was not enough. Let's try 1.5. And so here, with the brush stroke, it doesn't allow me to just align it to the outside. So I'm just going to make a few little adjustments here to get basically the look I'm after . Then I just expand appearance and do some final adjustments. Use your arrow keys, if ever you need to to make those fine adjustments. So I like the way that looks. That's a lot more balance. It matches Theo overall, Look of my document. A lot better to have that as a white area with the block outline. I think the brush strokes look really balanced, and I think at this point I'm ready to do another test. Now. You know that I'm doing tons of tests here, and I really want to encourage you to do the same as you're developing your style for creating patterns. This is my first time do a one of thes liners that I want to adapt for pattern design. I've got a really specific look in mind the one that I showed you at the beginning of the class. But if I wanted Teoh, I could do a lot of experimenting at this point. So part of doing these little tests with the pattern maker Tool is in really trying Teoh figure out what kind of look I'm going for, and it's important to do that at the beginning of my process because, like I said, I've got about 20 of these or more that I can adapt cause I've got probably 50 flowers in those 20 designs that could be adapted into patterns So the time spent now is probably the most important of all. So, like I said, don't feel bad about doing a lot of tests. It's all part of the development process, so I'll meet you next lesson where we're gonna take a look at a few other things to see. There
6. Final Adjusting and Polishing the Pattern: guys. Welcome lesson five. So I'm hoping that this is going to be pretty much our final adjustments, and we're gonna be working mainly on the flow. So it's mainly the stems that contribute to that. So let's get started. So yeah, I want to do a little test again. So work way to select. I'm going. Teoh is my shortcut Command apostrophe. Go into my pattern options dialog box. We're gonna do the half dropped 10 by 10 and then take a look at how that changes everything. So remember, previously on this flower here we had just these little squirrelly bits swirls. Now we've changed it to this, so I already like how much more substantial that looks. And I think we're getting a lot closer to what I want, which is balancing off this white space or this negative space that's in between the flowers. Really. Only one other thing that I had thought of doing remember we were going to extend this stem so that we would get that opposite curve happening. So I'm gonna just quickly do that quickly as I can, anyhow, So it's this one here, the pansy. So I'm going to copy this and paste on. That's going to extend on this side here. We'll just use the rotate and the direct select. We'll just run a quick test of that one. So it'll tuck in over behind this flower, which is this flower here. So I'm not sure if I've got it long enough or if I've got the angle exactly right. Curve it just a little bit more. So with my rotate key, which is our on the keyboard, I can just pin a spa and rotate from that spot, so that gives that curve a little bit better flow. So let's give this a quick test, and it looks like that hits the right spot that works. That swings over a real nice and I think I'm gonna do is actually add to the curve or make it longer to go down to this leaf over here and then feel this one with whites. All this escape out of here for now. Actually, probably the easiest way for me is just to make another section. I'm going Teoh, zoom in real close, select those two ends and remember the command option J to average them, maybe bring them down a little bit. Dancing with this bring them down again is to get that curve smoother. And then we'll fill that one flower and with whites, I'm just going to select all of these petals. Fill with white. I'm hoping that this little join here that doesn't look that beautiful will be behind this flower. And actually, we may need to fill this before I go any further. So if I really want to fill this with white properly, would it have to do is select everything, expand, appearance, merge and then individually select these interior bits. And let's see if we can just fill this with white now. Yes, and this one won't because of this open are the path. So let's just pull that away from the stamp so you can see. And this is open so this shape cannot be filled. We have to join these two. I find that the fastest way is to just draw a brushstroke across. I'm gonna reduce the with that. Now it's one point. Do like half of that. This will be at the same angle. Is this so it'll be hidden and we're gonna expand appearance on that and then I'm going to select this and this and we're going to merge, Hm? Sending that to the back with the command shift left bracket key. And then now I should be able to select this interior shape is gonna look at it on the here's palette. Let's cut all of this, but it on its own layer. So it's easier to find. And currently, this is a group that we want un group it all. See if we can now select that shape and fill it with white. The fastest weight is to touch. So I've selected the entire path, holding my option key and clicking on the path. And then I cut it and then I paste it in place, which is command Shift V. And then now I can feel that with White. I also noticed there's a jillion anchor points here, so I'm going to take a minute to just simplify this so command period for me, and I'm just gonna go in and bring that to its maximum. It's still reducing it from 193 points to 55 so I'm happy with that. Say okay. Here. Let's slide this back into position. Make sure you select everything by holding down your option and shift and you drag over it . And then let's just bring it down into position there. Okay? So that Waas, Hopefully you were able to follow that. And let's just do a test. By the way, if you ever find that I'm just talking way too fast and need to slow me down on the lower left hand corner of the browser window, you can adjust the speed. Let's go into a video real quick and I'll show you. So right here you can adjust the speed and maybe in a section that's particularly fast, slow me down 2.5 and you'll be able Teoh, follow that a little bit better, right? So let's take all of this. Now I'm going to do one last thing. Sorry. I select that leaf. There went the layers palette. We made a new layer. So why not drag this one to the top of the stack and that'll just ensure that this will go underneath. So we're gonna select everything. Shortcut, command apostrophe. I call him 10 by 10. And yeah, that path doesn't even come close to hitting Thio s so Basically what I need to dio is flip that whole Stam the opposite direction so that when it comes down here, it'll actually curve in the opposite direction. So that's why we do tests. So escape out of here Command option dragging over both sides here and what I want to do is flip it. So I'm gonna reflect it. And the reflect tool is O on your keyboard. You can actually option click anywhere on your image area and hit preview here. What we're doing is just the horizontal axis. So we have it flipping of the opposite way. And what I like about this one is you can actually even change the angle here so you can just drag it till you get it basically at the angle you want. So let's try. I'm thinking around 32 degrees yet. Okay, let's drag that down. I'm not too much more adjusting until I check it, man apostrophes, And that's going more into the direction that I'm looking for. So you can see this is a really awkward looking curve. So I'm going, Teoh, take a few minutes or fix that up and come back to you with my final result thinking which I need to do is actually tie and maybe this stem as well. I'm not sure you'll see what I've decided on. I'll let you watch the progression. So to help me make a nice, smooth line here, I've made a guide with my pen tool and then change that eventual line into a guy by using the shortcut command five. And then I'm using that as a guide to just kind of make that curve a little bit smoother. So, you see, I do test again quite frequently just to make sure that I'm on the right track. And now with this little guy, I'm going to use my puppet work tool to just kind of reshaped him to make him work a little bit better with what I've got in mind and then just a few other tiny adjustments just to see if I can make this flow just a little bit more acceptable. I've gone in, and both the stem and the flower itself are now gonna have a white feel and my last step. I know this isn't very pretty. It doesn't matter, because what I'm gonna be doing here is just merging them. So now we've got this flower complete and just want to show you real quick. If I feel this and send it to the back, you can see now that that has a white feel which will work out perfect for that stem that we're trying to hide. So let's just get rid of that quick. And I've made those little adjustments time for another really quick test. And you notice, You know, I've done how many here 30 s, but when you could do it so quickly, it's just a really good way to progress through your design stage and perfecting your pattern. Looks like that works out here. Still not sure about this part of the stem, not loving. Know how that leads into this stem, so I'll probably make a few changes there. But I could do that off camera, and we can meet in the next lesson where we can really start to work on our offset color that we've been waiting to try since the very beginning. So I will see you in the next lesson.
7. Preparing for Object Fill: guys. Welcome lesson six. Unless the six year we're going to prepare for the color rising of our document, Let's get started. What I'm doing now is just taking a last really good check taking the time to fix anything that looks like it's a little bit off, basically just perfecting it before I do my next step. So I'm just gonna time lapses so that you don't have to watch every painstaking move that I make. And if anything really critical is happening, I will stop and explain it to you. I made the adjustment with that one stem so that they would join in with this flower instead of this flower. I think it looks better. Makes more sense. All right, so this is going to be my last check of my pattern. So I'm getting command apostrophe putting in my specifications here for my half dropped 10 by 10 and one last good. Look at it here. So I'll escape out of here and let's fill our final swatch. So 34 tests, that's how many I have actually done. But I'm much happier with this. Then I was even at this stage, so there's progress and when you think about it, really, it has only taken me No, Khalfan. Our to an hour's worth of work. If I wasn't talking, I'd probably have done this really quick. I just get into the zone and I just go for it and it goes pretty fast. Knowing along with shortcuts for smuggling between my tools makes a big difference. I really think it helps with my general efficiency and productivity, and now I'm ready to take it to the next stage. So in order to do that, remember, what we're trying to do is offset our path with this big, chunky outline. And in order to do that, I'm going to be expanding the appearance on this and then doing all that merging so that the black on everything is in one solid shade in the background. And then in areas like this, these little trapped areas that these end up being open so that color will show through. If not, I'm gonna have issues like right here where my background color doesn't show through. I'll explain all of that as we're going along. So I'm ready to start and do the expansion on my pattern here and I always like to do that on a completely separate documents. So I'm gonna select everything here. I'm going to copy it and make a new document. The size isn't that relevant at the moment because we're still gonna make a pattern tile out of it. So I'll just choose my usual 10 by 10 pieced, and we're ready to get started. The next step is that we expand appearance on all this. So if you've been in a lot of my other classes, you probably on this with me before. Basically, we've still got a lot of actual brushstrokes here. We have expanded a few like here and what that does this area that's enclosed will become a white layer on top of a black lead. I'll show you what that does. I'm gonna go to object and expand appearance. I have now expanded the entire document, as you can see here. So the whole thing has been expanded, and so we've got shapes everywhere. And then these shapes need to be merged to become one in the Pathfinder palette. I've moved my Pathfinder pellet to have easier access here, moved it onto the set of tools, and this bottom Central has 1/3 1 end is the merge Command. When I hit this, you're going to see that all of these will be combined. Okay. Unite is another way to do it. That would do pretty much the same thing. I just feel like I get more success out of using the merge. I'm not sure why. In some cases, Unite seems to work. Let's just try it real quick and see what happens sometimes with you. Night. So I'm going to use the merge command, and then it keeps everything black and white like I want it for now. I'm just gonna undo that expansion. And just I just noticed something. So let's take a second to just do some double checking. This is one of the things that you should double check for before you do your expansion. I did pretty good check, I thought, but there's a couple already that I've missed. Um, taking another quick look at everything here. And this would be a really good opportunity to, you know, ask yourself if let's say for example, here, Do you want this to be open? You know, open, like this one is where the White is joining or separate like it is with these two. In this case, it's perfectly fine. I like the effect because it makes that look like it's behind. No, here's another spot that looks not connected. A lot of times, what I do with this is I opened up my navigator palate her panel and then I use this for moving around. Sometimes that helps you to do it more systematically than just moving around with your hand tool. I can set it and go straight across, for example, and then move down and take the next road down. Remember that shortcut where you're trying to connect or average two points his command, Junction J. To get them perfectly on top of each other? No. I'm moving my way down a little bit, my navigator and then going across again. If they're a little bit iffy looking, I definitely try to overlap a little bit. Looks like a caught pretty much everything. I'm gonna know as soon as I go through this and do the expand appearance. And if I have a little bit of repair work to Dio, it'll probably be a good part of the lesson for you. So I think I'm going to stop real soon. Yeah, so good enough. So now let's go through that again. We're gonna select all expand, appearance, merge. And now I think we're ready to move into some of the colorizing techniques. So I will meet you in the next lesson where I'm going to show you my first method. Not my favorite, but I'll show it to you anyways. Is a perfect time to have a little stretch. Maybe have a average and I will meet you in the next lesson.
8. Method 1: Color Filling Copy and Paste: Hi, guys. Welcome to lessen seven. So I'm gonna show you two different methods for dealing with color rising of your pattern. This lesson will show you the colorization method number one. Let's get started. It's usually the first thing I do when I'm working on this part of the process. And on this part of the puzzle, let's just say I like putting a nice big colored square in the background. So I'm just gonna pick a random color here. I like it usually fairly light so I can work. I'm gonna do a nice, soft, pink ish color more subdued, and I'm going to send that to the bat and you can see some of them already working the way we need to, because these are probably some that I have already expanded the shape on. I remember doing this one for sure when we were working on the stem, so those were already done, and now we just have to go through and get all of the rest of them done as well. So I'm going to lock this in the backgrounds of command to will lock it. So now I won't accidentally be selecting it if I'm dragging and I usually just kind of do this systematically. Go through and figure out what's happening with each of the flowers and select and Phil. And I could tell you right now that this is one of the problems that we will immediately face Is that because these air kind of account pound shape just the way they were merged the blah and the foreground area. So these clear areas are kind of merged into one. So it would be great if we could just select this whole thing and go up here to object, compound paths and release. But I have found that that is not what works to get this done. So generally, what I do is I go through and I select this all of the foreground. Fastest way to do that is to drag over it. Actually, let's use Thea last you tool last suit queue for last. You. I'm getting my software mixed up here, so I'm going to just quickly select this area here that's selecting everything I need to de select the black. So I've switched back to the direct select jewel. So that's with the letter A. And then I'm holding down my shift. An option key a little bit bigger on the black area here. Okay, so now all that I've got selected is this foreground area. So if I catch an X and then I paste in place, which is command shift V, I have fall of the inner parts of the flower here. At the moment, they have no fills. I'm gonna fill them with white, and you can see that does the trick. So now I just kind of go through, and I do that for all of them. So remember, select everything with your last. You too old. I've got something happening here where I've got a double line, so I'm not sure what's gonna happen here, but I'm going to hit the letter A on my keyboard auction shift and de select the black. I'm going to command X to cut command shift V to paste in place because I've got this thing happening over here. I am going to go back to Pathfinder, and I'm gonna merge those just to be sure that I've got just a single shape there, and then I'm gonna feel that with white, and I'm going to fast forward through all of this. Do a little bit of time lapse for you as I go through and do each of my separate lowers just so that I don't bore you with all the details. Anything really juicy comes out, I will stop and let you know. So in an area like this that looks a little bit iffy. You're not quite sure how to deal with? I will come back to you and explain that. Meantime, I'm gonna do all of the easy ones just using that technique that I have just showed you. So last suit from last doing all the points here, I'm gonna hit a on my keyboard, an option shift and de select the black. Then I'm going to cut and I see that I've selected the inside of this one. But that's okay, because I can just command X and then command ship V paste in place, fill and white. And that worked just fine. When it's just something simple, like these long stems, it's just easier for me to just hey on the keyboard and then just option and select it again. Command X and then paste in place. Command shifty and fill it with white. So in some cases, that's how I'll be doing it. Just keep your eyes peeled. Option when you're selecting, will select the entire shape. If I didn't, then I was just using the dreck select and just selecting or hitting the line. You see, I just basically get one point. So option ensures that I get the whole thing Will command X Man Shift V. So in a case like this, I've gotta do these two parts separately. So command X men shifty and then feel with white. So here's one of those weird things that happened. It could have been that I had expanded this shape and just not really done it completely correctly in the first place. So at this point, I'm just selecting everything here. So those two separate areas one that's showing through to the background and the white and I'm urging them, actually, maybe all unite in this case, See, what can I do here? Okay, somehow here I've ended up with duplicates, so I'm just getting rid of the duplicates. And that could have happened because I didn't have thes all Spanish at the same time I did this pedal of this flower separately. So I've cleaned that up, and now I can go ahead and do the same process. So option shift, select the 2nd 1 command expansion fee and then fill it with white. So that so I resolved that little issue. So you may occasionally come across things like this here. I obviously did not have them overlapping enough for them to merge, so I'm just going to slightly overlap them here. And then I'm going to actually use the Unite here in this case. So then you know the drill. I just generally then do my option shift and select and go through. And Duthie cut and paste like I've been doing now, in a situation like that, where I have a gap, I have another auction. So I'm going to show you this second method for colorizing your artwork. I think I'll save that for the next lesson. So I'll meet you there where we're gonna talk about life paint
9. Method 2: Live Paint as A Coloring Option: guys, welcome to lessen eight. So that technique can be sometimes frustrating. So I'm gonna teach you, actually, my favorite method for colorizing and that's using the live paint tool. You'll see what I mean. So for this one, we're going to use something called the life paint tool, which is found over here on the toolbar. This is what it looks like. Click on it. And it has this funny re color. A little are above it and a paint bucket. And in order to be able to use that, I need to create what's called a live paint group. Which is why I've opened a completely new document so that I can demonstrate the use of that. You know, what I'm gonna do is start the same way as I did on the other one, and just create a large color square in the backgrounds. I can grab it over here on the toolbar, or use em as a shortcut option. Click that he had this dialogue box, and I'm just gonna make it 12 by 12 and then fill it again with a random color. Maybe this time will choose kind of a beige, and I'm going to center that to the art board. So let's just check here Aligned Art Board, Center center, and we're going to send that to the back. So I'm going to hit command to which locks that in place. So then what you see here are a bunch of the infield shapes. This is exactly where we started with the other methods. So what I like about the life paint tool is it's a lot more intuitive. You don't have to actually select the shapes to fill them. You can just simply drop the color into the areas that you want in areas like this, where we've got something hinky going on with a semi field shape, this kind of thing that could have been really tricky doing it with my other method. And so sometimes I offed to use the live paint tool. So in order to use the life paint to what we have to do is create a live paint group. I've got this square in the background locked, so this leaves everything else here available for me to use the live paint to a with I'm going to select. The tool could go under object to live paint and make now for I actually let go. I want to also show you something here called Gap Options. And the really cool thing about that is that if there was a gap like what we were just dealing with where we were overlapping and uniting all of that stuff in this case this tool will automatically detect the gap and just fill it. It's like magic. I just love it. For that reason, when I first saw this tool, I was wondering, Well, what's the point? Like, what's the advantage of using it? And then I really learned toe Love it. Once I learned how to use it, There's a lot that could be covered here. I'm only gonna show you the functions as they apply to this particular project that we're working on. I covered this in a lot more gap in one of my other classes. I'm gonna currently just leave it at the default because I've already tested it and it'll work fine for the gap sizes that we have here. A will attach a pdf here, so you've got a little bit more additional information on live paint, but I really encourage you to experiment with it. All right, so let's get started filling our shapes. So this one critical step that you have to take before creating the live paint group you want to remember if you've got brushes, brushstrokes that have not been expanded? Remember, we did expand a few because we were going to be filling them. But there's a bunch of these that are still just brush strokes. So it's really important that before you do anything, you expand appearance. I just clicked to a regular tool here so you can see now that the brushes have been expanded everywhere I'm going. Teoh do that again because I'm expanding both the feeling, the stroke, just in case some has been missed. And then I'm going, Teoh, give a quick look at everything here. I'm going to also hit the merge because we're gonna have things like this to wrote. Where there are a lot of really weird things happening in the Merge will get everything really neat and tidy. And then I'm ready to define this as a live paint group. So now I'll go back to my life paint tool. I can either click anywhere on the screen here or I can go under object to live paint and make. So let's just try the clicking option this time and it goes through a little bit of a process. You'll know that the live paint group has been defined because as you drag over it, you can see each of the shapes or the outline areas changing in color. I'm just gonna enlarge on a section here and we're gonna go through and we're gonna do our Phil, I'm going Teoh, open my other Swatch library again. You could just simply click on the folder icon here, and it'll automatically be added. And now I'm ready to start my feeling. So I think I'm going to go with this. People try this pale peach color not too pale. Maybe I'll just lighten it a little bit. Neutralize it a bit, and now you can see that whichever space I hover over the outline changes to read. So I know that that's the area I'm going to feel. So let's just start feeling, and you could see already how much easier this is now. If you wanted Teoh change the highlight color, he didn't like the red topping up there you could change this to whatever you want. I usually use something like this. You can also change the width of it. And if you wanted to have we not expanded, we could choose to paint the stroke separately. I just think that this is gonna be a lot faster, and then you can find some tips here that will give you a little bit of, ah, overview of what the tool does. I have attached a document here that you can print off. It's the adobe instructions. So it's It's not like I made them up there. The official real deal would go through and continue with my feeling. Probably time lapse this, and we'll debrief at the end. If you're wondering why my little cursor has now changed to wine Little Square, that's because I changed the color here. Had I dragged this down into here into the color group and chosen it here, you'll see that it does switch back to the three color. The three swatches are the one that you're working with and the two colors beside it in the swatches palette. You can toggle back and forth between the colors if you're trying to use all three very easily, just with your aero jewels before I start my time lapse. So I wanted to show you this. Now, Under normal circumstances, we would have had to attach these to, as we did by overlapping before and using the Unite Command. Just want to show you that here with live paint tool, it automatically recognizes that that should not be colored any further than that spot. So that's one other advantage of using the live paint tool. If you wanted to hide your anchor points command, each on the keyboard hides them and brings them back. Sometimes it's just easier to do this feeling without them kind of obscuring the way, especially when you've got something as intricate. Is this? Now you see the case like this. This would have been a pain in the butt to deal with. Were we using the other technique, and in this case it just recognises it as another vase to fill. So when we're talking about live paint groups, Cesaire called edges and these were called faces rather than being, you know, brush strokes or feels or strokes just different terminology. And so, in a case like this, we could actually switched to black, and these little areas would be filled. You know, this one? It's not recognizing The gap is too big of a gap. So would either have to go here to the gap options under live paint and set it to be higher . Now look at this. 483 gaps. Wow. I had no idea we can change this to medium gaps. Let's see if that works. No. So that's considered a larger gap. Now, I've gone to that menu item three times, so you know my usual rule. If I've gone there three times, I'm gonna make a shortcut. No, that's still not gonna work. So I'm gonna just leave that one for now and we'll go back to our regular feeling. It's not worth taking the time at the moment. Now, this is going way, way, way faster than the other methods. So, in my opinion, this one wins the contest, and this would have been a nightmare to work with right now, So I'm so glad that I'm doing it in this way. So I want to select all of these black lines and I'm gonna show you something right now, that's absolutely yummy about this live paint tool. So what we're gonna do is we're gonna triple click on one of these black lines. I guess they're not really lines anymore. We're supposed to be calling them faces. So on the blackface, we're gonna triple click and you'll see what I mean. It's freaking amazing. 123 that Ah, look at that. It's filled 90% of them. Well, for the three or four that I have to go and do by hand, I am okay with that. Wow. So let's see, How did we dio? So we just have to do this one over here back to that dark brown triple click like wow hole . So basically, the other method is just dumb. That's what it is, just a much smarter way to go. So I am really happy with that. And the cool thing about that is, if you ever did want to change the colors, it just wouldn't be so painful, right? Let's actually finish up this lesson and we'll go into the next lesson where we're gonna do some fun stuff with adding that large release of color around the edges. Now you see, I've got a little bit of a darker peach in there. Do you notice that I almost missed it, but I kind of like it. I don't know. I'm gonna For now, I'm just gonna make it all this color, but And see, I just did a triple click in one of the areas that it replaced it everywhere, which was really cool. But, I mean, I'm gonna keep that in the back of my mind because I think that might be a fun other thing that we can experiment with when we're doing our, uh, our final polarization. So I'm ready to move on into the next lesson where we're gonna do that. Work with the extended outline, like you see here it's the extra release of color around the flower. All right, so I'll see you in the next lesson.
10. Adding Release Offset Path: Hey, guys, welcome to lessen Nine. So we're finally ready to start making the final preparations for the export of our pattern . I mean, the final export. Let's get started. OK, so our last step is going to be to do that release that we wanted around the outside of all of the flowers, and that's kind of our last step before making it into a pattern. So let's do this as quickly as possible. So I'm gonna work with this document that we've just been working on and I think just to be on the safe side, let's copy it, put on a new documents. And that way we've preserved at previous one, just in case I'm one of those people that has a lot of just in case documents. And, Boy, I've been happy that I've done that more than once in my life. So I guess just the biggest thing is to then just have some kind of version control. Name them, number them, set them up in such a way that you know which one is your final won in the end. So you can see by the amount of time that this takes to just copy and paste to a new document that we're really getting into. Kind of a high processing, high energy taking kind of, ah, talk image. So, yeah, illustrators getting tired, and that's probably got a bunch of other documents open. And that means that all of the other ones able close a couple of these off. All of the other ones are, for example, saving all of the undoes for whatever you've got set. You got your preferences. You know, 30 undoes its saving that on every one of these open documents that I have got. So I'm gonna take a couple minutes and just clean up my workspace here and I'll come right back. Okay? So I've cleaned everything out quite a bit. I've got all that I need here, closed off some of the old documents that I'm not using anymore. And I deleted the background for now, temporarily. So now I just wanna paint a couple things here that I see that are missing. So well, do that shares one right there and I see that I've got an extra little bit of something over here. Just delete that. And then one little spot here that I need to feel. And I think I've got everything I need now in place and ready to go. I'm going to expand this live paint group. And if ever you're unsure, you'll know with a live paint group because it's got this funny little symbol on the edges . Okay, In order to expand this life paint group, I would go under object down to live page and expand. That's the only way you could expand the live paint group eight. So now it is just basically the same as any other artwork that we've bought, created with shapes and shapes on top of shapes. Eight. So everything is back to absolute normal. Here, we're gonna do is select all and copy and going to my layers palette. Here, you can actually close my swatches paella, and I'm gonna make a new layer. Hold that layer down to the bottom. You turn off this layer temporarily so you can see what's happening, and I'm gonna paste in place so it puts it in the exact right position. You'll see that if I show this layer it's a duplicate, absolutely positioned correctly. Then I'm going to go to my Pathfinder pallets on the Unites, so that makes it into one solid shape. And what I need to do is make sure that these inner areas are still going to come up here to show through if we ever add a background. So I'm gonna go under object to compound path and make so just to double check to see that that has worked. Let's just make a quick square in the background here and feel it with an alternate color. Let's just pick like a really low task yellow or something. No, uh, green. Just to appeal greens on that to the back and we can see that that's working. I did that a darker color. You can see that those openings there are working exactly like they should be. And actually, just leave that there for now. I'm just gonna lock it. So command Teoh. And what we want to do with this one is just do that expanded. Basically, we're doing just an additional outside line. There's two or three ways that you could do it. You could add a stroke and then expand the stroll. I'm gonna do it by using object path and offset path. I had experimented before. And this is Theo offset that I want to do. You can have that in points. You can do that. Any thickness that you want. I'm doing mine fairly thick. That's kind of the look that I want and I'm gonna hit. Okay, so everything here is much wider than the original. Let's show the original, and you'll see how much of a difference that has made. So it's way, way thicker than what was there before. I think it would probably be a lot more obvious to you if I change the color of that. So that path is selected. I'm actually gonna change the screen because I just can't stand to look at it. Course. Now close my swatches and I want them. Never fails. Let's make this into a nice, pale, kind of minty green. Now, this week, unlock this one. Let's do that. This one we can select and let's change the color of that oneness. Well, I'm gonna import those color groups and let's add both of those. I could just click on them and their added Here, let's try soft beige color. No, my three colors here really ideal, but you can see the effect that it's having. Now, down here with C, this little white guy has to be taken out. So now it's really just all about creating a color scheme that you like. I have a color group that I just copied from interest right here. I've just pasted in here and to make a new color group here. I just added a new group by clicking on this button here at the bottom. And then I just went through with my eye dropper and sample the colors and dragged them into this folder. So I'm gonna just experiment with that color scheme for what I'm doing right now. All my swatches over here, so I get my layers palette open, Then I can select more quickly. I'm gonna try that for the background. Think I'm gonna make it lighter, though, and I'm going to select that release and let's try that one in this color. Then I'm going to select my brown, so that's just going to zoom in here. Click on the brown Well, here too. Same feel color that selects all my brown. I'm gonna try that one in the blue and then we'll do the same thing for this peachy color. We've got a choice to go to this shortcut up here, or we can go under the menu once again and select same feel color. If if you want to hide, remember command H heights, all of your anchor points and pass and that one. Let's try in green. But we're going to change this green, and this is perfectly fine for our first, maybe not my best color scheme ever. Much what I want to do is play a little bit with the re color tool, so at this point I can select all hit three color tool. And then let's just hit this a few times and see how a different color order, how that would affect it. So I'm just clicking here changes the color order. And that's one of the cool ways that you can play with color. Or we can completely change color scheme and go through the same process again. So, really, at this point, it's all about that having a little bit of fun with spare menting with the color. I'm going to leave it with this and then we're gonna come back, and the next lesson and I'm gonna show you how to do that Offset of that color to kind of mimic a Sarah graph for a screen printed artwork. That's a little bit off register, so I'll meet you in the next lesson and will try that just for the fun of it.
11. Alternative Stylings and Experiments: Hi, guys. Welcome back to our last little experimental unit. So I wanted to show you how Teoh offset that release a little bit so that it looks like the printing is a little bit off register like that one sample that I showed you the very beginning I had overnight. And when I woke up this morning and looked at my pattern, I thought on those lines look really weak. So again, that's another thing that's really good about taking some time to think about and look at your pattern or look at your art work the next day. What I ended up deciding to do was to strengthen that stroke, a little bitch on my artwork. So I really did that super simply by just selecting the whole area. You can see if I zoom in really well. All I did was add on additional stroke, and I think the stroke was two point yet, so that has just made my lying or just a little bit stronger, which I really like a lot better now. I actually tested this in the repeat, and it definitely looks better, especially when it's used on a mock up and so forth. At some point, I'll go through and I'm going Teoh, strengthen up those inner lines as well, you know, maybe just do that now, just because it will just be easier to dio at this point here. So I'm going to option shift selecting. Actually, I don't think it's gonna work because it's gonna have to be this interior line option shift selecting so that I can get all of them like it doesn't look crazy once you look at it in Ah, preview or outline mode, man, Why is how I got to this preview To be a good time to be using Navigator or such other little one hiding we're here and option shift selecting all of these and then we're going to add that to point strokes. So I'm of Navigator changed this to its Lebanese you moat and command h hides. And so it's a I think that's an improvement. I think that's the 0.5. Believe it 0.5 because then that outside line doesn't get too heavy as well. Okay, it always do this later on off camera. One of the things I wanted to point out waas I wanted to point out to you that in a case like that, you would want to probably center or in my case, moved the stroke to the outside of the power that you don't have that little gap and also to check your miter limit here. If you ever have weird spikes coming out from the end, I don't know if it will show here that sometimes you'll see a visible spike come out from the ends of your lines that you don't want. So I always reduce this to a very low amounts. Okay, try and keep this lessons short. It's possible. So I need to stop talking. All right, so now we've got I'm gonna get rid of this completely because it's just going to bog down my document. Now, if we look in the layers palette, remember, we've got the separate layers for the offsets. So this is at compound power hand. These two are our outlines. Their separate compound paths because there were spots that I needed to have show through to the background that had to be separated. This is the fill. Gonna hide that temporarily. Ah, I was wondering what the's layers were. Those were my tests. So This was just to talk about the thickness of the line. And you can see how much stronger this one on the right looks. So I am going to just leave those for a sec. No, I remember what they are gonna make A new layer, Teoh. How's all of this blue stuff? Good. Move it actually down here. And I'm gonna move these two items into that group so that this layer can be put back basically in the same position as it was before. I want you to see that original offset path layer. I'm going to hide this one. This group should be also in its own layer so we can hide the patterns. I'm just gonna lock that temporarily. So I'm not fiddling around with it when I don't need to be. I'm gonna actually hide my art boards as well. Just less confusing. I've got that complete layer. I can hide this layer. I'm gonna select all on this layer. Remember, my outline is still here. Select all on the duplicate. I'm going, Teoh, expand it. So I'm expanding everything. And now I'm gonna go to Path Finder and merge it all. So I've got a duplicate which looks very similar to the offset path. Okay, the biggest difference is that there is that difference in thickness on the outside line. What I want to do is subtract the foreground from the background so that I'm left with just the offset passed on selecting both. Gonna drive over them, talk about a crazy amount of points here, and we're gonna go back to Pathfinder. But this time we're going Teoh minus french. So now we're left with just the offset path. And that's exactly what I was looking for. I thought that it would be really cool. Teoh, have I'm gonna move this up to the top to have this offset path just moved a little bit. So get the later. So now let's just move that a little bit away from the navy line and you'll see that that has given us just that little bit of a gap around here. This could be interpreted as a mistake, but what I think it does is it makes it look more authentic as a block printed or screen printed artwork. Because it would be super hard to get the registered just perfect. Unless you did an over print for a choke, which would give you an overlap, or you did a completely solid Asia shape in behind it. There are a couple of reasons why screen printing factories and block printers don't do that. One of the main reasons is that it just consumes so much more ink. Imagine if this was all completely filled with this beige color. How much more Inca would take that you'd be swishing through your screens there so you'd be basically throwing away money because you're printing behind these flowers. Put something over top of them, so a lot of factories would just choose to put no ink in behind there. And that's why you sometimes see what is considered a bit of a flaw when the screens don't line up perfectly. That's called being off register, but I like the look of it personally. I think that it had some authenticity, so that's kind of the look I was going for. And obviously I still have my whole other pattern there. Let's say I show it to a client. The client didn't like it this way. I still have the original, which doesn't have the offset. That's just another fun thing that you can dio and I've even scenes green printers who sometimes we'll put even an additional color in the gaps. And that looks pretty neat. So I'm just gonna show my rectangle I'm going to hide this original offset that I did. And now you can see that color kind of peeking through. You could do that. You could take this offset the original that wasn't off register and select it. And I could choose to fill that with an alternate color. I don't know what color What do you think something like that would be kind of fun, so I could just maybe make it a little bit duller. You see how that has given even further down? Added a little bit more interest. So there's so many fun things that you guys could do to experiment once you get your artwork to this stage, I'm just super excited about trying new techniques all the time because it can just get so much more dimension to the art work that you're doing. Let's just make this one and two. Michelle, my guys again. I don't want to select the background illustrator. I'm so sorry. I'm making you work so hard. Wow, I'm saving because I, comptel illustrator, is starting to struggle Would be really smart for me to copy this and put it into another document. Just the pattern. And really, I should also go through the whole process of simplifying and removing some of my extra anchor points. I'm gonna I'm sure do all of that stuff once I'm done, this class select everything, trying, making it into a pattern. I'm gonna change the overlap down here. Get out of this escape and let's go over here to one of my patterns in law Show all over. Nothing. I could just get rid of this one. Make this one bigger. Let's now feel this with our new Swatch Do men here. You can see that additional. A little bit of a offset that's been added. Going to our leaders palette here. This is the background color here. This rectangle that's kind of a light blue. So what might be fun would be to at this point, play with some difference background colors just to see how that would look. And, of course, you still got the option of using your re color tool to come up with a really cool new color scheme could select this or the re color tool. This is a bunch of the other colors that were here and my documents. So just for the fun of it, less just two quick scroll through this one. And, you know, like, really this is kind of cool. And like I said, I could do a whole other class just on the re color tool not to spend too much time on the here. I just like, as always, strongly encourage you to go in to do some experimenting at some new color groups. Experiment with different, completely different saturation of your color, etcetera, etcetera, and come up with something very neat for yourself. Remember that you've got some great raw materials here to experiment with something completely different, like hiding the Leinart and maybe even just working with your original duplicate this, select a land appearance, unite, target the whole layer here so that everything is united. But if your mind works anything like mine, just even seeing something like this is interesting to me. I can see myself working with this to try to make alternate patterns or Teoh explore finding that style. I mean this This could be super gorgeous. On address. Let's go with filling the whole page. But look how pretty that would be. Especially if you put an alternate color and behind it. So let's just quickly threw that one in there and fill this with an alternate color. Let's try black or dark brown like that could be super pretty as well. So all of this is fodder for your imagination. And to get you thinking about alternative ways to use your Leinart different ways to enhance your art and just different method for arriving at style. Create a few little mock ups. And I'm not gonna go through the process with you because I've done that in so many other classes. But I just want you to see how the pattern ended up looking on some of the mockups that I have right now. All right, So please meet me in the wrap up and, uh, yeah, we'll talk about next steps. See you there
12. Conclusion and Wrap Up: hi guys. So glad that you've made it to the wrap up here. Let's take a quick look at those mockups and talk about next steps. Now you can take the time and experiment with other Leinart that you have and try to develop different techniques based on this. That's what it's all about. Experimenting, experimenting leads to development. I'm really hoping that you are in several of my classes or you're working your way through because my real goal, the continuing development of my students. So as you progress through the courses, you're picking up all kinds of different skills and becoming more and more versatile. Thanks a lot. If you're one of the people who has hit the follow button up here, I appreciate the fact that you're coming back for more. Remember, let me know if there are any ideas that you'd like to see me work on. If you'd like to take a look at some of the resource is that I have check out my to Pinterest sites. I have one called the Lloris Art Delores Nasrin and another one called teacher Delores Aspirin. I've got tons of resource is their stage for you. If you want to follow me on social media, check me out. His dealers are Canada on both Facebook and Instagram. And if you do have time, check out my stores. You could see some of the products that I offer. So I'm good. Sign off for now and I will see you next time.
Delores Naskrent, Creative Explorer
