Geometric Pattern - Digital Vector Art / MASTERCLASS / Tattoo Motive

1. Introduction: Hey you all, it's merely Lu, and welcome to today's workshop. Today I will take you and show you a lot of basics, a lot of skills, a lot of advanced little tricks, and all the things, what I use to create all my pattern work. So that means I will go a little bit in depth of to make basic cross patterns, how to make like more hexagon patterns. And show you a little bit of basic with coral draw X5, what I use for it, it's a little bit older version, but you get it very cheap on eBay and everywhere. So don't hassle with paying a lot for the like, the most modern version because as we working in vector, that means we are working in knots and like lying. Don't take too much for a computer for what we do today. First of all, let me introduce a little bit about myself. I'm, I'm Lily Lou. I run a YouTube channel and very known as an artist and begging my past and my first chapter in life, I was better known as little as fast ICA, very known tattoo artist. I created my own style, more avant-garde in more abstract and a lot of elements within my tattoos and within my books I created was pattern, was geometric art. And also in my exhibition, I made a lot of gear, metric or digital brands. Big paintings, big stuff, lot of like giver metrical patterns, CNC cards, laser prepares, and so on. So I've broken this chord role for almost two decades now. And I got some, some little tricks and things I will share today with all of you. So let's start 2. Preview & source: I want to show you that's very, very first step. I show you some patterns I made in my past. Some patterns are used as example for my tea bit and art book. There. It's just like a little bit, a few examples. What you all can do with patterns. And you'll see like all the patterns inside here, all the patterns I created on the computer here. All of them. And you see it's a full book of patterns. And most beautiful thing about creating patterns in vector graphic program is that you are not a pixel related. That means you can basically printed in every resolution you can print it on as chi-squared sure, when you want. And there will be laid at some more advanced techniques how you can revoke patterns, especially double outline patterns, work with the lines from a patrons. And I will show you all of this. So let drop quick in here. And I'll show you a few of my patrons. So you see that I call them, the pattern will build on across. We will get later to this. But the very simple, they are like deformed, that's like advanced already. And that's like deformed and lined that line pattern deformed. It's like completely different thing when I start playing with numbers or playing with letters later on. All deformed stuff. You see now we're back to like more straight patterns and that will be the basic hole we start with more very straight forward patterns. That's the patterns built on a hexagram. We will also come to that in one of the later chapters because it's a little bit more tricky. For this. We have to build our own grid. What will be also not a big deal. And I will show you all of this. That's like some Photoshop stuff. You see a lot of next level Photoshop things I may make a tutorial about debt as well, how I create very nice smooth, round patterns like this. But today we start with patterns like this. And why it cannot scan in here. You see like very straightforward patterns is what we start today. Straightforward patterns and that all is just inspiration. And a very beautiful thing about coral or working with vectors is that anytime later, I can change this. I can change the line thickness of the lines. I even can play with the lines. Let's say I make it horizontal and vertical. And there's so much possibilities. I can say I want a line around the lines, and so on. There is endless possibilities when you understand how to build up a pattern like this. And I know these days a lot of people create something like this on an iPad, on a paired on like little apps. And you're very limited with what you can do because you're not having to understand moment and you're not working with vectors, you're working with pixels. So that means, let's say you have a main, you have a round pattern like this. You see I can zooming, No, but as more as I zoom in, it gets very pixelated. This is already in a high resolutions. I can make this as example in a very big print on a very big stencil for tattooing. But I have no problem when I know I want make this pattern vigor to just export it in a higher resolution tiff file and work with the tiff file in Photoshop and create the same picture. Charts too is like five times more resolutions. I can just like zoom in and I have no pixels or anything. I even can make even round polarized patterns like this in Korea, but that's a little bit more tricky, that's very advanced. And it takes a lot more time than to export it and then use Photoshop for working on it. And here you see that's also pretty simple cross pattern and that is what happens when you make it round. Very simple. You can make it once. Ronin 45 degrees, it looks completely different than around with keeping the 90 degrees. It has a completely different illusion. And also this is just a little Photoshop. Heck. Basically, all of my patterns are very, very simple also. I mean, you see this, this is basically, it's just two little tricks to make a pattern like this. This is the basic of it. It's a very, very simple cross build patron. And I will show you on a few different examples and we've just pulled together a few patterns. Patterns we wouldn't not built on, never seen before maybe because that's the most beautiful thing about it. That in the moment you go here in Colorado, we can create everything and the unrelated, and you'll see more advanced patterns like these colorful patterns when you want to work with it in a graphic area and so on. You know, there's no limits. We said, but we will start very basic with the very basic of cold RA. And I will go with you all through the very fundamentals of Korea and what it only takes to create these kind of patterns. Let's directly dive into the Serb chapter and into the basic of cold role 3. Basics: Let's start with the basic of color. Just to show you a little bit or interface, show you a little bit some little hex and shortcuts and let you understand the program a little bit. Because it is, it may look a little bit frightening when you are a first time working with something like called row. These are real graphic program with vectors. Because first of all, let's explain you a little bit what a vector is for this. Let's take just like a little word. Let's take love. And some of you may know that I love a lot to play around with script. So let's take our classical silent script here. What is korean new? It's not a big secret about that. So let's take a Courier New, and you see right now we still work like in every other program. And right now we still have just a script. But what I can do no, no is that we convert the script into a vector and I press on the right, and I'm a convert to curves. And what we have now is a vector. So we can go in the script anymore and change the script, just typing. So it's not a script anymore. It's not a graphic, a vector graphic. And a vector graphic is lines and dots and two, you see already some not send stuff here, but to show you that a little bit proper, you go to View and you go to wireframe. Wireframe view is very handy because it shows you, it shows you what is your vector. And you can always switch between wireframe and enhanced. And let's say you change the color, doesn't matter what color you use. We will use some pink because I love pink, reddish pink, so silent pink. So you'll see it looks like a script, but also when I take it and I move it around, you already can see the lines of it, the vector lines. So let's jump back to wireframe. And you don't see any corner anything else anymore. And what will happen when you like copy paste it and you'll see you have like two over it. It looks very messy right now because you only see the lines when you later. You create like a lot of different elements. As example, just to give you a rough idea. Then the wireframe always shows you only the wire. And when you go back to View and you go to enhanced, then you really actually see what we have done. So it looks like a credit, but you have the vectors behind. And the very beautiful things about the vectors is, let's go back to our basic law of and I will just play a little bit around right now because to just play around is a very important step when you start on a vector program. And it doesn't matter if it's called RAV is Illustrator. I personally, I've worked with cold row because when I was 14, I helped a little bit in a graphic office where he made prints for cars and big stuff. And they use a lot of watering. And Korea is more related to plotter ring. And most of the graphic world p-side of plotter ring. They work more with Illustrator. And when I would know, dive back into, and I would really start again, I would probably start on illustrator because I anyway pay for all my Adobe programs and I have illustrated, but I basically don't use it. I use this very, very old coral. But absolutely doesn't matter. I'm just rocking two decades on the program. That's why I'm really like, I know all the shortcuts and I know where everything is and I'm very I'm very stuck to debt, so I don't want to change this. So let's show you some very beautiful things. What's the difference because of the apec and a vector? When I take this as a JPEG and I like, let's say we export it as a JPEG. Just to, to show you quick what happen. And the export is love and be export it as an trust and normal shape egg. And LGB, let's even go to 100 per cent. So like a no, no downsizing or compromising of the quality. And we export is no. It's like it's why we are in inch. Doesn't matter. We are internal. I know why. A four millimeter So we're like 15 centimeter wide in our graphic. And I usually work in the original size I want to print. So let's go quick and show you the difference. Because it's very important that you really, really understand what's the difference between a apec and the vector. You see this is like a very high-quality che, apec. And I don't know why not can zoom in more, but you already see that the corners get started brewing out. I don't know why I cannot zoom in more. Doesn't matter because what I can do is I can import the apex. So now we have on the top the apec, and we have on the bottom we have our vector. And you'll see what happens when I really zooming in no way zoomed in like 31,000%. And you see it's very pixelated. You'll see what, what does shape box-like almost every format like this in, in pixels, the more pixels you have, the better the resolution, and so on. But right now we're in the graphic program, so we are not depending on pixels. So that means you see what happened. I zoom in. I'm in like 260,000 pro sense or like almost. Let's go a little bit higher. Like that's the maximum. So likely we almost ten per cent more zoomed in, then we are in apec and there is no pixel, no nothing. And it allows us to like really, I remove node J peg, we don't need it to like, let's say I want to assume this. You'll see two to know 14 m size. We have no and we can export it as a JPEG. We don't. We'll do that, no. Because then we have to wait a long time because that will be a lot of data. And we can even export this now in like 10 m and t phi like completely unconscious compress tiff file. Also not want to do that and not every computer can do that, but that's like you really never used it. I never only for the third dimension tool, the one tattoo I made over ten peoples. But that was the very first time I was printing out the pattern on two-and-a-half meters. I'm actually designed to pattern in original size here and printed out in original size. I have some tricks for this, but I'm going to make maybe a different workshop where I show more hold to use motifs in related for tetanus tensors who I prepare titles and so on. But right now, go back to gets, Let's go back to the basic. Let's go a little bit smaller again. Let's zoom in. And I show, you know, like a very big advantage of vectors. So first of all, you have to understand that it is not font anymore. It's not a letter. I can take basically, you see, I take all the notes and I can move the notes up and I can play play with it. I can play with it when I want to change my letter. I can change my letter and it doesn't matter if it's a letter or if you just paint something, you see we just paying something. I just take the line a way to make it easier for you all to understand and know. I can, can wrap it around, you know, whatever we want to do. And you have to sing. It's like paper, you know, you have to think it's almost like paper. You can cut it, you can not like paper. You can do a lot less with paper. And you can say, I want to have a circle. Don't get confused by the lion. It does it by default. But let's say we want usually I like to work a lot with different Carlos just to see my different levels, to understand that like all different levels. And what we can do is we can take both of them together. And now we can say, we can take this on the sides, too few different examples what to do. And we can now trim it out. So it like corrupts it out like a scissor and novae have something completely different. We also can say we want it molds it together, it welded together, so n It wells it together. And there's a lot of different options you can do. There's a lot of things you can do with vectors. Also. You, anytime you can break every single pod, right? Notice this one vector. But what we can do is you can save it break-offs apart I know you see it. It looks like a circle, but when you go No, On few wireframe, you see it's still all there. And what you can do know is you could shift, actually, these two things are, Let's make it a little bit more easy for you. We can just change the color of this. And now we have two elements and we can combine it again. And now we have yeah, we just have to see him. You know, I know. I like a lot to play with the colors and I mean, there are no rules. This is a color space, the script. So let's say we take it like this, we welded together. So now in that moment, I show you that the best in wireframe for you I can recommend just make something like this and just play around, just like go a little bit wild and play around. And you will see, right now it may look like it's one, but then you go and wireframe and you see it's two elements. And in a moment we welded, it becomes one element. This one element. I show you the, the big advantage of that. Because go one bag and you have no, You see already I move this. And I move this. You see it looks different. And the advantage snow is. In case we want to have a line around, like a black line. Speak. We won't have the same line around here. It's two elements. So that means it looks either this or you shift it to the front. This is also something very important for you to know. You go here on range and then you have stuff like order. So to pick off pays to front of pages basically where you have it because it's almost like layers like papers. So just put it where you want it and also lie in. You have a lot, you can line it on the bottom, you align it on the top for this, you have to put two together. So let's say I want them and I want them to be on the bottom together. Then you go to arrange and you go to a line and you go to align bottom B. And for everything is like shortcuts, you know, because I know when I want them like in a line, I go to E, when I want them on the top, I go to T and so on. When you want them like in one lying you presses, see there's like a lot of shortcuts. And that's also the reason why I stuck so long to get up is correlated. So let's, let's mold them together like this and remove dead because we trying to build something little silly today. And let's take this one. We combine that again. There's some difference between combining and the welding and to crop and a lot of other stuff you have. And I will not go too much in depth. I would say put it on the bottom together. So, uh, nobody read it altogether. So now we have one vector and you see, this was Chasse little bit playing around, but we got already something a little bit different, something a little bit nice. Maybe. We keep we can keep going from there. We can keep going from there are no limits. Let's show you quick. One thing I show a lot peoples when I showed them the very first time. Also, how crazy this program is. Let's make this behind. Let's take the outline away. And what you can do. One thing I love a lot is the intersection. So we take the intersection, we make it in a different color, pull it up and know you have very fast stuff and I know you can do stuff like this in Photoshop as well, but it's different because we are not related to pixels still. And we have the advantage. We can take every thing is own elements. So we can say, we want a line around this, and we want a line around this. And we want to seek a line in a different color. It's no problem, you know, and we won't have super sick line here. But put it behind. Oops. Maybe too sick, maybe too thick. And put it behind and put it in a different color. You know, it's like we can do a lot of things and show in case your love graphic stuff like I do. There's endless opportunity and I broke sometimes with the newer correlated has a lot of advantages too. The old one, but it's also very pricey. So usually when you're not a professional, it's not worth it. But yeah, as you see it as like you can do a lot of things with like not much time. So let's go back to this or you see we take the liner way. We take the liner way. You see you create very fast simple things. And it's a vector. So you still let say, Oh, we like it like this. Let's, let's this one, crop out of it. So we actually have one vector and now we can already put another line around it. You'll see it looks completely driven again. That's the big advantage we have. And for us, it doesn't matter if you make this or if we make a pattern. If we make whatever, you know, that doesn't matter and we still, we can zoom in here, $0.25. It's no pixel, it's nothing. Let's go a little more advanced to show you the endless possibilities of this. Let's make a thicker line. Sure, right now, some of the lines are not perfect, like here when I would really make a logo, create something for print, for graphic related for tattoo. I would spend more effort to make the connection dots. Like the I here. I would make the connection towards nicer. I would spend some time with it, whatever would feature or do I make it as endless ways? What we can do know is we go to range and we can convert the outline in a vector. So what are we done? No, you see I go back once I show you a creek, what we do with the outline, because the outline, It's only what we visually see, not what is vector and the back end for this, you check the wireframe and you see the wireframe. It's just one line. And this line we see we can make in the outside appearance the wide as we want. So let's go to enhance. So you see, the line is very sick, but what we wanna do know we want the line as vector S value. So we can do that. We can do everything was vectors. So let's go back into wireframe to show you what we've done and you see what we've done. You don't. What we done is that this is our outline. Now you see that this is our outline and this is our sing behind because we created two pattern to vector graphics, no, two vector graphics. And this gives us another opportunity because we can outline this again and you'll see it looks completely different. I mean, you basically can go on from this, you know, you can say Maine. I want converted to outlines two curves. And sometimes like because it wasn't perfect and a little mistake happen. Like here. Sometimes there's an easy fix. But I, you see here somewhere it's broken. And this vectors when you go very, very graphic, when you go very crazy. Sometimes you need some time to hear. It's open to find the broken links. The more perfect you are working. In the beginning this vectors, the less you will have problems after all. That's like, I don't know what happened here, but you'll see they're all not connected. That's like big, big troublemaker here. You basically can move a daughter way and put it back. And they have to be connected. Two main to make all of this happen. Yeah, that can happen. Sometimes you want to show people, you see there's like one more. Still not fully gone becoming somewhere. I don't know. I think this is from the bottom under no, I don't know. It's here. Look very tricky. Very tricky? But you see you just have to find the mistakes. And the earlier, you correct it better. Here it was saying here was no. Must be somewhere. Come on. Connected now. I don't know I don't know why it does this right now. But doesn't matter. Doesn't matter for the purpose I want to show you. Because what I want to show you is just how far you really can go to create an endless amount of endless amount of things. And there are no match limitations. I mean, the SEC No, we made somewhere a little mistake. There is somewhere still one not with like not connected. I hope I could find it to prove a point. But you remember when I was saying the beginning that it's good to make it as perfect as you can in the beginning. That's what it is. Sometimes it's like very tricky. We set vector stuff. I don't even know where it is somewhere. It can be somewhere here. Okay. You've got to the point to program is provoking me. Here we go. But nobody like kind of ruined our, our sigma is also not a problem. You can always like, you can like straight everything up. Like, let's say we make one straight line. Here. We take the line and you see over here, I like a lot of not seeing. The good thing is when you make mistakes, that is how you learn the best. And now we want to bend it. So which has gone bending? Want to bend that baby? And bended where it belongs. Almost perfect. I would say that's alright for our sake of showing. But as you can see, there's like a lot of ways or like, let's say I don't like this. I can just like take it out, erase it fully. Take it out. And it looks all very much cleaner. There's a lot of adventures advantage as we have when we're working with vectors. Let's kill all of this and a lot of things It's also good to understand. The same is with every else you have here. Right now. It's just a square. When you press here on convert to cause it gets a vector. So you basically can form it like a vector. You can form everything you know. And before you make a vector, you have a lot of, it's the same as with the typing. You know, you have a lot of things you can say, I wanted like round so you can make it round or you can play with it and you can change certain things of two elements. And then you transform it into a vector and know it's frozen as a vector. So you know, you basically can work with it as you've seen before. And a lot of things what I use are helping lines like I just go to the site and I grabbed vista left. And then you can grab as much as helping lines out as you want. Especially let's say you create some stuff and you want it all on the same thing. You can basically, you see snapper The edge and snip it here. So you know that both on the same or you want snippet here. And that's a very important thing. What we laid out with the need for when we make our patrons, because even you can put the center to the center. It's very easy workflow. And this you go to I think it's in you, yes. You go in and you make snap snap to grid, snap to guidelines, snap two objects. Snap to. Guide line is the line here. Snap to everything. Sometimes you don't want to snip, sometimes you're working. You know, when you have to snip and you'll see it's like it, it snaps. So there's nothing in-between. There's like it snaps. And sometimes you don't want that it snaps, then it's good to snip it out. So I would say that's pretty much a lot of the very basic you like the guidelines you can trust, like erase them. And I really recommend you for the basic start with really little things, make them in color. So you understand and learn a little bit of shortcuts, especially the one for shifting Toronto and bake. The ones for aligning on the bottom, on the top, on the right, on the left here or like on the one I want to center something. I press G and C and I have it centered, so it goes very fast. You have a very fast workflow and play a little bit with with the trim tool as well. Tours intersection. As I mentioned before, intersection, I like a lot because you can make very fast things. Play a little bit with, with script. Whatever you wanna do, transform the script to something else. And just play a little bit around with it because you will like it. It's very nice. It's it helps you to understand the process. It helps you to understand the program. Because when you want to go a little bit more deeper in it will be very important. A debt you a little bit understand the program. Also. Some of you may want to use it to make some nice designs. And I show you like little things. I like a lot to do making color shifts. And I always do the Nautilus transparencies. I do that always with intersections and start playing a little bit around with it. And sure, later on, you will have a lot of things like transparency, drop shadows. You have so much possibilities. If you wonder transparency on something. Oh, you want the transparency hole. Basically, you have a lot of Photoshop tools, not on top, but even that you are like No into Photoshop unrelated things. You still work in vectors, so you're still able to like whatever change, whatever you want with it. And you see what I can do, easy, I can do it. And like let's say we say lines, I like a lot and then you have two lines, but you want the transparency only of the inside. So we put a transparency only on the field. We won't put a transparency only on the outline. It's endless possibilities. You have recess program. But this is already a more advanced than what we wanna do today. But I think it was still necessary to dive into the very basic of color. That's what we've done. 4. Cross pattern: So let's directly start with a simple cross patterns. You may know that all when you are like having a scribble book with like this, with the squares on it and you just like start painting pattern. This is basically what we will do. We will go to few and novae, put a grid up. Here we go on grit. And as you see, we have a grid. Now. The next step is we want that everything snap to grid. So we put snap to grid. And now it's pretty, pretty simple. So we can take this freehand tool. And in the moment I, you see that the dot is like snapping to the grid. And it's snapping to the grid. It's snapping to the grid. So what I basically do is everything in a gross is based on the principle. That means it's always four legs. So let's start with this. So I copy paste it. And then I have here my mirror tools. So I mirror it around. And I take it here. Now I take this and I welded together. And why we welded together. Sometimes it happens that we have open not like we had it before. We want, avoid this and try to make the fundament lighter very first cross as perfect as we can. I copy paste it and now I rotated 90 degrees. And as you see, we have like this kind of focusing. So that's usually every cross bit pattern is almost build from this. And for me this is a little bit too boring right now. So I would like to have it like this. And then we would take this a little longer maybe. For this, it's very good to start. Maybe like this doesn't matter to start as one cross. So I remove the rest of the cross again. I remove all this. And now we have our base, so we wear these together. Copy paste, mirror it. Put it here. Well it copy paste 90 degrees and shifted. So then we are well it again. No order nuts. Like nice and tight together to control. If the notes are really together, It's always good to make it a little bit wider because the moment you make the outline wider, It's always very visible in case one naught is open and you see, it has this open seeing. Maybe we come to a point where you are, can see this better. Also for this right now, we don't need to go so white because we can go anytime and change the wideness of our pattern later on. So copy paste. And now we have different options for this. I remove the grid now because we don't need a grid anymore. And first of all, we have the option to take it the same. I put usually one of the originals up here because when I want to later go into the original source file, I can do. So. Let's see what happens when we trust them to get a copy paste. 90. Same, same. That's what we do. And wet. And it's just repeating that pattern. And SUSE. We have the knots and we have on, on the, the few snap to object. That means when I take this not an I move to this node, then I see node, node. They already snapped together. So what I do is I always wear them together. Make maybe one more controlling. And here you can see this has happened when there's an open not, then it's it makes this so in that moment when you like fix it than not, we close fully. In that case, it doesn't matter so much because it will, it is the center point. But as you already seen before, it depends on How much you want to do later with the pattern on. So in the best possible case, you would go back to the beginning. Let's make it proper. So let's go back to the beginning of problem. We keep our safety and we take this and we read them. And I'll make it a little bit wider. But no, I can already say that these nodes are not connected, so let's connect them. It's just like clip them off one's clipped and back together. And you see they all like very nice together. Yes. Now we can shift it around 90 degrees. Don't feel ashamed to go step spec because it's part of the game. So also here we read it together. And you see already like there are some points we want to fix that directly. Cause better we fix it no. Then later. It's always Stephens when I want to make a quick pattern. I don't mind so much. I don't there was like some not fixed before. You see this like No, we go there. Okay. Okay. Okay. That looks all right. Now, it's all nice and tight. And we move on. You go to the next one. Fear. And as you see, we said technique, It's only always like very few, few notes you have to do because we already into it. Here we go. And it stopped getting interesting. The bigger it gets, the more interesting it yet. So I think that's one more square. And then we keep it in that height and that size. Because it's just to actually show you how easy it is to make nice patterns here. And you see, I mean, sure you have seen maybe some kind of pattern like this before because there's probably no pattern really new and the world, because they are a very simple, very built up. What are you doing Here? Here? So I think we made a very nice, perfect, almost perfect pattern. And as you see it as seamless, very dominant in the beginning, it's not so anymore. No, It always depends on the style of the pattern you want to go. If you want to add more white or if you want to have more Blake. And especially when you are using this as reference for tattooing as example, I usually try to make the lines not to white. Let's say go to five and have a lot of fields in-between. Depends on how you make this tensor. You make this tensor. It's much easier for tattooing to print it in the opposite way. About to have a real understanding how it will look. Let's drop that on the lines, not on the fields. And this is how it will look later on. It helps you a lot to understand whole patterns with local patterns will evolve. And I'm sure we are in a graphic program, we basically free to do everything, but that would be like a much more advanced course. But let's say we want to make them a little wider chest to maybe six to work a little bit with it. And let's save them quick. Tutorial One. I will drop all these patterns later to download for you everything what we do here. From now on, I save it and drop it in so you have access to original files. Please don't use it. Just create your own because that's the full sense of this, this workshop. And you have seen **, **, easy. It's like a no brainer. You don't have to think. You just scribble a little bit on the on the grid and then you just like rotate it around and then from this point on, you just move on. And now we're back to what we was before. We can go to arrange and we can now convert the outlines way. Let me take this on the side. I make them read just that we find them later. And novae arrange, convert. And here's important, before you convert more complex pieces, always safe because sometimes the computer crashes, the program crashes, the more notes you have, the more complex. So that means also the cleaner you are like what I've done with like close the OpenNotes, the more easy it is for your computer anymore. Crazy and advanced, you will go with your pattern at one day. The more important is it that you really were clean and that bet that you broke with as less as possible. What we done, No. We change this. And I'll show you also the difference again in the wireframe. And you already see we have here our, our notes and here we have our outline as Vector Graphic. Even that both of them look pretty the same and we make both of them black. You suppose of them look the same, but they are actually not. Because this one, we still can change the outline. We still can change stuff. And this one is kind of frozen in. No. I mean, we still can add outlines and you remember what happened before? We have to double outlines. So that is another thing because let's say what I'd done a lot and I liked a lot is I outline, outline and I create a new pattern with with the same pattern. So it will have a completely different effect and a different flair. And 42, you could outline it, you can shadow it. There's a lot of possible ways why it makes it a lot of possible ways, why it's doing this. And the easiest way to just look at it in with different shades, put something behind port. It isn't a gray. Put this in a wide or in the skin. That would look like completely different than when you have this pattern chest in black on it. And that's a lot of different effects you can start later on. That is when you are not going in the, in the lines, you're going into fields. What you also always can do. Let me see if that works. Yeah, it's this little shifts that we can just pull it straight however, we also when you want like put it really straight, I use like helping grids is sometimes a little bit tricky with things like this. But you can also like cv, take these, put them here, and can also snap to the center point of our rotation point wherever we want it. We have pretty much symmetric. Here. You could just enter line more nicely square, but you also can just like carried out or you use that intersection tool again, what we had earlier today. And that was the wrong one. I'm sorry. I used to take this again away. That's why I headed read before to have more under seminary, which was my line and which was already the frozen one So kill this because you already straight here and effect safe it and arrange, convert outline to object, give it some time. Don't touch it while it's waiting. And no, we have frozen it in. So now we can use actually the pattern to process with it. We can go with the interaction and you see, you have an interaction, you have the opposite of a, do you have it nice square. And from yarn you can start building up. Ma, you remember when you go on it and, oops. Okay. You see what we have created? No, is like this kind of thing here. None. But it doesn't matter. Let's copy, paste it to the side. Always copy paste it to the side because it don't hurt you. And at some point it brings you a lot. And know what we do is we just cut out the front from the back, front, minus, minus front. And now we actually have it like this. Sometimes they are different ways around. You see you can use it like this. Or we have copy pasted. We have this. Another way what we can do is we can break-offs apart, what like breaks everything apart. We take the full outside one way and we also have the full fields and you see they all separately. No. So this is very nice when you want to create a fade in a pattern, you can play a little bit around here. C omega feed, which ones you remove, which ones not. I mean, no, no real rules for that kind of stuff. And then you can just like combine it together again. And don't mix up combining and grouping. Grouping is just like your group it and you can ungroup it, It's just hold it together. But combining is really make it one vector again. So in that moment, I combined it. I can work with it again. I can put stuff on it. I can put lines on it. I can play all crazy with it and you'll see there are not much limitations. What you then basically can do with a pattern and you've ones have it as a pattern. You can make like a nice fade. You can say I want to fade only on the feeling and start experimenting this pattern in a way. I would not say you cannot do it on Photoshop, but I cannot do it on Photoshop. But this is already like We already in the more advanced with pattern. So I let all this on the side. And as I say, I will keep all of this and I will save it. So you have the original files and you can like try to rebuild what I've done here. And now let's go back to the very basic because the beautiful thing is that you change a little bit of basic, changed a lot. So let's say this is our basic and we like use it before as we use it. Now what I've done, I mirrored it, so nothing else then I mirrored it. I welded together. And let's make it a little bit bigger. So we actually see here is now a very good example of what I told you before. This is something you really want to fix because this looks very nice and this will be laid out very visible. So we again copy paste and we mirror it to the other side. Here we have the same so welded together. You also can press this showing 2 kt. They don't have a short for that. That would be very nice. But they just don't have it. So either way, I usually like it more to go on it and not be the way welded together. And take one take one bit. It goes faster for me, but there's not a real workflow. And so you basically have to next pattern. I don't make it no super clean because I just wanted to show you some things But normally as you see, I like to clean up the pattern and make it very nice because when you let this effect, it looks very nice and it's repeating all over the place. But this was just like, Yeah, I also don't snipped at nice together. Here. What we've done here yet, don't worry too, like screw something up. As you see, sometimes it happen. You see the nodes was not perfectly on each other. So just lead. Really like not or not. That's what we want. Well it together. And when you would make the controlling here, when you would like really like every step, like clean up the pattern, you will see a mistake like this. I have already to say. I don't like I don't like it so much. It looks very silly. It's in my eyes, is this elements here way too big. So I try always to create something with like kind of equally. So what we could do is know it was very silly too. To remove our our basic doesn't matter. We can always break coughs apart. And we always can go back to our beginning. Take every single way but was not our beginning. So now we are back at the basic and take one on this side. And so there are different options. Now I show you two options. What I would do with this pattern. First, I would say I make one, which I remove. This one can just make this. So I can test, remove it like this. And we switched over and welded, switch it on and so on, you know, I don't make it no, perfect, please. I don't make it perfect because it will take too long and I will show you a lot more things in the same time. So where it all together make it a little bit smaller. And let's make the lines a little bit wider. And you'll see, you'll see no order. The mistakes you're still always can go into a bag and you put them all together, would be very good to use having a short move for this, but they don't. And you already see it's a much more home again pattern than this, but also this, this is all taste. This is all tastes. Another thing to do is to say, we want the distance of this a little bit shorter. So what I do is basically I only take one of the corners. And novae like shorn this up. And you don't have to worry that you like shifts something because we are starting from the ground. But sometimes you have to build up a pattern to realize what is wrong and what works and what not. So don't worry too much about it. 90 degrees. And now we have basically the same with this shorter. When you try to make all of them shorter, just by eye, you can't do that because patterns are gear metric, they are very symmetric. And know you could even make again, a pattern like this. And it will look different than this. This is the very beautiful zing about that. I made some not very clever mistakes in the beginning. Cos, I go here a little bit against my own saying, right? As you see, it looks completely different. It also can just ready to get some of the lines are sick or some less. But this can be interesting. I mean, it's just You playing around, that's not much loss for this. It's not that you have to do it in a certain way. In dead are dead way, that ordered manner. It's absolutely free to do whatever you want. And let's go back to the one I wanted to show you, but just to see how much different kinds of patterns you can actually create out of one single thing. And this is maybe a nice one. So you have to first weld them together. And I have to say, I didn't make a pattern for a few years. So it's kind of all time ago. I don't work too much anymore with with coral draw. I swear I make all my thumbnails and my graphic work always with it, but it's not that I spent every day on courier. Which gives you the advantage of really understand what are you doing. We make this all nice. Sometimes this happen, you don't hit the not perfect. Don't worry so much about someone's already so much about always can go back because we're working in a computer program. So in case you're not fully say Sure. No, what do you do? What I do a lot is I trust them. I just save like some versions in between. So I know like, oh, I like this, this one I really like. So that's probably a pattern, maybe the work a little bit more with this pattern. Why not? Let's make this a little bit bigger even. Takes me a few minutes, but it will be worse. Because I will show you later in the advanced version, I will take this patterns and show you what we can do out of it in advance on similar stuff like this. But look, this is still very basic, very, very basic. So I have a lot of more tricks which I will show you all today. And hopefully it diverge. We'll see a lot of beautiful patterns then. Okay, I get some folk Roland, some folk. You cannot do a tutorial or a workshop without having folk role in who looks very spooky now, that is our pattern. And also here we cannot trust easy-peasy play around with the thickness of the lines and you see they're like sometimes you play around with the thickness of the lines and a completely different pattern comes out. And yeah, I mean, sometimes I would say, I like this sickness, but this is probably a little bit too thin, so I would probably start again. Make deadline. You'll remember this line here. This line you make a little bit thicker and Tatar. Then you have to perfect one for you. And you'll see from one little thing, what do you all could already do out of it? And you have a good safe that know. And we will just start again with the second one. Maybe this time, we will work together. And you open up your corner and rebuild together a pattern. Now in the next chapter 5. Assignment - Cross patterns: So this is the first assignment. That means we are building together a pattern and you just follow my lead and create your own first pattern. For this, we will start with a very, very basic Be open up our grid. We open up our Snap to Grid. And I mean, you all know probably the Saya gotta pattern. This teacup head-on, very famous. So we take this as an inspiration to start with something very classical and enhance it a little bit. So let's say you make it a little bit different. Let's take our free hand tool. I usually go on the side of the paper and Saya gotta pattern is usually just like this. Let me click Sync. No, let's, let's go with 12312. Then we have one string is like this, and we have 1212. Okay? So that's basically everything what we need to make, a very simple one. So let's start with this and then let's see how we change it to make it more individual, more unique for our own. So we mirror it. Snippet, well-lit and 90 degrees over. So this we weighed and everything of what it basically is is to take it like this. And we got our very first R. That is not even as I got up had ended something different. Let me think. So you gotta put on goes back here. One line here, I'm right. Now I'm completely confused. That is also notice I got a different pattern. But as you see, I remember. As you see, we just created completely different pattern, but you put that on the slide. It's, it's alright. So let me think. Saya God's pattern. It start with this. Let's break this all apart. Go back to the beginning. So it goes back to here. And as much as I know, it goes from here to here. And then it goes from here to there. Something wrong. Doesn't matter. We start all over again. Go from here to here. And then I think it is like this, something like this. Now let me think three-three for that could be. It's always very difficult sometimes to see it in the moment you build it up. But in a moment you'll kind of puzzle it together. You see it. And I see already our mistake is that we have this line too long, but also this, it will give you a new pattern. Or what do we have to do is we take this knots, move them down here. And why they are not snapping? Few snap to grid. It's not snapping to Maybe I'm too close to the grid to, ah, to really snap. As I mentioned is copper II it a while ago when I was the last time playing with the program. But I think we going somewhere. So as you see, we come into the Saya gotta pattern. And no, Let me think If you make it like, I mean, we want to create our own. So let's think how we create our own zygote, a pattern I like to use the Messiah gotta who comes from here to here, is kind of a basic and make it like this. So you see all what I have to do is you have to build only one side. So now all the other elements, we will take again a way that is our one element, how it looks now, this element, we have to mirror around. Notice the only trick. The trick is you always have to kind of build up more to just see where the lines go. Well it together. And notice I regatta is also this one. Take one on the side. Then we have to mirror it because the Saigon is a mirrored pattern. And now we can think, maybe we want it with another line here, I would say, or do we, do we do we, do we do we, do we want to have is super crazy or not? No, I think maybe we keep it like this. I think it's nice like this. We could always do one more spiral and make it even more crazy, but it doesn't have to be. The full point is to make unique patterns, patterns, not just like find from everywhere and internet on every shadow stock on every data-related page, whatever. And you can see which has created in no time. Saya gotta related head-on. And yeah, it looks kinda funny. Cell-like shifted, rotated things. I kind of like it. Another thing, what we again can do take we take the grip away, no grid we don't need. We can take our model here and before we like mirrored it and double mirrored it. So we have a constantly mirror shifted pattern, but you also can just put it like this together and you already see that there is a different kind of pattern comes out a lot different kind of pattern. We put that together. You put like what we had here, eight on it. And you'll see, I mean, it's similar because it has a similar base, similar than the old patterns. It always will look similar when the base is similar. But here you have another spastic and a negative. And here you have this long Saya gotta lines like these lines will be like big crosses, big plus minuses I call. So that was like a very, very simple pattern to do. And I mean, we still can go back. We put a grip on grid here. And we can even try not to make a very simple zygote that pattern because I think the very basic Saya gotta pattern is really just like like this. I have also to check it. Yes, that is the psi I gotta pattern. And as you see, this is like so fast to make this. It's so easy to make this our weight. Now we again have something different. Let me think. What's the, what's the point? The point is that this one line have to be a little longer. I think this one line here have to be a little longer. Just start again. Sorry, I gotta sing is really like, really like go into us. I mean, that's how you learn. That's how you learn to understand the pattern, to read a pattern. And I never like rabid pattern. It's always like creating new own patterns. So it's always different to trying to rebuild a pattern on. Again, made a mistake but we can fix it. No, yeah. No. Cheating the way because we own the grid anyway. My problem was that this was a little bit too Too long. Really confused about to say I got a pattern and this is the psi. I got a better night, isn't it? Isn't it isn't. One more liner. Is it with one more line like this or is it with one more line? Because it ends with one more line, then we just have to put one more line everywhere. But that's what we have done before. Just cheating stuff out of it. So right. As you see, I was making this longer there we have this broken not we can just open it up to get open and not to remove, to not teach us. And to close it. Removed and not to just clean it up a little bit. But doesn't matter with like 45 degrees corners. It never really matter so much. But here you can see already the pattern will be like having like this open things here from our not as perfect as possible. So we better clean that. No, because it really bothers me. To be honest, it really bothers me. Nobody would need to go here a little over. But then also not so sure if this is the say Yoga. Well, if it sees, I think more simply one is say I gotta why you even wanted make like a very basic lettering and kind of seeing I asked them to get a copy paste, open them up. Pam and weld them together. Open them up. And Pam and weld them together, open them up. And Pam and advanced version of it. And let's just do the same with this one here. Put it together, make the line directly a little bit bigger so you can see mistakes, but this looks very nice. So the only thing what we have to do here is we will not be able to join them like this. What do we do? We do sometimes things look different STR. So I have to say, I'm not so good with like this. Saya God. God is classical patterns because I loved always to create my own patterns for my work. So I really lagging never really was into this kind of taking patterns from more traditional places. But as you see, it's very easy, very simple. And why not? We can take this is like also pretty nice. We take this. Make it also be good to just check if all the knots looking alright. Do you see we have already there some lines missing here. We can put them back in here when we want. But like we completely off the grid, but don't worry, we can just drop it to the grid and throw the lines in. What do we need? It was because he cheated in the beginning. I didn't double-check to fool seeing. And then stuff like this happen. But on roaring. That's how you learn with mistakes. That's the best thing. How you learn. Trust, don't worry so much. And things will be alright. Well this all together. And as you see a nice tight pattern, we made this middle line only on one side because it's fully enough for what we do. And we have kind of like a little bit different. Say I got that pattern looks completely different. Even that it's basically the same pattern and this trust with a little bit different one more line in-between. And it changed a lot. And you see what time we made 12345 different patterns in 17 min. We made five different patterns. So there's absolutely no excuse for not putting the time in creating your own patterns. Because it is that simple, It is that simple. And there are no excuses why not doing this? In the next chapter, I will show you what else we can do know with step patterns, what we created. And then we will move on and we go to the next advantage of pattern. And I will show you also how I built up my hexagon patterns. Because all the last years of my teaching career and mostly all the patterns you know from me are all built on a hexagon, means there's not like a cross, There's like three lines. But as correlating deliver three lines, we will have to make some tweaks happen 6. Playing with cross patterns: Okay. So no, I would say we take one of the patterns we created before. Maybe from the very first one. I kind of like this or maybe we use Saya, gotta have one. It's, I think the more easier pattern to start playing with the pattern which you're probably more familiar with. And let's take a very classical one. Let's take this one. We will put node a grid of few grid off. So we take this pattern away. And I show you a few tricks, a little bit what we had before, but few other things who are very interesting to take a pattern and play with it. So first of all, we take this to the side and then SEO seen before already a very big important thing is to playing with lions because as you see, just duplicate this and I put a color behind. And I will make 11 pattern white and one pattern black. And to show you already the difference, so in case you plan to use it for tattooing, you want ten to the negative, then this size of line would be not very nice because it's only a few lines, but also a few lines could be looking nice, it looks completely different. But when you want to tattoo the lines or you want to use the lines, It's very nice to have to not the lines a little bit wider. So in that case, I just like I would like drop them down to, let's say six. Maybe. Those patterns still looks different because you're always looking on the motif, you're looking on the plague. That's already a easy thing. It's 200%. I have control over the line size of your pattern in deepens on to I wanted negative two, I want it positive. And for what do I want it? What do I make with it? And nobody has some silly stuff on coral you can play around. Sometimes it works, mostly not. But as you see in you want to create something a little bit more abstract. You're always free to experiment a little bit with with scorer and you'll see what I just created, like a completely different pattern out of it. And I have to say I really, really liked this pattern. I will click Export is because I like it. Let's drop this. Also. Documents are k plus pattern. I kind of give them name, recognized them. Tough slam like wild on the on the keyboard. Both ways. Work for me. Yeah. You see that was just like playing a little bit around. The same you can do on this side. Or what I've done is play a little bit with like line stuff around and you see you create again something completely new and unique. And it is so crazy what happened when you just start to understand what you do? And what I've done here is I take the line and to show you exactly what I've done is when we have a line and we create the line, then we can say the program, how we want to see the line. Sick, we want to see the line. And this is how you enter it really can change patterns in a way. You create like a crate, like hundreds of patterns out of your chest. You see with like take this no way. Just to show you how crazy that really is. What only changing the line size thus, you create patterns in no time, you know. I don't understand why taking something from the Internet when it takes like No time to create pattern I add is, is not so nice. But even we had, we have, they are very similar and you change the line size and already the full pattern change again. And it's, it's so **** simple and so **** interesting to, to play with it. And you see how much, how much possibilities we have. And let's move on. Let's say I really liked this pattern here. So let's copy it to the side. And you remember, we have still, we are working. As you see the net. We just have a appearance of outline. But what we're doing now is rearrange and we convert it to actual outline. I know it's rendering, so we've weighed Creek and from now on we are like can start from zero again. You know, we can completely start from zero again and we create new patterns in the patterns. And this is when you really start getting interesting, when you start getting, getting different. And I mean, you can do that with every pattern, with every pattern and it's so simple and so easy. Convert outline to object. Hence off, this always my trick because really don't want to touch the computer. It's so fast sometimes even moving the mouse can like collapse your computer. You don't want this. And you see another new pattern. Maybe not the best. I still like it. I mean, yeah. Why not? Like endless, endless possibilities. How to create pattern? Let's say you want to drop a color behind, and let's drop some teal behind maybe. I mean, that's that is how simple you create crazy patterns like in no time, in an absolutely no time, create patterns like this. And I know it looks very simply when I do it. But it actually is very simple. It is that simple. Let's take the next one, Let's take this one and move on. Usually I make always like my blocks and make the next block. And let's move on. And you still, still only in experimenting with lines. And I mean, there's not a guarantee. Sometimes it works. Sometimes they don't have to play a little bit around. You see, this looks very great. I would say very great. And you'll see how fast we do pattern, how fast we knew pattern in endless combinations, how fast we do patterns. And it's like I also just have to experiment and see what works, what less. And you see this like endless ways. Even to just build in a break. It's very great to just like play around, see what comes out. And you see it's like so crazy. What happened? What you can do with a pattern? And yeah, let's take another one. Let's take this one. I really love this one. So let's take this one and maybe, maybe make one more. Before we start going into something with color. Let's see what else we have, what crazy combinations we have. Like even like stare it said happens like very naturally it happens pattern over pattern. It's like not much time. You create endless of patterns. You create endless of everything, basically every scene. And now we move on. We save before because I want to give you all of this. And Aaron, you go back to few know where we are. Arrange convert outlines to object Hands-off and give us some color. Give us may outline upsets, maybe wait too much. Outline. Give us an outline, may give us outlined with structure. You know, there are no rules for creating wild patterns because there are no rules. Maybe I have to. I'm not so sure if there is an RGB. Windows. Give me a few seconds. Windows, color palettes. Lgb years, I was already thinking that looks different from the colors default palette. So then later on, What are you doing? Come on. Go behind. Then later on. Some stuff look entirely different. Here we go. It's very questioning if that is a good-looking or not, but it's happened. It's easy ways to create patterns, easy way to just experiment with patterns. Also. Let's say I take this and make it in for, and I make it straight, and I take it in a different color, let's say a very dark color. And I go a little bit behind. Upset was too much. It is also one too much. Too much. Maybe we have to take this one pool to the front. And now you see you trying to like, amen. Amen. I know why. I know why. Six, and so on and so on. And I don't know, I can't help. I like making patterns. Another thing is, let's say we take this to white and we make this white. And now we have like this, see this little line in-between. And what we can do now is we can make also the fx. Now, this few arrange, convert two objects, don't move anything. No, we have, you remember the white one is now this we want to remove we want to remove the back minus the front. And now we just have these lines left. So we can drop the black on it and get them here or give me a solid black. And all we have to you can take them basically snip them here in place and make them maybe No, no, no, none. And you see that's 0 fast. You actually can create patterns in no time. So I will next block. And you see how much different kind of patterns vielleicht, throwing our tears and nuts are very nice. Sing is to kind of like shift patterns. So it's all playing with the outline is all playing with the outlines. And you see what I can do here. I can shift the outlines and I can squeeze one side together and let B one side bigger than Omega on the outline tool here. And meanwhile, let's go to 12. And you see it as like endless possibilities are endless possibilities to take a normal pattern and make it look at entirely differently. And I show you something what I really like. Because I know I take this that would have been something when I known that I would have been still tattooing. Then I would have created some stuff with that. And remember, we still have only the outlines or we can still mounted onto each other. And we still can like, you know, what we start doing now. We start putting it transparent on. And it starts looking very crazy. I love it. I love, I would have loved to create a few patterns in that way to really go wild. And you see no V&V go wider. It's basically more surroundings will go wider instead of the pattern itself. I really like this effect. A really liked this effect. I mean, you can argue about the transparency, but I love to play a lot with transparency even in Tetris. I mean, this is not a poor how to make title sensor. Workshops is really just like creating crazy patterns, creating different kinds of things. Within one program. You see it's a lot of possible ways you can create. You can build. And you see it looks very crazy. It looks completely different than our beginning. It's very easy, it's very simple. And this is a little bit of advanced way now, to just give you a rough idea what to do with patterns. The same, Let's take this one. And let's say we take this and you make it again few. Whereas a range convert outlines two objects. And creating like this outlines. I love a lot to play with outlines. I don't know, not everybody likes it. I like it. I like a lot of the outline playing game. And now we have like textures fields. Sometimes it's very crazy to experiment a little bit with the stuff we have here. The hair-like. Some are very funny and weird. And why not using some of them from time to time? I mean, you have to program and you see you can basically do everything with it. There's not much voice holding you back. So maybe the aesthetic, but you get the point. You get the point. The outline is made too much too. It's like it's like endless stuff. You can do endless stuff and it will look always different. And you can make color fades. You can make transparencies over color fades. Now, look, I can make it transparent over the color fade. Transparent it inside. But tell him that I want the outlines. Not only the insight. Go to transparency and say we want only the field fade, we want only the outlines fade. So you have a crazy effects, you know, crazy effects with very little thing, especially when you make graphic work It's very crazy. What you can do with very little and you see this pattern, you, I didn't seen that pattern before. Even that is like built very simple on a CYA gotta related. And that's the advantage of using cold roll, using a vector program to make your patterns. You can so easy play with it. So, you can so easy play with your patterns around convert to objects. And let's say we take the different version from debt. Because we know you remember this like the same size. Arange convert outlet subject. It's the same size, it's just a different split. So basically we able to like move them over each other and recreate the pattern and create a the same pattern as you know. But in, in a way, I never have seen that. Go with gray. I like this. What is it doing? Finding a nice color scheme. Go wild. Fun. Oh wow. Maybe a little too wide. Wide, weight wide. Same shame. Yeah. Like something like this. It looks completely different than to go in the same shame is here. Let's say we take your darker one. You see what you all can do. You can really go crazy. Like not much you can do when working with a program like this. And that is why I love it so much. I spent a lot of time in my life behind such programs. And yet, even then, we are by far not at the end. We are by far not the end. We can still outline it and color it. And I don't know whatever we want. There's like there's not much what stop us. You see it looks completely different. Using the same inside and outside. Using something different, maybe some black for this, and maybe some rows for the deck. Just to give you idea. Bodies all possibly with something like this. And we still only on the surface, only on the surface. So I think that's enough playing around with normal square pattern, cross pattern. So I would say we hit over to the little bit more complex things because we all a little bit advanced now 7. Hexagon patterns: So after we are all really advanced, Norway is creating like normal pattern. Probably, hopefully already understood a little bit of program, a little bit different steps and what you can do and how it gets done. Then we can move on to a little, bit, little bit more complex patterns, but also not really complex. And take always the time in-between the steps. Just take the time, but I'll make it a few times more because right now you're new into it. You want to learn a new skill. It's not about creating the best pattern or creating the fastest time pattern. It's about learning and understanding and better make it five times. But understand the different steps and how it's done. As we want to make patterns built on three x's, we cannot use the grid function. What we have here, so what I do is I building my own grid. And for this, I take a helping line and I make few snips to guide line. And now I take one line with a freehand tool like what we do for the patterns. I make this line a pink to trust, see better. And so There's not a real rule in how you build yourself a grid. So what I like to do is I take three of them. I combine these two together. And now I can actually put this one in the middle. And we have three parallel lines. And we copy them. We say 60 degrees, copy them, and then we copy one more and make it 100. Venti and tada, that's all what it needs. We're having a perfect symmetrical hexagon. Great, how I call it. I would also add these together and know. What I do is I click on the ride on it. And somewhere you have lock object. So that means it's locked your notes so you can not make anything on it. That means when we are working in the pattern, every not attaching man be attaching anything to the old one. And SUSE. I have on on few snap two objects. Everything what I paint here will snap to the objects. No, it's like playing a little bit around. You have to think about what we want do is having these hexagons. So there's not a real law for that. Then also, this is my very basic hexagon grid. That's how we start later on, you can make your own grids. I have some grid saved here, and some grids who have multiple light 567 lines. And then you can like go really crazy. Then you can go when you create all kinds of weird hexagon patterns. If it's circles inside, if it's whatever inside, as long as you stay within that zone, everything will be fine. And let's start with, again with something very basic. Always with the freehand tool. Here is the same as what means the same? You remember, on the first one we had always this 90 degrees. And here we basically have the similar situation with just that we have 60 degrees and 120 degrees. And that is how you build together a grid. And this is probably also a very, very Known pattern. It tastes like no time. It's the most simple of going into the hexagons and takes not much time, goes very fast. Rarely together. Put it a little bit more sick the line. What was wait, wait. No, we're in that situation. Sometimes I told you before, not the wedding, not always works. So here we have to combine and I don't know exactly why, but that's what it is. Our very first pattern built on the hexagon scheme. So let's step it up a little bit. And it's pretty much the same. Look everything what I wanted to within that, within that, It's alright as long as it's symmetric so I can build up one side. You will see that I've built up one side of it, and I combine it. I copy pasted, I shifted around and put it on this side. So I combine it together. Let's maybe make this a little bit bigger already to see is everything alright, seems alright, This ones you will later don't see any way. So now we go to same 16. The nice thing is it is splitting and going around with the different degrees. This only happen in the very beginning. And later on you don't need to do that anymore. Oh, this one is like 20 and shifted and combine it. And you see it's like easy-peasy to make pattern, easy-peasy to make pattern. And even when you want them much bigger, it's no problem at all. And combine them, put them all together. Having a very nice pattern. Here you see that typical hexagon shape I love a lot. So also here you can see like I would like this with not take this break-offs apart, remove everything, and let's see how far we can break apart. So it's no problem to change something any time. So I want to change this thing. So Why not just to the nought? And you see, we have our next pattern already. You see already for, for building them together is a lot nicer to just like have a very small line. Man, look, you made a little mistake here. Get us at all. Small combine. That was because I worked with just super sick line and I didn't hit on it. But yeah. You should have started again, but doesn't matter actually, you know, I mean, this is just like for showing you how it's done. I mean, even when there's like something a little bit awkwardly in it is still symmetric. In a way it's, it's completely repeat itself all over the pattern. So it's also no, no problem. So and then we have the next one with having like nothing in the middle, having only this one's and so on. That is like pretty much the same then the patterns were built on On a square, you know, trust that you have to create your own grid. And I would say there is no limitation with the grits you do because I mean, we can also say we make no go now a little bit bigger. And as you remember, we need only one of these one of these things. So we can pretty much say, we go, it's this big. You go all crazy and make open this up here. And go here, this here and this. Don't want this open. I think. I want this open. So we have this here, this here, this here, k. Let's see how that will look. Move it over, pull it together. Okay. And this is how it looks. 60 confused, 6,020. Okay. On this side, it's actually like really weird shifted. So sooner. And give it some strings, some size. And you see another pattern built up on, on the hexagon. Here you see again the vector mistake I told you before this is very important to fix all if all of this course in the very beginning. Because here's something very weird happened. But doesn't matter for our reason because I want to show you how everything goes. Because otherwise, we take double after time and you will just look at me making like very boring things. And yeah, that's pretty much it already. Tree and related buildups can make one more like build on the square. On a complex career. Maybe it's also interesting because there's actually like also the 66 corners. See, I don t know, it's exactly called. But let's make one of them. Maybe one very simple one. Open debt or I have to go back, I'm sorry, I go to beg. All of this. Made it not a good start. I want to have this side open. Here. I want this side open. And then I want maybe, maybe make it like this. And then we make it here This, okay, It's also you never 100% know what happen when you, when you start a pattern. It's just like you see I make NaCL Stein building a little bit around Low, be, shifted around, welded together. And we make basically monarch. Basically what I showed you all before. Copy-paste 60 degrees. Let me think. I'm not 60 degrees is getting a little bit tricky. 100, then Tino is 120, and then we have 200, 240 candidate P. Can be, it can be. So no or men, something weird happened. Key, key. This is logic created. Like very weird, unique. I was not so scared. I was really skeptical about this ones here to make them that asymmetric, but I also made this one is very asymmetric. Pardon? Oh, I see it and I absolutely don't like it. So maybe we just remove them. No problem with that. You always can remove. And you also can always just like let's say we put that on. Why not? This is pretty much how you, how you build a pattern on. I mean, it's it's also always a little bit luck. Sometimes you have luck, sometimes you like you have lactate, you go in the right direction and then you like, just like change little things from it till it goes behind the part of being luck. And then it starts getting trust looking good because you keep the right the right settings and you keep the right things. And years you see that's also another that happens because we have the lines like this and not all around that sometimes that little things that why you should always make it big. You work with it. And not what I done. Because it really matters how you put the dots about for our case here. I mean, it's still a pattern is symmetric. Absolutely works for me. I mean, even here, you still always able to go in, in a wrench join outlines to object. This will take a lot longer. You seen that because we have all these irregularities, all these weird things. There are program really have to fight. But even then, I think it still looks very cool and very crazy sometimes. Like these bad things can also have a very nice effect. As long as you see because we twisted it around, the spikes go to the different direction. Also all these corners goes like, it's still like a Symmetrical, symmetrical piece. And that's what matters when you make symmetric symmetric work. Because sometimes, sometimes a lot of things happen, you're not in full charge of it. Being a little bit silly, playing with colors, but you see, you already see what you can do word for possibilities you have and how. You really can start working with a pattern, shifting around with a pattern. That's very most interesting thing in my eyes with programs like this. I love to like this, playing sometimes with these kind of things, but not always looks good. It's hard to say. But as you see, we have no completely different kind of pattern then all the patterns we've done before and charts because you don't have the three edit to excess, you don't have to cross. You have the three Xs 123. And I love this kind of patterns a lot more because they're not so structured. The other patterns always reminds me to tiles, all this stuff and I don't like square stuff so much. That's why I personally like the hexagon base patterns more on tree excess patterns however you want to call it. I don't I don't know. I don't really label my name. Usually when I say for pattern, Let's say we want to save, to pit on. So I can recommend, but this is who I save most of my patterns. And it's a very ketotic folder I have. There is a lot of very weird things going on. And SUSE, I think we don't need to go more in depth. Maybe if we make one assignment together. And yeah, number eight, we make one assignment. Why not? We build one very nice hexagon base pattern together, one we actually can use. And let's do that in the next chapter. 8. Assignment - Hexagon patterns: The aids. Let's make another assignment together and let's build some sort of hexagon pattern. Something nice, something flashy. We start a new document. I go for a forecasted, I have millimeters on the site. So first of all, we make our grid because we can use the square grid. So we have to start with Snap to Grid. Make a one line. Okay. Go ahead, line away. Make that line pinkish. Little bit more easy. Copied, welded together. One more, put it in the middle. Maybe we make two more. Two more gets a little tricky, but also not, also not maybe I can show you that here. It's maybe more simply than, so. We have like 1234 lines and then we have this mark them all. We have this symbol here, alignment, distribute. Here we have distribute and here we have spacing and apply and know all the spacing. It's the same distance. So we have like perfectly parallel lines, make it a little bit smaller and as we don't go too crazy from the file size. So 61 more. This hundred venti saw. That looks very crazy, very fancy. Looks very different. But that's okay. As you can see, we can use a lot of these queries, things, and then we have to helping lines. And as we want to create something a little bit different, I like it to start with something very different. So let's start directly with this. And I mean, let's see, what do you do? What do you do? Kind of trying to build up like this one triangle. Let me think that looks good. And then we have this one here. Maybe we make dislike this. I think that could be a cool one. You remember what to do? We take this, we combine it together. No, As we want to make it as perfect as possible, we will double-check everything, all the knots looking good. Only like this one naught here, but we still fix it. Why not? As less knots as bad are? Low? The mirror it. We put it together. And you see what happened? No. But that also doesn't matter because the are like all together later all the lines goes through. It. Absolutely doesn't matter. 60? No, no, no, not 6,020. And then we can take the hundred 20 and we just switch it to the side. And I think that looks very nice. So we welded together. No, We like that. Shifting it and start shifting it. And we start shifting it. Welded together and shifting it Shifting it, make it a little bit bigger than we usually do it to have something to work with. So I think that is pretty nice. Let's wait, it's altogether. And then we can make this a little bit bigger. Wow, and I would say it created a very nice hexagon pattern. A very nice hexagon pattern. Let us think, know what we could change differently to make it a little bit more interesting. What is always, what I like a lot is you see the long lines here. I love always to break these lines. So let's think how we break it. We can break it with these pieces, always these pieces. I would say, let's break it with these pieces here maybe. Yes. For this should have keep the one single thing on the side. But we make breaks apart. And we go all the way, all the way and take all of this away. It is you don't need anymore because we make only once. Nobody was saying you want to break these things apart. So that means we have to erase that line here out. First of all, we go and take one out again like this. And then we take you can weld it together, you make the line a lot lower, so it's more easy for us, are be trying to open up so you can just put a note here. And then I like break-offs. So now we opened a naught and we open it a little bit too much and we can put it here. And this one we can remove. And novae basically, we broke these pieces here. And I think that's it already what I wanna do. So let's build this together again. Shifts around welded on D and shift it. And that's what we got. And you see now we have like the brake, this one long line. And I think this will create already like a much nicer pattern. And there's only one way to find out. It's too to build it. This is what I mean. Sometimes you have to like build up a pattern on the site to even see how it looks. And you make this for many years and many patterns, then you have a pretty good feeling sometimes from the moment you create a pattern, if you like the pattern, whoa, the pattern we laid on feel. And if it's too much or if it's too less about in the beginning, you just have to try a lot and you're just like, just make it a lot of pattern and you will come to a point, your pattern look pretty good. So I mean, it's all tastes. I would say it's all tastes. You cannot say which pattern is better, you know, because both piano, nice, I would say from them, what I like to have like this, a little bit broken up, seeing even dare you could say, maybe I shifted in a different direction, Omega circle inside, omega dot inside. There's endless opportunities you have with creating patterns. Let's click Go and make one more for the dots to just show how easy it is to break apart, tick on out again. Remove all of this Now let's molded together again. Now we make something a little bit more experimental. I sometimes like a lot to put also something sunlight around elements inside. So let's say we trying to take this and kind of trying to assign it here, you see that? So what we will do is to use the roundness of this to cut it. And That's what we will do. No, wait, break-offs apart. So first of all, we want like open this again. So we opened and not like what we done before. That was again too much. And we go till here. And this one we remove know it's very good to remove some of that parts here. It makes me this. So Soviet trying to remove this side because we want to build up only 11 side. So this here we go till here, and now we want to have only the round part here. For taking the round part, we make nothing else than taking, taking this and first of all, convert to curves because we want vector. Then we put it again. We put it here. Open the dot. No, I would go directly there. And now you see what you do which has killed the rest of it. We have directly the round thing going on here. This will look a little bit different than what we done till yet, but we are absolutely down for making things a little bit different. Keep it interesting. Let me see if it were a dot here and we do the dot here. No, I shouldn't have killed the line ups before. We put just a helping line here for putting our circle. Put it in the center, and take the helping line away. So we have like this circle here is circle here and maybe we take the same circle and put it all in the middle. Why not to make it a little bit more roundness, make it a little bit bigger. Maybe that we have bigger like this or here we do the same. We break, convert to curves. You put somewhere and not have to open the naught. And we put a note here, and then we have a note there. Then we remove all the other stuff I think that opened this year is. So now we will also have to What is he doing here? We also have to open a note here. There are two lines over each other. Doesn't matter much for us. It's not the cleanest way. You see this is like, ah, okay, I got this that we keep like this, then keep it like this. So we remove all of the other things here around because we don't need them anymore. Now we build up a completely new patterns of them together. That is all one piece. Combine them together. Sometimes. Combining, sometimes. It's better to weld something like this. We close that, close that cough. Close that cough. Or this clause cannot cough. But we can open this one here and you see what happened. We can like this one. And we can close this one. So that looks much nicer. Here is like Some kind of disasters. So we will just move this one. Cos here. Doesn't matter so much. So make it a little bit bigger. Quick to check, it looks very good. So we go back to the small one and no, lets the magic again. We headed in our mind. We have to just execute it. No. That looks already very funny. Yeah. Maybe the circle not look so circle leash after it has this breaks, but maybe build it together anyway now and see how it looks. In playing with around and hexagons is always like fun to me. It looks always more silly and different. Gives a nice different touch. And touch it when you weld something more complex. So we put that single one on the side, a little bit smaller. Put it up here a little bit bigger. And let's see how that looks. What is he doing? Okay. Okay. I would say pretty interesting. Not like a pattern I seen before. Maybe it would have been funnier to make one circle ago or so here in the middle. That looks like this. It also would have break everything. But I mean, I like it. It's not that the big ones look like circles. It's more like they look like crazy elements like Yeah. And I hope all of your patterns look a little bit simpler than this. My computer is like really like hanging with said No. I think sometimes it can be a lot for the computer to process and give him time. I don't I don't know if the new coral is much faster or much leaking less. But I am pretty much can do a lot of things is too old car ride on a lot of very crazy patterns, a lot of color, a lot of things. And sometimes just save it before you make a very, I'm a step where, you know, the computer can crash. Just save everything before before you press that whatever button. And then cod computer does it. Sometimes the computer takes 15, 20 min when I make a very complex stuff. It really takes a while to really process. And in that time the best is to just go make yourself a coffee and make something else. You know. Let's jump to the last chapter. 9. Special tips and hacks: So after we made a lot of pattern and I showed you already a lot of traits. I will just like a little bit more on one more pattern and I explain you a little bit more. A few little tricks and tips on the program or what to do with patterns. And just let's dive in. So first of all, we take one of our patterns. I choose this one because I like it and you'd have a lot of, a lot of different facets and elements. So let's use this one. As always. Remember, we still having only the outlines. So let's try to freeze that outlines into an object. Maybe we take this to the side. And now we freeze it around, convert object outlines to object. So making a real vector mesh out of it. And the computer have to render a lot. It says is it makes no response. So we will just give him some time and you see, he was just like clipping in here. You can see sometimes it makes this sometimes there are some, some issues when when you work on more complex files, more complex stuff. So it doesn't matter. We will just like take the top part of it. What I do a lot. I used the intersection to kill this off. So using just the intersection tour. And I really recommend you learn a little bit the basic lie, Whoa, to shift something from the front to the back. The arranging and aligning. What a lot of times tan the beginning, I've write me all the short keys on a piece of paper, put it next to me. Actually. I have like this little book here. And every time I find out a new trick, just like write it down and you'll see there's like a lot of things just to Friedan in. So I know what to do, how to do it, how to export, what's the keys? In a lot of papers, a lot of things, a lot of stuff from different programs. And it seems silly, but sometimes it's see the full book is full with stuff like this from all the different programs. It's usually always here on the computer because sometimes you along the time not into a program, then it's very tricky to dive back into. And especially then sometimes you lose said, Are you remember, how was this, what I have done? And so on. So either way, I will try to show you a few more little things to which I also sometimes like is the envelope. And the envelope is like you can deform as you can see. So you basically, you did form a pattern and you can create like No, you, we have like this kind of wave. So it looks very, very crazy, very tricky. I want quick. Put it all back and put one on the side. As always, we use the envelope and let's say we bulb it. This makes nothing else as you see, we have kind of imaginary vector around. So that's what we do know we like. Squeezed with it. You can basically remove nodes. You can like make own notes. You lie very free of going like crazy we set. And the very, very beautiful thing is that we are still in vectors. So we going on the wireframe and you see we still in vectors, so we still have Every other options we had before. So we still can put silly stuff on it. We still can make the double lining, the inside. Why? You'll see it still gives us a lot of new opportunities. I lie like how the pattern here, shifting that begin in the middle. A lot of times when I use patterns like this, I don't like using the backside. I'm just using some parts of the middle and you see what kind of crazy pattern we created with just very, very, very little effect. With just playing a little bit around. Yes. Take this to the side. And I'm also, I never bought so much into pattern. I know I made a lot of pattern and I gained some kind of skills here. But I was never really deep dive into patterns. So there's probably a lot of things where you can just experiment around. Find your own skills and sings. Take this off again. Don't take this off. So okay. Another thing what I really like to do is this a break-offs apart. So it really like ribs, everything apart. Click only on the one top layer, maybe n As you see, I just click on one color to just illustrate what is going on. And now we can say, we can mark for this view hold Shift key up. And we can say, we make all of this one's in a color. And it probably take us some time. But as you can see, you can start playing a little bit around with petals audits even if wrong color. So let's go back here. But also there you can like no start combinator them together, weld them together. So let's say we always want to have this ones here. So let's mold them together. And then let's put this one in. This one in, and I don't make all of them. Also here. When I work on very big pattern, I basically make it the same as I do it. When I create a pattern, I will make only a few fields and then I will reproduce them. I know I just use a random color to double-check if I have all of them on what I want. You see, I missed some here. I also add this one's in our color scheme. And maybe one more. Let's make six fields. And another different color as matters of weld them together. So no via new, new regroup them when we click on them, It's only ten minute color. So let's do the same with the next layer. And you see a lot of time you work with vectors. It's kind of work when you want to make really like crazy color stuff. It will require some work. Also, I may be more thinking to make a few tutorials about how to vectorize your hand painted stuff. And I already can tell you this is quiet some work and requires some work. So let's see, let's take this ones as well in a different color. But the beautiful thing is when you once have done this, you really can experiment. You can experiment. And I mean, you can even start from the bottom and you work with different kinds of shades. I may show you that as well. Maybe make one more here. I just changing always the color to just like double-check that I really have all of them together and you see, we already can start painting in whatever way we want. This one, not that. Let's say I want to add a double line. We still free to do that. Still free to create any kind of any kind of pattern what we want. And it goes very fast. Now when you want settled in, when you one's diet, everything in. It's a very easy process. It's a very easy process and I don't like the red here. Let's let's go in a completely different color scheme. No. Why not? You see task like playing around with color. Sometimes it's very difficult to find like the colors you want to go with. Find a color scheme you want to work with. And for this it helps me a lot too, just like play a little bit around. See what works, what works less, what fits what? Let's just play with it till I have a nice combination of colors, something like this. And you see, we created a very kind of abstract way of pattern, maybe make this even more wider. I liked a lot to play with different thicknesses of lines. And Tara be created kind of a pattern. And very fast and easy. I mean, you no, like reassemble them, make it bigger, make it wider, Megan round, shifted around. And all of this is still, you can imagine you use some other tools. And you can just like shifting around still, may get around, play around with it as you see. It absolutely doesn't matter because we're working in vector files. I know it looks very crazy. It looks a lot more complicated and it basically is it because you can just play around and when you wants group your sings, make your stuff. It is very, very simple. Let's Let's go. What I don't know. Let's go back to this one and show you another little trick. What I do when I make my more complex color schemes. So break-offs apart. We go back to the, to the very origin. And now I show you like what I probably would do with something like this. So I freeze it. And now you see we still have the lines only. So we make maybe keep that in the size. And maybe Iran's convert outlines to object. Like it not good, healthy seeing here is probably an open line chest somewhere, so trying to fix it. So see sometimes it's easy fix, sometimes that's only 11 naught, but it's the same as when I go for the bigger patterns. When I really want to make something a little bit more special than I trust, like I probably go and make the full thing nicer because why not taking a little bit at Ford being less knots here because later, when you multiply this over many, many, many, many layers, there will be like a lot of makes no sense, but then I guess we'll just keep it like this. So then I go to the next, I make the breakoffs apart. Just basically we want all the fields, the inside. And you see, here is something very weird. We've seen that before there was something MR. Naught. And I see already why. That's like a wonderful thing missing. We make a line on it to see it. We put a new line here and we made it easy fix. But basically we should already fixed it in this one. Sometimes it's a little bit difficult to see what actually requires to fix And don't wanna do this. I don't know why. It's still not there. You can see that it's still not there. You wire-frame, sometimes it's good to go in wireframe and I think we have a two elements. No, no, we have one element that is not connected. Maybe we have two connected, break-off and close it. Maybe it seems like we have two lines there now. Sometimes the program is really dancing on our nose. And it's still doing this. I don't know why. That is like something sometimes. But anyway, don't let border too much with it. Because what we wanna do, this doesn't matter so much because we want to group all the metals together and play a little bit with, with shadows. Let's say, let's play a little bit with shadows. So let's group this, Let's group this. Let's group this. Then I know later all of these ones will be grouped. And then we group all of this as one. Okay, so what we can do know is we can put a fades and I maybe put a radial faint. And let's go with some pink to purple, something like this. And I pretty much like it to have this crazy fade. We can just drop our effects from here to there. And same we do here. Let's take fountain fade. Let's go from linear idea, from dark to sing in the same color scheme. So, and then this one's maybe we may make them like kind of greenish. May sound kind of greenish. I may like. Sure. That was the right call. Maybe it's better to make a fade because later we will have three of them connecting here. So when I want to have them fade like this, I have to like break-offs apart again and group them. I can also put them together with Command L. That's what I usually do. And let's do the same. Let's go with a fate where the fade fountain. And now we go with a fade from one color to another. Maybe a little bit trickier from the angle. Maybe we go and 120, no, we don't. Or maybe we go 100, 2,020 will be here. Okay, then this angle will be 60 probably. But also, yes. Then we will have to same with not with 60, we will have it with 90. Have it on the bottom of here. We have 90. Kinda be on OVO wrong. So we have 270, it should be then, yes. So now we created a fade into that direction as well. Only thing what is left at this ones. I'm not fully sure if you also create a longer fade, make them separately. Maybe we do that. Break-offs apart Be aware that you don't connect. Mark everything else. So then we can basically disrupt the same shadows on there. Why not? We just use a different fate and use the same angle. And then we still can say like maybe change a little bit of color. Make the color from this also to coming from Blake? Yes. And the same here. We basically changed all of this. What I would do now is play a little bit with the outline. Because I really liked the outlines. As you all already know. Playing with little bit of outline, maybe not too much, maybe something like this. But may know, even put kind of a fade in the outline. Let's see how that looks. Transparent in the, in the line and put it here on out line only. And it looks maybe a little too much. I don't know. It's maybe too much for what we wanna do right now. So let's just keep it simple. Keep the outline. The outline on three. Keep an outline on three. So you don't have to do that on everything. But it's completely up to you. Maybe we put here a wider one, but here, maybe we go, You're all crazy because why not? Why not going all crazy here? And working here with Linear, Linear Radial from the middle. And we have also the singing and middle, little softer. Take it like this and now go only for the line outline so that it looks very cool, I would say really enhanced the idea. And let's go with a very thin line for this. Maybe to sin maybe two. And maybe can. I suggested from the preview. I like this. In a lot of time. It's really just playing around what you like and what you less like. Keeping some workflow. And then maybe, no, I really liked this effect. Maybe I want to effect here as well. Later on. We have this there too. So it's a little bit more tricky with the fading here. But also not. We just make it like this. Make it to the outline and maybe put it here, make it to the outline. So the outline, and make it here. So and then put it to the outline. And it looks a little bit lost right now, but I promise you, you maybe make it a little bit more sick the line on all of them, I promise you it will look good later on. It will look like this because there will be also like three of them together. Let's also make a little bit something around here. I'm not sure yet what kind of color, but maybe even to work with a little bit of a black to keep. Make this a little bit more harsh. Or may even go in a lighter green is to kind of play with it A little bit more with the background. I'm not so sure if we keep that color. If you go also more into more lime green or if you go into something like this, if you like, completely break it. I mean, some orange. Looks good. I seeing here, sorry, I think I like to go into orange direction, maybe yellowish orangey. That looks pretty good to me. So let's maybe take this and make also a radial filling. We make a radial filling inside. And let's see where it comes from y to this. This is, looks very nice. Not too crazy, not too much. Maybe we put a little bit more inside. So I would say this looks not too bad. And this one we can take away. And now I group it altogether. And no comes a little bit more tricky part of it. Because as you see also this use, you can see even the one broken, the broken thing here, but it doesn't matter as long as we can see it. Okay? We can see it. Alright. Now as you see when we put this on this, we have a way to big gap. So this is a little more tricky because actually this, this have to kind of overlap. So there are multiple ways to do this. And let me click Sync. What will be a clever way? What will be a clever way? This idea of having like a very big gappy seeing here. Yeah, maybe just go, go back. Go ungroup it again, and maybe just take take our big scary thing in the back, which just like scroll it down a little bit when you press the Shift and you go it down it like it makes it from the center point. You see what I do is like, I just like kind of zoom in a little bit smaller so we are alike. Just created the backdrop with just a little smaller so we can arrange it now like we needed. And now we can easily connect to the object. Click to object. This is pretty much the way who I built up, like I group it in-between a few times and copy, paste. Copy paste it. Here we go. Prove it all together. All together. This is the pattern we created. I would say looks very trippy, looks very cool. And took us not really much time. And I hope at the end of this course, you all should be able to make something like this. Just follow my steps. Maybe take some breaks in between and go over it and over it. That's just a start. And I mean remember we are still in vector. You see vielleicht 31,000 per cent zoomed in and there's no limit will hold us back. In a whole we want to print, these are what we want to do with it. Also. It's never stopped and limitation with take this and make it ungroup it all the way back. And you see it goes always, sometimes a very fast to go back to the beginning. Also, all our groups are still intact. You still can like Even play around with different lines and create your own, whatever, your own. Time, look, see some, look better, some loop less. But I think you get the point. You also able always to, let's say, I have this one outline, but I like to put a second outline, different outlines. So let's say we take this a little bit smaller and you see what happened. We create like this. There's multiple outline. Let's say I want that in the lines. You are alike. Really able to produce a lot of things. Same with like everything else you can like molt is take the inside out, copy paste it, then I take the inside out. So we only have two lines left. We make more stronger lines. Put them a little bit behind everything. Give them some different color, gives them a dark greens and may give them some different color. I don't know. I mean, you get the point. I think I think you get a point with what you can do, how you can do it. And you see this looks like a completely different pattern already. Just like change a little bit. The flow of everything change a little bit. The colors, what you wanna do have different atmosphere of the pattern. It's a very, very easy, it's very easy. And there are not much limitation. You can overlay layer over layer over layer so much sings. In my very big work. I work with pattern in pattern, in pattern. So I kind of just, I can show you that creek. What, what I mean We said, I can basically take another pattern like this. And I say, I want another pattern. And then we need to make the line very small. No, right now for what we want to actually be the best, doesn't matter. It doesn't matter for what I want to show you. So let's say I want to have this pattern inside here. So even smaller. Because he like via creating right now in a digital thing. So let's click this and click to this. Let me see It's a little tricky. Now. Let's take these two. Let's take the intersection and now we should have, we have two intersection here. But the intersection should have only like this little lying if as a little lime hairline. So now we have two intersection here and SUSE. Your possibilities are endless. And shoe and a small pattern, you don't see it, but when you create a really big piece, all the stuff I was telling you before, in the basic, you can easily pushed together. You can like intersect. You can make the pattern goes from the front to the back to everywhere. And it's basically can go everywhere. You know, you can take a roundish pattern. You can take it all over the place and put it wherever you want to put it. Especially if we say intersection tool, it gives you a lot of possibilities to create in ways you couldn't before and start getting messy. But I think you get the point. What I want to show you there to the endless ways, even to say, put it on the top. Go out of your way, take this one's, and take this one and intersect Take this away and no, take them in darker color and maybe not so good, but you get the point. Take them also in the green. You see what I mean, It's like very, very easy to create stuff here, to really create stuff, to just play with it. Intersect to visit an instant. Let's take this away. Let's take this, Let's take this end intersect. And for me I loved the creative process of not fully knowing what I'm doing from warlike, just experimenting around, playing around. That is how you learn the most and how you'll find very interesting things and flavors it. Same here. We can also put still a transparency on it. Put the radio transparency on it. Not fully in the middle. And then you can change opacity from the middle to the bag and so on. That's like endless ways of what you can do the program. And you see that looks already very crazy. And this is only scratching the surface. And I tried to keep everything very simple and very basic right now to just show you a little bit what is all possible, what we can do when I mean, no, we can go in the next fast. We can put that back ground thing here. We can arrange it convert object. Now we can drop the same shadow on this when we want this like this for the Linear Radial, like we had it, but right before we headed as the lines, no, we really have it again is own vector. So no, you basically can fill another vector in this so you can fill lines on it. So even like this you see what happened is endless ways of playing around. Yeah, I would say this is the real power. This is really interesting. I mean, this goes way beyond of what you ever can't add to what was also a POD. Why at some point was diving very deep into creating digital art. And a lot of my digital art prints. You can see in the Internet or on pictures what actually has happened. Because most of the art I created on at least 1 m sizes, and I create them in that original size. You're on a computer that when you have like a pattern, you can see like this. But it's zoomed in. Here. You don't see much. You don't see much, but then you zoom in and you see like all of the structures, you would see something like this, which you wouldn't see in a smaller size. And you can see, you can like No go crazy with everything. And here the same, you can create arange, convert outlines to object dot both hanging and give that outline. Oh, that's way too big or way too big. Like very, very small. And then we can still throw transplants on this against you, put the other one over, we can take this and put it over and take this out. And And it's a lot of ways to play with, a lot of ways to play with. Take the transparency away from this. Make it darker from here. And let's say that transparency comes from from the middle where it should be usually come a little bit more professional. And here we go with easy, cool pattern status. You don't see like this here it looks like a shade, but you come close and you have so much things to explore. I save this as sine meant to foo. So let's wrap everything up. I don't want to put too much stuff on your right now and I think you need to spend some time to just like chess play around. So thanks for everybody who was like buy this course, who completely watched it, will hopefully rebuild some of the pattern. And I hopefully could have helped you, but I'm pretty sure when you was watching all that Coors and when you try to rebuild some of the stuff I'd done, then you are already able to create nice, beautiful patterns all by yourself. And you don't have to use anything from the Internet anymore. What makes absolutely no sense because you are 100% on charge for the pattern for the Carlos, for a resolution, you can do basically everything out of it. And that is a very beautiful thing. And I really hope I see many beautiful patterns from the few of you who buy this course and rebuild patterns and into cord row, into graphic work, into Illustrator, into anything. And when you once found the beauty of vector, there's no way back. I've worked with vectors for 20 years now. And I don't like pixels. What to say, it's like when it comes to graphic stuff. I just make everything with vectors. I even tried my letters and everything. This vector, it's just, it works well for me. And you can just modify and change everything. You have hundred per cent influence. And that's what I liked. I liked to have control. I like to have 100 per cent control in what I do and how I do it. And that is when vector comes in place. So I probably will make a few more other tutorials. I will make one-to-two service. I make a very complex painting and probably some who I show you how I make my hand paintings into vector because there are a lot of different ways how to vectorize hand painted stuff, how to transform it in a proper way, how to even work with it. All of this and we'll make separate causes from it. I probably make a couple of tetra related workshops and a lot of more creative art workshops because I think it's a nice thing to give a little bit my knowledge to all of you. The few of you were really eager to learn something, to be creative and to do a little bit more than just sitting at home and watching TV. So that's it. Hope you liked it. I hope I helped you and see you next time. Peace out my school, army. And that's it.