Transcripts
1. Introduction: Hey you and welcome to
my workshop for today. Today we make script, we make patterns, we make
a white mix out of this. And I tell you quick the story or everything
started because every time and I was really expanding in my mind and
was going very crazy. And my art, I've
seen a lot of time, very script related things, but I've seen also a lot of time very pattern
unrelated things. And maybe it is because I use
so much script in my work, in my art and I used also so much pattern in
my broken in my art. That is start like, like scrambled together
and hold of this, I was creating the
script pattern. I hit like this crazy visions
in my mind and I was like just just coming down a little bit from it and I had
to go to the computer. And then I started to
creating the very, very first script pattern. That is hundred percent what
is going on in my mind, there is no up and down. There's no left and right. Everything is turning and
twisting and it's hard to say, is it pattern, is it script? And so all of this
start happening. I start playing a
little bit more round. I start making a lot of
this round script things. And I will not show
you how to make the full polar coordination because for this I use
a different program, but I'll show you how I
make the straight patterns. And out of this later on. This is the fundament
for this kind of work, which I will probably make a separate workshop
at some point. So this will be pretty
much what we start with. We start with
something like this, something very
simple, very easy. And then we will go to
make the roundish one. I call it the roundish one. That is like twisting around. And that's another one, years another symbol one. And we start from the basic, we start from the scratch
and start playing with it. And we have nine different
elections for you. So let's just directly
dive into and for all of you are very
new with core drawer, I would throw in right now the, the basic of cold draw when you already know that or you have seen that in
the other tutorial, you can just skip it. When not just enjoyed
play a little bit around, get used to the program when
you're new to color drawer. Don't be scared. Don't be scared. Just
like go with it and enjoy all the possibilities you can do with a vector
program is called row. And go step-by-step
through the basic program. And let's start.
2. Basic of Corel Draw: 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 horrid row. These are real graphic
program with vectors. Because first of all, let me 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
silence script here. What is Courier New? It's not a big
secret about that. Let's take Courier New. And you see right
now we still work like in every other program. And right now we still
have trusted 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 course. 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 then Haynes. 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 the vector lines. So let's jump back to wireframe and you don't see any color,
anything else anymore. And what No 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. So when you later, you create like a lot
of different elements. As an 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 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 Rob because when I was 14, I helped a little bit in a graphic office where I made prints for
cars and big stuff. And they used a lot
of watering and coral is more related
to plotter ring. And most of the graphic world
p-side of plotter ring. They work more with Illustrator. And then 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 death. So I don't want to change this. So let's show you some
very beautiful things. What's the different because
of 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 show you
quick what happen. And the export is love. And we export it as an trust
and normal apec and RGB, 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 doesn't matter. We are intentional. I know why A4 know
in 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, very high-quality che, peg. And I don t know why
not can zoom in more, but you already see that the corners get
started blowing 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 and I'm soon in
like 260,000 per cent. So like almost, let's
go a little bit higher. Like that's the maximum. So like we were almost ten
per cent more zoomed in, then we are in JPEG and there
is no pixel, no nothing. And it allows us to
really 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 now. 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 there'll
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 tattooed, have 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
the pattern in original size here and a
printed out in original size. I have some tricks for this, but I will make maybe a
different workshop where show more hold to use motives in
related for tattoos tensor, 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 phones anymore, it's not a letter. So 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 the chest
pain something. Just take the line
way to make it easiest 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 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 line. 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's 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 to have you different examples what to do. And we can now trim it out. So it's like corrupts
it out like a scissor and novae have something
completely different. We also can say we want
it molts it together, it welded together, so
it welds 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 the breakoffs 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. Let's make it a little
bit more easy for you. We can just change
the color of this. And so now we have two elements and we
can combine it again. And now we have, yeah, we just have to same,
you know, I know. I like a lot to play with the colors and
they 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 in 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'll see it looks different. And the advantage no, is in case we want to
have a line around, like a black line, speak. And we won't have the
same line around here. It's two elements. So that means it looks either this or you're
shifting 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 to bake off pays two front
of pages basically where you have it because it's almost like layers like papers. So chest. Put it where you want it, you know, and also
line 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 a
reason why stock so long to get over his career. So let's let's mold
them together like this and remove that
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 and nobody
read it altogether. So now we have one
vector and you see, this was chest 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 as 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. I 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 that advantage. We can take every
thing is own elements. So we can say, we
want a line around this and we want seeker
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
pseudoplastic 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, that'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. And 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's doesn't
matter and we still, we can zoom in. Here, 25,000 presents, its
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
afford to make the connection dots
like the I here. I would make the
connection gods nice. I would spend some time
with it, whatever, would figure out why
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've done is that
this is our outline. Now you see that this is
our outline and this is our thing behind because we created two patterns
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 it needs some
time to r here it's open to find the broken links. And 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 see they're
not connected. That's like big, big
troublemaker here. You basically can move a certain way and put it back and they have
to be connected. Oops. 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. Here it was. N. Must be somewhere. Come on. All 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. 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 gotta point. The program is provoking me. Here we go. But nobody like kind of
ruined our, our thing. Let's 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 are 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 and 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 it as
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 cost, it gets a vector. So you basically can
form it like a vector. You can form everything. 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 this side. Then I grab this, the 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 later we'll 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 to Object. Snap To guideline
is to line here. Snap to everything. Sometimes you don't want a snip, sometimes you're
working, you know, when you have to snip and you
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 beg, the ones for aligning on
the bottom, on the top, on the right, on
the left they are 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 the trim tool resistive
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 I mean, 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
like 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 want the
transparency on something. Oh, you want the
transparency hole. Basically, you have a lot
of Photoshop tools on top. But even that you are like No into Photoshop related things, you still work in vectors, so you still able to
like whatever change, whatever you want with it. You see what I can do? Easy. I can do it. Like let's say we say lines. I like a lot and then you
have two lines but you want the transparency
only off the inside. 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
what we've done.
3. Scripts & fonts: We start with the
script as the script is the fundamental
of what we do. So let's just write a bird. And very simple, you start Friday and whatever
word you want to ride, whatever numbers
you want to write. One very important thing is
to understand that, right? No, the font is a font
and it's a script. But in the latest state, we don't sink as
a script anymore, which has sync as a phone, as a script, as a vector. And I like a lot to do this helping lines because
you see this is a very, very simple scripts, so
doesn't matter what we do, this will always be CME field. But let's say we start with something like this. Something a little
bit more fancy. Then it comes said in the moment I want to make
a pattern out of it. I have this really
big gaps here. You see all of the big gaps. And I have to admit, I don't really like it because it later on in the pattern, it gives this illusion that you see the verb
too much as words in, uh, like to mix it up to really
make a pattern out of it. So what we trying to do
now is we take this, convert it to curves. We try first to see
how we arrange it. I would say v is
some who I would kind of arrange it
like this and know I will try break-offs apart and
then I would like a ranch. This again, combine the debt. We have all the
letters separate. No, I would find a way
to play to play with it. So we can make later on
something out of it. In this very good
and very important that you understand what exactly vectors are and what
you can do with vectors. That you can like, pretty much put them together. Like I will show you a little
bit in the basic course. And you can like wait
them together so they get like really unique pieces. Because later on, all of this
is really, really matter. It's later on very important
that we can play around with the letters and that we can
make everything happen. Because we don't
want to chest right? We want to create a
pattern out of it. So we have to have an
understanding of this. And it doesn't matter if what
kind of font you like I'm in their phones were maybe more simpler to play
with their phones. You can make less and more ways, but it's important that you take some time to really
like play with it, like take group them
together, weld them together, understand the difference
of veiling and grouping causing the
moment you well, you don't can ungroup
that anymore. Also in a moment you weld. You don't can, you know, when I make this a
break-offs apart, then it's still you see, we break it apart. But we can get this too old. It's one vector. You really have to understand that in the moment I
make this to a vector, this is not S anymore I anymore. These are vector graphics. And when you go
to few wireframe, then you see what I mean, they are vector frames. And in that moment, you're taking two of them
and you put them together. In that moment, that
two pieces become one. And to get them out of each other is very difficult,
almost impossible. You don't want to
go down that road. So yeah, That's what we do. We just play a little bit
around with the script. Understand men of the
script is very important to understand what you can
do with the script, to understand how
the sizes change. And I'm sure I do love to play with
scripts I always done. And that's why most
of the stuff from me looks kind of like dislike
this LSD led off like boop, boop, boop, boop,
boop, boop, boop. But it's also, I think the only way for going
really deep dive into like this script found patterns we will create today. Yeah, make yourself familiar. Find, find yourself
some script cue. Really like someone. I love a lot playing
around with Courier New. Some of you who follow
me Science long. You know this
phoned, where is it? Good oil Courier, New, my good old Korea. You all notice found because it's the
found Korea new bold. It's the found I use pretty
much for everything. And you can see already, I can take this convert to
cause we make the few again, see it fully. And break-offs apart. Combine this one so
we have them in ones. And yet that is how I easy-peasy create my branding,
my branded script. I sometimes like to even
shift some letters, arrange them a
little bit together, especially for me
as a graphic guy. I kind of liked to
graphic by I because sometimes I would say like
sometimes some letters look, looked at distance here looks much more than the
distance here. Even that 100% similar distance, it's in-between
sometimes. I don't know. It feels right to men rarely
bring stuff in place, especially with lead us
what the computer does. It takes the overall end of a script and the
overall beginning. And he keeps the same distance. But the eye, it's
sometimes different. And yeah, I'm always, doesn't matter what script I do. I use a computer script
as a base of it. And then I usually go by, I usually go by I and, and create my script. That's why do it. But weakly come later to that. So I hope you can
do that when not, you really have to go
a little bit more in the basics because
you will need that. No, because this is like a little bit more
advanced course, even that is not so complicated. So let's switch to the next. Let's make a pattern.
4. Straight script pattern: So after we was playing a
little bit with the script, it's time to start making our first pattern
out of the script. Because different than
the pattern workshop I was giving their use
like this kind of crypt. Where we can put
everything on this. We cannot do with font
pattern, we can't. So we were kind of using a
couple of different tricks to build our own flip
grid. I call it. And I just show you
it's a little bit also a trail and arrow. And I probably
would say we start with something
very, very simple. Let's Fried. Is life, is love, is live. So we want to create
like this mantra of it. So for this, let's
use a simple script. Let's use my YouTube script and maybe I can use that
for something as I start. No visa, very simple scripts so you guys can understand
the concept. So first of all, we convert it to cough. So you see we have vector. Know what I know Do we could have made that
already or that was stupid. Sorry, I go big. And it's no point in because we don't
actually changing the font. So we can use the same script and just make it a few times. And it's always good to make, to keep yourself a lot
of room of the patterns. So when you want to
have like two lines, I make like four lines
as examples of trust, I have a lot of room
where I later can cut, where I can script and you
will over the workshop, see why I do this and
what it brings us. Right now. I take this and I know really
put it into coughs. So we have now a
vector out of it. No, I copied the vector and the second step is I
because I don't want that. It's just like this
under because it will not look nice later on. Let's say we won it like this. And I looked at, I don't have like because I
would hate lines like this. I want it looks
very fluid later, so I like it like this. Though at a distance
looks also maybe one. No, that was good. I like it like this. So what I do is I weld
both of them together. So it's like one vector. No. No comes my special trick. I copied that thing. No, I make this in one color, usually pink because
pink is very beautiful. And this, this is my grid. I call it my grid
because this is my grid. And as you see, no, because we want
that every line is, have the same arrangement as the line over and everything
has the same distance. Because that's the only way
you can do a pattern when you just put the script under each other and later
you want to crop it. And in that case
you want to make it to a polar coordination. When you want to
make around like this full global round
pattern out of it. It has to be like real pattern. Also later on when we
make the 45 degrees, 90 degrees fast
ICA pattern style, we also really have to have everything hundred
per cent mirrored. And we are working
with scale mitre. Because patterns are geometry, everything has to be perfect. So what I do know, I take the naught and I
drop it to that node and make sure that you
have on a ranch no, not on few snap two
objects all set. You have this on
because you need this, that you can put them together, otherwise you don't
get them together. But like this, you just take the NADH and you go in the same, not on the same word. And we take the black
again, we copy it. And as you can see already, we take the NADH and
drop it on the node. And no. The reason why I'm
using these things in-between and I don't
like overlayer it. Because sometimes
when as example, you would take this and you would just drop this over and then you make
the next and the next. And later on you
read this together. A lot of times coracoid process later on
problems when you have two identical vectors over it as a new weight
them together. Sometimes it works. Sometimes not. But keep in mind in the moment we work
with so many vectors, so many notes, and start
creating a pattern. So that means we have a lot of information going
on and later on, we won't be able to
work with contours, work with lines, work with
fillings, work with shadows. In that moment. We really want have a little
bit more control. So no comes to time we
welded together because that's like two separate ones. And now we basically
do the same. I know you already see why
they make so much more lines. And again, because there will
be some leftover on both sides where we
have to crop out. Okay, now we take this
where this together again, copied onetime, take
our grid pattern in-between, dropped it on. And as you see, every time
we come with one more, it gets more easy. We waited to get about. You see already know know, our computer is
already fighting. No, he made already
something weird. We go back. We go back. As you see. I have to say, I use a
very old coral draw. And it's like a school version because corduroy is
pretty expensive. So it causes some
time, some problems. We tried to combine it. It's too complex,
doesn't matter. We can just group it for what we do right now it
doesn't matter. And sometimes when I do this
kind of extensive drug, especially for later patents, I do that on a
different computer, which I have a little
bit more power. I don't make a screen
recording and have other devices running to make
this workshop happen here. So, but that's pretty much like how we make a very
simple straight pattern. There's nothing fancy,
very straightforward, simple straight pattern,
as you see, very simple. And we will go
into the next one. In the next lecture, I will show you a little bit more advanced version of this. So how you make it a
little bit nicer script, how you play with scripts, the things what we learn, trust in the lecture on before, and play a little
bit more about this. This was just that you get a rough understanding of who
I build up script patterns. So let's dive into the next one.
5. Playing with straight pattern: After you have understood the basic concept of how we
build up a script pattern, we are starting know, making law of life. We thought we'd kind of
trying to keep it simple. I make it in my brand. Courier New Bold. Now, maybe I use it
later on for something and convert to cause similar
like what we've done before, but this time we have to be
a little bit more precise. So break-offs apart,
combine S, T, l, command L, and no evidence
just like a range it a little bit closer together
everything because I don't like that that big gaps. I just don't like it. And we won't have a pattern. So we don't want to have
the too much of big gaps. It doesn't have to be
perfect right now because you will see there will be some, some append towns coming very soon because we cannot
use a real grid. And you can see
here you have seen the distance here looked a lot bigger than it looked here. Here. I only will go here a
little bit together. And these caps, I keep like
this and the overall gapping looks a lot nicer than
any of us looking before. Okay, So what we do know, take all of this away. No, we don't need this anymore. Hi, we save this quick so I
can give you that later also. So what we do know, I grew up it no, don't welded together,
don't combine it together. Group it because then you can
always open it and changes because we will come now to the trial and error
part of making it. This is what caused
most of the time. But what is the most crucial
to take ignites patterns? So what we do is we copy
one up and one down. Or actually we don't
copy one down. And novae look where we
make our puzzling together. I would say this is roughly
where we puzzle it. So let's take this, Let's arrange that on one, on one level, so it's
arranged in the middle. And group this also copied it out and now we
see how we put it together. And I just show you the main problem when we
would keep it like this. So we group it again.
Here, doesn't matter. Here, we don't need to make this what we've done
in the last one, because we actually
need only one row here. We need Ron, Ron to understand. Maybe we need to take
this, make it here. So we have one here. And novae Ungroup. Ungroup, Ungroup, or because
you want to keep that out. So we have one here, we ungroup that as well. Ungroup. And what I do know is I
usually ungroup one more time. And you see we go
step-by-step bacteria. We have this one origin
that we have here. No, it's very crucial
to understand. We want to change something. We want to change the gaps here. And to change the gaps, we will have to play
know vista found. No, it's the time to
ungroup that fully. And I see you're ready
to fill this gap. The easiest would be to take. This is bigger. So that is this is, you see that this is the gap. So we kind of trying
to get this out. And maybe it's even
nicer to gap this out with making the
s a lot bigger. Maybe not so sure. Making the speaker and
making the 0 bigger, we can get this out. So let's try this out. We also trying to
make the hole bigger. Maybe a little bit connect. I love when things connect. But no, it starts getting
a little bit more tricky. What we can do know, I take this two, I copied them and
copied them in here. So roughly see the distance and you see the
distance looks alright. So I would say this
gap we made very nice. The next step is to take the f, probably make the F down. So the F is here. And maybe even really
shifted f. Now. I like to shift sometimes. I'm not sure if you
should connect it or not. Maybe we make it like
this and maybe put the e a little bit bigger or so
years and maybe we have to shift this teeny
little bit more. And as you see, I tried to not move the
last and the first letter. So everything is keeping
in-between of this. I would say we take this
three letters now, copy them. Maybe we make this in a
different color so we can see that more easy for this here. Oh yeah, that looks
already much better. Same with this. It's maybe good to,
doesn't matter. I use a lot different
colors for this task. Copy that back in here
to see how we fill it. And you, you see already
how we fill the gaps. This takes some time
that you get to feeling and that you
get the understatement. We make these a
little bit bigger. Maybe we shift this
a little bit over here because slug
a big gap here. I don't like to pick up here. Maybe even we take, I mean, there are no rules when
you create patterns. I would say if we can make, even make this and
this here, I liked it. That looks like very
trippy inside there. So that's what we keep here. We take the eye a little bit down and take this over a year. Yeah, I seem to
make it like this. Life is love. So we have some nice here. And don't worry about the
top and the bottom line. The top and a bottom line right now just for the orientation, the only thing that really
made us is to read. So we made already there. And you see already because of, because of the change here, already, the first row
here was changing. And now we will move on
with changing more V tag. Know the, this part. We group it, copy it, paste it, make it in a different color, because we have to put it
somewhere on your debt. We have orientation
or 40 is going on. And one more. Because we're not
just can play around with not understand what a
fool we're seeing is changing. This one also was changing, but I mean that right
now doesn't matter so much because it changed only to the top and
not to the bottom. And you could see
we can say we make the whole lot bigger
because why not? Because they're still
really, really big gap. That's still a really big gap. So we can still say way we
made it oh, a lot bigger. And maybe even put weight. I would like also to
make the E bigger. I think I like to
make the E bigger and shifted a little
bit like this. Okay, I think I like that a lot, but we still have really
big gaps here and here. Maybe that's not
the right decision. Maybe we have to. Flavors to V mom
because the V will fill out that void a lot better. If you want or not. Maybe this is seven
right direction. And here you remember that always getting a
little bit down. Here we have a little
bit a big gap. I have a little bit a big gap. You see what we can do there? Maybe we take this one and we go really ridiculously pick up. Let's copy that group
that makes it in a color. Remove this one. Let's see. Maybe this, oh yeah, that's getting nice though. As you see novae could feel
we can fill that gap here. And we can fill this one here. You can like, make this a little longer to have that gap, even field more. Let us see how that looks. That looks pretty good. The only thing that really
bothers me is this gap here. This gap here. What you can do Not too much. We can take the dot. The dot is like group. We take the eye a
little bit down. Take the A1, then you would
need to take, give me that. And then we have to
take the dot here. A dot here is like pretty
move to Idaho truly. You have to there. I'm not sure. Maybe we make it a
little bit more abstract by not and make this a
little bit higher again. It's all playing around and
when you remove, change this, always take care of that you replace it to
see how it looks, so that looks a little better. I'm still not fully
sure if I like it there or I like it here more. If I put it smaller
and put it here, maybe put that a
little bit down even. And then put this yeah. I think that's how we do it. In order only get full
really bothers me is this gap here that we don't
have too much options. One option would be
to turn the this one, but then it's like, I don't like that at all. I don't like that at all. Another option would be to
make this one longer here. What is very weird, but I cannot say
I don't like it. It's just like very weird. Can go here also a little bit, don't go here a little bit up size and
put them here together. I have to say this one
looks already much better and you asked me go
here a little bit down. And I have to see, I think that's it. Here, this gap. Maybe we take a one or
two from this things. And I would say I like to have one maybe here, a
little smaller. Just for here. For the sake of the
style of the pattern. Sec, this is the
most tricky part and you really have
to spend some time, some time in that part. Here is where the
real magic happen. We cannot go too
much in there tight because this is where you guys also need to have a little bit of creativity, I would say. And this is the advanced course. So let's remove all the rest. Let's remove all of our colors. And here you see why
it's not too bad to have different colors when you can. And this is our fine. That was like not good. Give me a second. I should have keep
that dot here as well. We keep that thought because even then we trying to avoid having things doubled, but here we needed to align, so now it's time to
valid it together. Then pretty much just have to do what we've done
before. Very simple. We take always like
and we take it again, welded together and
take not to, to, not I at this point
is maybe it would have been good to
keep the origin. It was here, somewhere here. And you already see, whoa, it's like looks much
nicer together. No, it's a time. I can recommend you to save it. A lot of time. Better save it one
time too much. Then one time too little. No, Let's puzzle it together. Save it before weld
them together, copy the next layer. My computers already
start fighting. Favorite, trying to validate. Sometimes I make, always
like this because I just hope it works and
dairy at the point, the less of the notes you have, the more perfect your
vector is, the better. Because the better it is. And you see, start looking
like a script, like a font. But if head-on, in SUSE, there's a lot, a lot
of the pattern you lose trust from the
building together. You see how my computer
is really fighting. So as example, we can say
we take this square out. And you see that's why
it's very recommended. Intersect. Don't make anything. That's why it's very recommended to better make it bigger you, because you always lose. And later, let's say I wanted
to take this pattern and I want to make this
round spiral out of it. And even I have to like
turn it around 45 degrees, so I have to orientate it right? And I will lose a lot
more from the pattern. And always think about you
will need a good computer for going debt Dept into color. No, it's hanging. Sometimes
it's just waiting. Waiting. Sometimes when I do, they're very complicated stuff
in-between of moves like this. I trust. I press the button for making light intersection
or I make the wedding. And then I go off and come
back like 10 min later, and then it was
successfully done. I'm not so sure. But I think the more
updated version of cold draw the run much
smoother on the computer. Maybe one day I'm going there and pay 700
bucks for a program. But till yet, I don't
it's also cause I think Monthly 30 bucks or something for the program
and I don't use it. I mean, I use it
almost every day, but not so often you
see no, it was annoyed, hangs fully good that
people saved it before. Also, it's hard to say right
node as likes a screen recording running in
some other programs. I will just wait a
little while and then we will drop back in here. So my, my coral
was crashed fully, so I'm back because I saved it before we
actually exactly where we are right now would be
the time to maybe like, close all the other programs, restart my computer again. I also can go one step back. So you see, we have now this in, in two different colors. So sometimes it
helps to intersect, you see, and then we
make the same here. And intersect this part. This in a different
color behind. And we can save first
before we wait and now we weld them together
because novae already with cropping it, we removed a lot of, a lot of vectors, a lot of nods. So it's much more easy for
the computer to handle it. It's a very simple trick. Sometimes you have to
work a little bit around. Sometimes it's good to
like split it and cut it. I would say I like it. It looks like very
wavy like this. When I made all these
great, I was saying, I want that it looks a
little bit pixelated. And I would say it
really looks like, it could be like this
pixel frame things when it comes from from gray, from black to white. And I like it. So you should be
able to do that. Before we will move on.
6. Script pattern 'cross base': So let's start with making a little bit more
advanced script patterns like the ones, the 90 degrees. Let's take a very simple word. Let's say the good old life. Let's say to good old life. And for this one, it's a lot more
tricky as before, a lot of more steps
for what Beck votes. Korea knew I take, make it big, and I take this and convert
it to curves. And here we go. So before we
converted in course, let me roughly give you a little understatement
of the pattern. Again. What we will basically do is we take this pattern and
we arrange it around. So what I do is I kind of
flip it in 180 degrees. And now I kind of, Let's go to the LV
trying to create a. So it's very simple, basically. Basically we take this
one's be copy paste them, and we rotate them
for 90 degrees. And now you see
what happened here. No, this one happened here. And take this a little bit aside and don't
worry about the size. Because we in vector, it doesn't matter for the
program how big you are because it only matters on how much nuts and how
much lines you have. And let's group that together. Let's make one, oops. Let's make one more note. Don't, don't, don't
don't don't don't, then you won't have this cross. A very simple way to understand
how the pattern works would be that you asked like
somewhere here as example. And no comes a little bit. The tricky part, weld
all these together. I copy pasted, I make it red. I turn this 90 degrees. And that is like my grid thing, like what we used before
because you remember, we won't always have the scene. We need like this grid pattern. We just needed to
pass it together. And here it needs a lot more
understanding of what's going on because you see
already what happened. Turns in for else
around, you know. And that's pretty much
what we've done here too. So you can read it from the, all the four sides. Take this again. And actually it's
very, very simple. It's not more
complicated than before. Just a little bit, a
different technique. And let's make one more. And you see this
looks not good yet. It's only that you can understand of what I
do and how I do it. Before we really
start diving into it. I'm not sure if there are
better tricks for this. I never really seen that before, so I don t know, this is how I created that, is how I made this up
and this together. So that is basically
our first pattern. And you see it looks nice. Now Agora about debt. It really big gaps here and
very tight here and here. It show it looks like a pattern, but you see, you'd see directly their script UDC
directly what's going on. And we will fix that in the next lecture
and trust that you understand what's going on. So let's move forward.
7. Playing with 'cross base' pattern: So what I like to do is I
go back to the first two. The first thing to realize, and you already have understood that in the
middle is a big gap. So basically what we would
create is the most easiest way would be to describe it
that we have to have words like more
squares like this. Because then you see
what happened then. To fill these gaps here, we need to make the verts bigger in the middle and
small on the outside. So that is roughly what
we are trying to do. We taking the vote and
we have to play with it. So let's do that. Let's break-offs apart. Combined L and V play with it. These are the kind of pattern. I sometimes spend really
a long time to make them because you've seen already they are not so easy to create. Especially when you
want real nice fonts. But it's also not too bad. I like to spend time
for this kind of stuff, spent some effort for it. Let's copy that
first to the side. And then let's welded together because sometimes we have
to make little changes. But to see the changes we have to know start building
the pattern up because we need a rough grid off the pattern to see if
that works or not. I'm very similar than
the straight pattern, what we done before. We turn this about
80 degrees again. And now here he is also
different options. What you can do, It's very easy. You can take them copy
paste and spin them 90, and then you see
what happened here. You would have to eat
absolutely together. When I take these two and I'm right. Mixes. Uh-huh, Uh-huh. And we put them a
little bit odd. We make the same 90. It looks completely different. It looks completely different. And are not real rules for this. It's not that you have
to make it like this, but you have to keep aware
that you have to be symmetric. Sometimes I also like to
use something like this. And then I put like a.in here. I pretty much like this. But here I show you something. I would like to
have a little bit, a little bit different way. So to make this, I have to remove this too, and I just have to
go little bit away. And let's see how it looks. Yeah, I like it like this. I like it like this, but maybe that is not too bad. So we keep that note
important thing again. We take this on the side. These two we don't need. And we're like a welding them
together because now we can take this in place and
we can really like, center it like that. It has to be very symmetric. So we wrote this in EndNote, comes to the next step. Take this, take this year a way better to save
every step on the site. Safe. Also in-between. There comes the next task. Here. It's very simple. You don't have to be like this. You've seen also the ease
I put to the side so we're able to like to like shifted. We are able to like, let's say we shifted like this. I like it like this. It has a nice flow. So I think we keep it like this. And I'm actually welding
that directly together. One more, make it red. 90. This probability. Then you will make the very
first times this patterns. It will take you
a lot more time. You see that here we have
a little bit of problem. This one is not full squarish because I should have taken
a perfect square, but I took the scene from the E, I would say for
the metal, right? No, it doesn't matter.
A lot of times I use like round circles
or things like this. And it doesn't matter so
much as long as we know, twisting, twisting this things. Everything should be fine and we don't use set as orientation. And we won't. I kind of liked it. Looks a little like
like crazy here inside. And I'm not seeing, you know, know,
would be the thing. When we want to change, let's say the L. The L should be much longer. Where we have you here. Here. If you would be much longer, the L&D shouldn't
be much longer. It can break weekend. Whereas my original one here. So we take this
and do you have to understand did we want this to I want them more
connected, break-offs apart. This one is to go. And honestly, the L can
be also higher here. I would pretty much like that
to be a little higher here. And also the L is like
very, very small. So I like to make
this a little bit a little wider chest that it looks a little
bit more massive. Because I just wanted a
little bit more massive. Okay, I think that's, that's a to B.
Combine that again. No, we use, we use this as
orientation down there. And novae also can fix the
problem we had before. 980. Put it on top. Let's combine that. 90. Let's put them over here. Let's make a perfect. When you hold S, S, T, S T L and you open it, then you have a perfect square. Because he wanted to
have a perfect square. Let's weight them all together. Was altogether. And now we have a perfect one. Don't get confused
by the one under. And we still lead to grip on top because we kind of Silvana use this to see what we
actually have changed. Because we are coming
or roughly here. And you see already we changed. That this is like connected, that this gap is filled more. So now the only
real question is, if you want to have
this kept open here or if you want to close it, because when we
want to close that, we would need to make this
a little longer like this. I probably would've liked it. So we have 21 more time. Go all the way here. Make this a little longer. Make this another time in a different color so
we don't get confused. And you already
see it described. Take some time to make
something like this happen. In my eyes. It's worth
it. One more time. The sentencing. Put it in the middle. Alright. To me. Welded. Here we go. We use steel, some
old like I used the f because the F and
E We didn't change, we change Shasta stuff around. So now we can remove
the old stuff, made this big black, remove this, save it, copy it, paste it, make it red. Turn it 90 degrees. Give us a copy of this. And know. We should. That looks much nicer than
it always deepened on. Keep the life on the side
in case we need this. Later on again, save it. Welded together,
welded together, copy it, and use the next one. Is pretty much easy
and simple way. So sometimes we say
snapping, It's good, Then you go just be
a way it go closer. So here we go. Save it. Well, it sometimes you have to align this new depends on what you do. Pretty much our pattern
looks like a wild one. I mean, life is
not the best route for some sort of things like this because you have these
two letters like this. They look pretty
pretty similar. Yeah. Here we go. I will show you a little bit. Yeah, it's always hangs also together with the
word you choose, with how exactly
you assemble it. Like a few things I
shown you before. A lot of time, I made
patterns like this one. This looks cool but I
would not I don't like it too much so because it's just like I think the L and E, they are just too similar. So it looks too much. I mean, other people dislike it because it looks
really like a year. It's hard to say. I like to abstract TdT of the script patterns and
what you can do with it. Yeah, This show you
some more advanced tips and what things we can do with it in some
of the next lectures. Let's move on directly.
8. Special tips & hacks: So for today's specially
hex and tapes, I was thinking to just show you a few of
my older patterns. Maybe then maybe the
create something together. Give me a second. I know vista understand
of what you just learned before I show you
a few different things. Nobody coming to. The tricky part of the
software when stuff gets very, very tight. Steve, pattern I may
take quite a while ago. And this was the base layer
of my Albert Hoffman print. And what you see here is
roughly created the pattern, very simple based pattern. And then I put like
this different kind of contours to the end. When you play this conscious, It's very nice to fill some gaps were
a little bit bigger. And maybe we just build
one of them by ourselves. There's another one that's quick pit on a straight
script pattern. I is. And here you see how I
built it up very big. Here I played a little bit
with subscript plus two a. And then you see on the top, I created this face-like
two fates inside. And this is pretty simple
what I've done here, because as you
see, I don't well, that all of them together, I pretty much should be
able to separate that yes. And ungroup it fully. And each of them have
a fountain fill, which we can just change. And that's pretty much it. And then I was repeating that one sentence
all over the place. And you pretty much
could do the same with putting like a hard line. Oops, that's too big. Putting a highlight on it. Let's say we make the
hotline like this. And I mean, everything what
we've just done before, it's pretty much it's
pretty much the same. I mean, and so on. But as you see, you have an
easy way to play with that. Even pretty cool. Let's make a few of them. I mean, you get the point. How simple that is built up. It's pretty much
exactly the same. It's one script I just was playing a little
bit around with it. And when we go with a little
bit more crazy patterns, that was this one. That was also for
digital painting. And then it's pretty much very similar to what I
was just show you. And dads. Very simple. It's just before you
take the word and your goal more crazy with it. You just make it all
crazy and then you start repeated. Here the same. It looks a lot more crazy
as it actually is later on. It's trust. And here
you see this lines, this is one line later. This is one line because all the young adult can
hold everything together. And I wanted to kind of
having this fades because later I may dislike
this pirate thing. And because I wanted
to have to fate, I always group these together, group this together,
group these together. This made it possible to have like multiple layers inside. And that's a very simple one. But also here you see, doesn't matter what
kind of script you do. That was one I created
for a customer, for making a tattoo. Very simple one. And I would say we stopped
just something very small to get a very
small together. To show you a little bit, 25, we make a 25 pattern. I don't like the harsh phones. I like the round these phones. Can we go with this one? Doesn't matter. We go with this one. Convert to cause. For a closer part, let's say make like this. Combined together. No, we make the leap. Maybe you know what? I have a nice idea to make like the
swastika, you see that? It's only that together. Let's make us
character together. Part of you who don't know. Because a symbol from
all over the world. It's still a very big, important Buddhist symbol for people like me would
read it a lot in Asia. It's a very meaningful symbol. And it has absolutely
nothing to do. With seeds or 25. It's something
appears in geometry, appears in patterns in
nature like everywhere. It's not like it comes
from nowhere, you know. I like this. Let me see. Let me see. Let me hit and COVID. You would add like, I like to put something
here in because no SVR planning to
make something more crazy that you see a little
bit of process of what I do when I create a little
bit more, something crazy. I'm already trying to Yeah, go a little bit more down here. That makes absolutely sends me make something around. Okay, I think that sounds
like a solid plan. Here. Now we take this one here. Copy that over and now
let's think what we do. First. I like to
omega hotline a line around and make
them maybe yellow. Make it the line that it scales
with the image in case we later on make something more, make it a little bit bigger. Putting the same line, we make a lot bigger and
put it in a very big, let's make this much
bigger like this. And then we will take
something in here. Maybe we make the fountain
fill and we made a radial. And we come from pink to purple. I would say that looks good. It looks pretty good. That
we keep the group that no. So we want to know sync
already about how we want. It laid a look and
copy because later, There's no way back. So now we have two different ways we can
like plenty TO together, but I don't I won't make
it that we have here something where we can put a nice round
background insights. And I liked it to black
here runs together. I think something like this. I like it. Make this in a different color so
we don't get confused. And put it over here. And put it over here. And for this, sometimes it's
good to make the wireframe. Because you see, we
like not perfect here. Something is wrong. And we don't want this wrong
because it's hard to see. So it's better to
work is to wireframe. And go few spec. Take this off. Now we take this
round thing here. Cos, what you wanna
do now is we want to put something like this on top. Honestly. Wanted somewhere here. May be light, more sick. We won't put a transparency inside and we won't
put them ready. I mean, this is the
moment when you start playing a
little bit around. See where we want to keep that. See what we wanna do here. Maybe it rub the
background first to really understand what
is going on here. Right? No. This is just all playing
around 60 and we wanted something like greenish. Maybe even hundred
one did like this. I'm not so sure about that, but this twist of fate. So maybe we have
to take this off. Remove this one also, and we take this one
a little bit bigger. Shades in the Blake. Like this? Yes. No, I'm done. I don't know. I don't know yet. I mean, here we have
just like twill color. Maybe we make more
of is to do a color. This one is not too big. Maybe here we go, 280. We have a little bit more
from from dead colors. And here we come. Maybe there's a different
green. Don't like it. I sometimes find me a ride. Colors can be very frustrating. And it's part of the game. Okay. I'm not sure. I think
we skipped it. Here. Vista. Okay. That's how we do it. And as you remember, we have to kind of to hear the
same roughly. Put it here. Just to show you grouped it. Copied it 90 degrees. No, F to copy both of
them together group. And now we can align that
on the x and epsilon xs. Group it together. No, We are really where
we want it to be. Put that to the side. I guess that is our helping
seeing fuel wireframe. Let's just use the
same as before that we don't make any mistakes. Put that up here. Something is like
not fully alright, here makes no sense. We know it's, can be something a little bit tricky because you
have to ungroup it. And you have to take always the latest layer and
put it all behind. Work with so many layers and grew and put it all
behind ungroup. Put lastly, all behind. That is really in
the background. And I mean now we have like
this little brewery effect. But it's alright,
as long as it's everywhere symmetric,
It's alright, I can later go and can say, I take this ungroup it fully. We keep it just like this. Just keep it like this. Group this. Sometimes there's little things. That's why it's good to keep, always storage and adjust
the circle of dots. What we done, we should
have only one of the 25 adjusted dot there and
then mirror it all around. That would be in
the perfect way. That would have been the
way to absolutely do it. But this will be
still looking good. So we don't worry too much
about that right now. Let's go few via frame again. Turn this. And we don't make it too big
right now because it's easy to make it bigger is
pretty much the same. Just bigger. Try to group it all because
I have to ungroup it anyway. Remember the last
layer of the green, we have to go to the very back, ungroup all and then make the adjusting to
the very back of it. So this is just
throw it all behind. And when you do a little bit more
complex stuff like this, it always takes a lot of time, is just what it is. It's time-consuming. Know, we group it altogether. We made us a pretty
nice 25 pattern. I would say it looks
more like a garden. It looks like actually 25's. But yeah, that's a few
little gadget and tricks. Hawaii make more
advanced patterns. And you see it as like a few. Some ungroup them or
take this is ungroup. It all entirely says, sometimes you have just little
things in it so difficult, sometimes you'll
find, to find this, This little things where
comes this problem? Because it is somewhere there. There is somewhere this
little layer over, you see that this
little green here. It's so tricky when you
work with so many layers and don't worry so much about it because there are ways when you
take a lot more time, then you can make things
like this perfect By the time I don't have here
now we see all together. But as you can see, it take us not much time to
create very nice, very tasty. And when you are already a little bit use and you have
a little bit your style, these vectors always
a graphic program. Then it's pretty much very similar as long as you
take the main basic, what I learned you how to
make straight patterns. How you make this
co-related pattern. As long as you take
the main basic, it absolutely doesn't matter. The main big trick is using using like a second
color as a grid connector. Hawaii call it. Actually I
have nothing who I call it because I never showed that anyone who I
made that till yet. But as you see, if you make this pattern like
this now with just a Blake. Or if we, sorry that I have
to try this out quick. Could be interesting. Maybe you better keep a little distance. 90 degrees. I think you got it. And it pretty much doesn't matter if you go all in
all crazy or if you're, if you keep it very
simple, black and white. If you want, make
this for creating Ted two patterns later or
whatever, you know, as long as you use a grid pattern that you have everywhere the same distance, then just show you
the difference in, in me playing with
crazy colors and. With me not playing it all. What means not playing it all? I mean, pattern like this
is already like a lot. And you see same pattern,
looks entirely different. I mean, I've formed it a
little bit different together, but not so much. And that's pretty
much the workshop. That's pretty much
what you need to make patterns like this to play
this organic pattern, say, absolutely unrelated from any grids or any sharp loans
you really have to trust. Experimental, is
it play with it, feel the pattern, and a
lot of trial and errors. A lot of times you just
have to experiment around. So yeah, that's pretty
much a little bit. Hex and tips what
I wanted give you. There Not much laws. You can play around
with transparencies, opacity, with different colors, with different needs, and so on. I made patterns where I put
no other patterns over it, like I feel one of the layers
with pattern and so on. There are no rules for that. And I hope you will show
me more stuff soon. So that was my magical
world of script patterns. I hope you understand what
I've done there because no, I realized it seems very tricky and I don't know if there's
more easy ways or whatever, but I've done a lot of script
patterns for tattooing, for my artwork, digital
art for everything. I love script patterns. I love to make them all crazy colorful with many, many layers. But sure, the more
layers you do, the more tricky than more
complicated they get, the more difficulty get, the more time-consuming
they get. But creating art, It's
not about being fast. So that was it
from me for today. I hope you enjoyed it. I hope you liked it. I really hope you'll share some of your pattern somewhere in the world wide web. Link me in, link silent 25 in. You always happy when guys get inspired here and
you stand to it and you share where your
inspiration comes from. And I really hope I see many beautiful patterns
in the future. And I see more crazy skip
patterns because that is something I don't see that
much often in the world. So thank you all for
being my students. And I hope we see each
other in another course. Goodbye and Peace out.
Lily Lu, Full Time Artist
