Hand Painted Pattern Design

1. Hand Painted Pattern Design: [MUSIC] Hi. My name's Anne. I'm an illustrator and part of my job is to create patterns. My patterns end up on lots of different products. In this class, I'm going to show you my process to design a hand painted pattern. I'm going to go over supplies you'll need, preparation for creating the pattern, I'll show you a bit of my painting process. Next, I'll show you how I bring it into Photoshop, and then I'll show you a couple of different ways you can create a repeat pattern in Photoshop. Once your pattern is created, I'm going to show you how you can actually use the pattern repeat in Photoshop and in Illustrator. I'm also going to show you how you can upload your pattern onto web sites like Spoonflower or Society6, and you'll be able to see it on real products and actually order it too if you'd like. When we're done, you'll be ready to create your own hand painted pattern design, whether it's for personal use or for client use. I hope you'll join me. [MUSIC] 2. Supplies: First, let's talk about supplies. Here I've got a sheet of Arches' 300gsm watercolor paper. It's hot pressed, which means it's nice and smooth. I like hot-pressed paper when I'm painting with gouache which is what I'll be painting with because the texture is better for watercolors. The smooth is good, if you're not using watercolor, so that when you scan, you don't have to get rid of any textured background. Like I said, I'll be using gouache today. This is actually acryla gouache, which is in-between gouache and acrylics. It has the same thickness and opacity as regular gouache, but when it dries, it doesn't reactivate with water. If you're doing layers or painting on top of something, sometimes it's regular gouache, the two colors will mix. You won't have that happen with acryla gouache. I've also got my two water jars. I have a cool water jar for mixing clean and cool colors off my brush and a warm water jar for cleaning warm colors off my brush. That way, it keeps the colors more vibrant, and they get less muddy. I've got two brushes here. They're both round brushes. One is a six and one is a three. I've got my paint palettes for putting my paint in and mixing colors, if I want to. I've got a paper towel here for drying off my brushes and cleaning them. This isn't really a supply, but I've got an iPad for my reference material. If you don't have an iPad or want to use something else, you can just print out your reference material, or you can have it on your computer in the background. These are the supplies I'll be using today. Normally, I sketch things before I paint them, but I want this pattern to be a little more quirky and have more of a free-handed look. I'm not going to be using a pencil or my lightbox today. Feel free to do that, if you want yours to be tighter. This isn't really a painting technique class. It's more about coming up with a painted pattern that you're happy with, and how to make it into a pattern that you can use for various things for a client, for your own personal use on the computer. Feel free to use watercolor, if you like, or you can use oil pastel, colored pencils even, or you can use a mix. You can use watercolors, whatever you'd like. This class is more about coming up with an idea that you're happy with, creating a pattern. I apologize for my son screaming in the background. What are you going to do? Home office life. Anyway, today we'll just be working on coming up with a pattern based on a theme of your choosing and a color palette, and creating a hand-painted pattern that can be used digitally. 3. Prep: [MUSIC] In preparation for creating your pattern, one of the first things you're going to want to do is pick a theme. Patterns just make more sense and can be used easily for clients or for personal use, whatever it is. People like having themed elements grouped together. I picked a Western theme. I've got a lot of Western imagery here on this Pinterest board that I'm going to reference. I pulled out some icons that I would like to paint. My pattern is going to consist of these icons and maybe a few extra elements. I was thinking maybe a sun would be good and then maybe a few textural elements in the background. I pinned something that I liked for an idea. I liked these overlapping shapes. I think it might be nice to make a few shapes like that and lay my icons on top of them to give my pattern a little more texture. I'm going to put those as color blocks. These are the different elements I want to paint. I have my list that I can reference and go down one through each. I've got my reference imagery. I also picked a color palette. I learned that if I just go into it with the full rainbow at my fingertips, I will use the entire rainbow and artwork and patterns with a specific honed in color palette tend to draw us in more. They're more interesting, there's less craziness for your eye to look at all around. Not to say that there aren't beautiful rainbow-colored artwork out there, there is. But generally speaking, it's nice to have a story to tell with the artwork and a story to tell with your color palette. I've picked out some colors that I will probably mix a little bit, but that are in a range that I want to stick in. I've got these ocher colors and burnt browns. Then some blues that go a little more green, and then these greens that go a little yellow. I was looking at my reference imagery and pulling out colors that I thought would help tell my Western theme story. That's what I have here. [MUSIC] 4. Paint: [MUSIC] First up, I want to do a cowboy hat. I like different things. I don't like to really paint from one picture because I try not to copy photographs exactly and combine a few different reference images so that I'm coming up with something really unique. I like the color of this hat. I like the shape of this hat. I like how I can see a little bit of the underside of the hat, and I like the details on this vintage hat illustration. I like the stitching that's on it, so I'm going to try to combine elements of all of those. For the shape, I'm going to look at this one, and I'm just going to pick my colors that I want to use. I think I want to use this color, which is raw sienna, so let's squeeze some of that out. You don't want to squeeze too much out if you're using acrylic gouache because it will dry, and you won't be able to use it. It's not rewettable like regular gouache or watercolor, so you just don't want to squeeze out too much, and then have it go to waste. [NOISE] I'm going to start with my lighter color first. You can mix acrylic wash with water so to make it thinner. Just like with regular gouache, it's just once it's dry, the water will not reactivate it. I want to be loose with this, so I'm just going to start painting the shape of the hat as I see it, and I really want this pattern to look hand-painted. I tend to be really tight with my work and want it to look perfect when it's the imperfections that show that it's a hand-painted piece, so it's good for me. It's good practice for me to try to be fast and loose with it. [NOISE] There's the base of my hat. I'm going to go in with this darker color that I squeezed out to add in. It's not quite dry yet, so it will mix, the two colors will mix. Once it's dry, the colors would not mix. I'm adding that band, which I think needs to be even darker, but I think I might use this color to do some shading. There's some shading here, there's a little shading up there, this part is shaded. If it feels too dark, I can just mix some of the original color on top. [NOISE] I need a little bit darker, so I grabbed another color because I realized I don't have any really, really dark colors, so I'm going to use this raw umber and just squeeze out a little bit. Maybe I will use my smaller brush. [NOISE] I want to put this at the bottom of the hat. You can see the inside of the hat here, and I'm going to do the band that I started in the other color. I'm going to do it this darker brown. [NOISE] Now I want to add some of this stitch detailing on the hat. I like how it's bigger. I'm going to mix these two colors to get something in between, and add the stitching along the edge. It looks like they have it at an angle, so it angles towards the front, and then starts to turn around the curve. I went the wrong way, I needed to go up here. I just need to fix this part because I started to do the stitch in the wrong spot, so I'm just going to cover that up. There. Now I have a cowboy hat that looks, for me, is pretty loose and painterly. Actually, I wanted to make this shadow a little bit darker up here. Next on my list, I have the horseshoe. I've got several horseshoe images. I've noticed there's different shapes. This is just a simple shape. Also, Pinterest is nice because when you click on the horseshoe, it brings up other similar imagery. These ones look good, so I can paint from those. For this one, I think I'm going to use this darker reddish color mixed with the dark brown, which I already have on my palette. [NOISE] I'm just going to let that dry so that I can go in and do some of the darker stuff on top of it. While that's drying, I can look at what I have next, which is a cactus. [NOISE] I like looking at illustrations of cactuses for stylistic reference. Different artists do different things. This one, they use lines within the cactus. There was another one. This one's cool. It uses broken-up lines with an outline. I like that. These vintage images are cool. They've got the shadows that are filled in, and then some lines, so a lot of lines to show the texture on the cactus. Then I've got images of real cacti. I don't think I'm going to show all of the thorns, I don't know if that's what they're called on a cactus, but that's what I'm going to call them, because it'll get a little busy for what I'm trying to do. This one is a little more linear like the illustrations I looked at. Again, when I click on it, it pulls up lots of images of cacti, so I can look at those. Then I'll get my greens out. I think I'm going to use this lighter green for the body of the cactus, and then I'll use the darker one to go back in and paint the lines. That's pretty good. [NOISE] I'm going to let those dry, and I'm going to go back to my horseshoe, and I'm going to paint these darker sections on it. It's already looking pretty dark. Let's see if this will be dark enough. I'm going to squeeze out a little bit more of this. I might have to add some highlights to really bring out the different parts of it. I think I'm just going to do those whole, and then I'll go back in and paint the little pieces that pop out later because it might be too detailed for me to paint around. I don't know if this is even going to show up, so I might have to repaint the outside parts lighter in general. I'm pretty happy with that. I need this darker green, so I can add some lines to my cactus. [NOISE] This is a three, like I said, but I might grab an even smaller brush so that I can get those detailed lines. This is a one [NOISE] so that should do it for me. I try to go with bigger brushes so that I wouldn't try to get too precise, but I think what I'm trying to do with these cactuses, it makes sense to use a smaller brush since the lines are going to be so thin. I'm just going to keep going through in painting my different icons. I don't think you guys need to see me paint every single one, you get the idea, and that way I can show you what we do next. Here are the icons that I ended up with. I made a few mistakes. I'm not really worried about it because I am bringing these icons into Photoshop to finish my pattern. If I was trying to make a completed pattern on paper, then I probably wouldn't be very happy [LAUGHTER] with this, but because the point of this pattern is to bring it into Photoshop to be able to use it for clients or online in various ways, I don't have a problem with the messiness or any mistakes I've made. Let's bring it into Photoshop. [MUSIC] 5. Digitize: [MUSIC] In order to digitize our artwork, the first thing that I need to do is scan it. I have an Epson V600 scanner and my settings will differ from yours, but there may be some similarities so I can go through them now so that you can see how I scan my artwork in. I have a saved setting on my scanner and I named it art. I recommend that you do the same on yours because that way I don't have to adjust these settings every time that I scan my artwork in. Every scanner has the option to save a setting, so I recommend that you do that. My scanner has the option of document mode or photo mode, and I select photo mode because that's going to give me the best resolution. I leave the document source at scanner glass, document type at reflective, image type at 24-bit color. I also set mine to 600 DPI resolution. The reason I do that is because 300 is standard, but I like to be able to print my artwork double the size of 600. I can have my icons be even bigger than I painted them. The scanner actually goes even larger, but I've never had a problem scanning my artwork at 600 DPI. The scanning quality is set too high. Finally, I don't mess with any of the specialty settings. Finally, I just select the folder that I save my scans to. I have a special scans folder that I scan everything into. Then I just click "Scan". As you'll see, I have to scan my pages in two pieces because my scanner glass is not as large as the paper I use, which is a nine by 12 paper. I have an easy way that I deal with that in Photoshop. If you go into Photoshop, click on File and then Automate. At the bottom you'll see Photo Merge and this dialogue pops up. You just click on Browse and you go to wherever your scans are saved. Select the two separate pieces that you want to be one piece and just click "Okay". Photoshop will do its magic and seamlessly stitch together the two sides of your scan. If your scan comes in upside down like mine did, you just go to Image, Image Rotation and 180 degrees and it puts it right-side up. Next time we're going to take the crop tool and the crop tight to the image by clicking and dragging a box around my art, hitting the Return or Enter key. Now you'll notice that in my layer palette there are two layers that Photoshop has stitched together. I'm going to make that into one layer by doing a Command E, which is the merge layers shortcut. You can also get to it by going up to your top bar, going to layer, and then merge layers. Next, I like to just clean up the canvas by getting rid of any mistakes, any spots or discolorations. I'm just grabbing this rectangle tool and selecting white and covering some of this up. Then when I get closer to the art, I'll take a paintbrush and do that. Now I'm not sure how long ago this was released, but I'm really excited to show you guys a newer selection tool that I just discovered in the last year. Maybe I was late to it, but if you guys don't know about it, it's amazing and it saves so much time. Now, the old way, or a couple of the old ways of selecting your painted artwork was using the Magic Wand tool, and you could click on the white and then select Inverse, and you select all of your painted area. You have to play around with the tolerance at the top. It was tricky depending on if you had different colors and lighter colors, it would pick up or wouldn't pick up. The other way used to do it is to go to select and color range at the top. Then you can select white and then drag the slider to determine how much of the painted material you're going to pick up. It shows you the black and white mask, what you're going to pick up and what you're going to leave behind. Those worked fine for me, but they take a lot of time. But the new way is using the object selection tool, which is not perfect. But it is such a time saver. Let me show you how simple it is. You can just click drag a box around the object you want to select. Let go. It selects that object. For the most part, it does an amazing job. Sometimes I have to play around with it a little bit. But as you can see, this one just grabbed the hat right away and I can copy, paste and drop it into a new file, and it's a nice clean cut out. The new file I set up was set to 20 inches by 20 inches and 300 DPI. I like to work this size for patterns just because it gives me enough room to move the elements around. I'm going to go back to my file with the scanned artwork and I'm going to select my next object. You'll see another way you can select with the objects selection tool is just hovering over an object. If you click on it, it'll show in black what it's selecting. You can click on it and that's another way to easily select. You'll see with the rows though that it's not selecting the leaves with the rows. I'm going to have to draw some boxes around those elements in order to select that item. That's what I'm talking about when I say it's not perfect, but it's still pretty good. I'm actually going to use the zoom tool and zoom in on this row so I can see the selection better. Use my magic wand tool to select the little bits of this leaf that are not selected yet. I'm using a combination of selection tools to grab this item, but it's still much easier than using only the Magic Wand tool. I'm going to keep going through and selecting my items this way. One thing I like to do to see how clean the cutouts are is to add a black, solid fill color layer behind the artwork. That way you can see if anything was picked up that I don't want. For instance, you can see on the rows there's a little bit of white paper that got picked up here, so I can get rid of that by selecting it and deleting it. I can also go and do the same on this horse where it picked up some of the white paper background that I don't want to keep, so that is a great way to clean up your selections. Once I have all of my objects cut out and into my new file, I'm going to resize them. I'm selecting all the layers in my layer palette and doing a Command T, which is the shortcut for transform, and scaling them all down so that I have room to work with them. Now that I have all my icons cut out and on my new document, I want to make a few adjustments as I can see them all together. There's some color adjustments I want to make. The first one is to the hat. I like the light color of the bull skull and I want more of those ivory tones in my pattern. I think I'm going to change this hat to more of an ivory color. My favorite way to change the color of an object is actually not hue saturation and brightness and contrast, but using a gradient map, because it gives you a lot more control. To add a gradient map, I'm clicking on my hat layer and adding an adjustment layer above the hat layer and then clipping that adjustment layer to my hat layer by hovering in-between the two layers while holding down the Option key. When you see this little down arrow pop-up, you click in-between and it clips that layer to the layer below it which means it will only affect the layer that's clipped to and not all the other layers. If you click on that gradient map layer, it brings up the gradient map property panel. Then if you click on that gradient in the property panel, it pops up the gradient editor window. The gradient map is automatically going to use your foreground and background colors to re-color the object. But you can change the colors by clicking on them along the slider. If I click on the little white square at the bottom of the gradient and then click on the color box, it pops up my color picker. I can change that white color to any color I want, and it's going to adjust it in my object. Then I can click on the light value or the dark value, which is pink, and change that to any color I want and I actually reverse the dark and the light. What was white, I made dark and I made the dark pink. I made it into the light color. You can drag these little squares around to adjust the intensity and the contrast of the object. You can also add a third color in the middle. If you want multiple colors, the mid tone color to be a different color than the tone of the bright color. To add a color to the slider bar, you just click on one of the colors, hold down the Option key and drag another color. Sometimes it gets sticky and you'll have to go back on the initial color and pull it back out, but it should be there. I like to play around with them until I get the perfect colorization of my object. I'll just continue to adjust the color of a few of my objects and the scale. Then once I'm happy with how they all relate to each other, I can move on. I still have that black fill color layer at the bottom, but I had clicked on the little eyeball icon to hide it. I'm just going to turn it back on. Then I'm going to select my background color by clicking on the black. Then the color picker pops up and I'm going to play around a little bit until I find a background color that I really like for my pattern. I landed on this light cream background color and I adjusted my cowboy hat and my bull skull to be a little bit brighter so that they would show up better on top of it. I'm just going to start moving things around to get a feel for how the icons could be laid out in the pattern repeat. Then I'm going to bring in some of those background color blocks that I painted to see how they look behind some of these objects. I added in the color blocks behind some of my icons and I added a rose that's a little bit larger to my icons. I'm ready to start making my pattern. [MUSIC] 6. Making the Pattern: Let's make a pattern. The old way that I used to make patterns in Photoshop, and sometimes I still do depending on the type of pattern I need is using the offset filter. I'm going to just resize my icons a little bit smaller so I have room to show you, and then what I do is convert all of the icons into one single smart object. To do that, you select all of the layers, Control click, and then click on "Convert to Smart Object". Basically it turns them into one layer that's editable by double-clicking on it. Then I just make a copy of that layer by holding down the option key, clicking and holding on the layer and dragging above or below the layer. Then go to Filter, Other, Offset. I'll reset the offsets to zero here. Then you can adjust the location of the second smart object layer by moving the horizontal slider and the vertical slider. I would just slide the vertical slider until it fits below, and then make a second smart object, and slide it in the opposite direction, but the same number of pixels. I know I'm moving really quickly but this is actually not what I'm going to teach you today. I'm just showing you the old way versus the new way. Then make another copy of the smart object layer and slide it to the right using the horizontal slider, and then create another copy. Do the same thing except for to the left using the same value. Then I would continue to fill in the corners of my pattern by using the same values for vertical and horizontal, but negative or positive depending on the corner. Then once I have the pattern together, I can see where there are any holes in my pattern and double click on the Smart Object Layer, move the item around until it all fits together nicely. In this method, it's very precise, but it takes some back-and-forth going into your smart object, moving things around, checking how it looks in the pattern, back-and-forth. It worked great and I still use it for half-drop repeats, which are more complex. But for grid repeats, there's a much easier way of doing this now. I've got my icons here and I just want to quickly show you how the pattern preview tool works. If you just go to view and click on "Pattern Preview", and I'll zoom out, you can see that Photoshop has automatically shown a simple repeat of my icons. Now, it's basing it on the bounding box of my Canvas. It's just repeating the entire Canvas. This obviously doesn't work for me, but I just wanted to show you how quickly you can turn your artwork into a pattern using preview. Instead, I'm going to create a new file so that I can develop my pattern more organically. I'm going to create a 10 by 10 inch 300 DPI file. Now, this is just the size that I'm comfortable with when I'm creating a pattern that doesn't have to have a specific repeat size. There are no rules about what size your repeat needs to be. If you have a client or a purpose for your pattern that you're going to be using it for and you know what size your repeat needs to be, this part is really important. This file size is going to be a repeat size. If you have a client saying, I need a 4 by 4 repeat, you're going to want to set your file up that way or a 6 by 12 repeat, you've got to set your file at this point, and 300 DPI is standard, so do the inch size and then the DPI size and you should be good to go. The first thing I'll do is turn on the pattern preview in this new file. Next, I want to bring my background color into my new file. I've got all my other layers turned off, and I select this color fill layer, Control click on it and go to Duplicate Layer and click. It's going to ask where you want to duplicate the layer to. You pick the other file that you've set up and click "Okay". Go to that file and just make sure the background color transferred over okay. Next, we'll go back to our file with the icons and select the first icon we want to bring over. I'm going to bring over this cowboy hat and the colored block of orange behind it. I'm going to duplicate those layers and bring them over into the new file, and you can see when I drop it, it's already showing it repeated using the Canvas size as the repeat size. If you see I move it around, it moves around in the pattern repeat. Next, I'm going to convert this hat and the color block behind it into a smart object. Now, this is really important step to do when using the pattern preview. Otherwise, if you don't convert your individual elements into smart objects, you will find that the preview gets a little lucky, things don't repeat properly, and sometimes you'll see things get cut off. It's just really important once you've dropped new art into your pattern preview file to convert it to a smart object right away. To convert a group or a group of layers to a smart object, you select all the layers or the group, and you Control click and pick Convert to Smart Object. Now my cowboy hat is a single layer as a smart object and I can move it around altogether, and I'm ready to bring in my next icon. I'm going back to my file with other icons, and I'm going to bring the snake over this time. I'm selecting the snake, which is a group and duplicating the layer and bringing it into my pattern preview document. I'm going to move it so it is fully on the Canvas, and the first thing I'll do is convert it to a smart object. That way, I can move it around anywhere without it getting cut off. I'm going to continue going back-and-forth from my original file with the icons, grouping the items, duplicating them into my new file, converting them to smart object. As I go, I'll be scaling them some moving things around, making adjustments so that my pattern fits together. The process of bringing them in is part of the process of making the pattern because you have this pattern preview so you can really do it live as you're bringing each icon into the file. Now, that I have all of my icons brought into this file, I can start making adjustments to the individual elements. The first one I want to adjust is the cowboy hat. To adjust an individual icon, I'm going to double-click on that smart object, which opens up a new file of just that element. I want to bring down the orange color block behind the hat. You can see there's not enough room on my canvas, so what I need to do is adjust the canvas size. To do that, I'm going to go to image at the top bar and then select "Canvas Size." Then the canvas size window pops up and I need to adjust the height and I want it to move down, so I'm adjusting the angle here so that my adjustments will extend the canvas down and I'm changing the setting and increasing the height of the canvas from 3.327-4 inches. Now, I have room to move this color block layer down a bit, so then I can just close this smart object file and click "Save" and you'll see it's adjusted it in my pattern file. I'll continue to adjust my pattern by moving things around. I zoom in and out sometimes so that I can see my pattern better. I actually do have a few more elements that I hadn't brought in yet. I'm going to bring those icons in as well, and I'll just continue to finesse the pattern by moving things around, scaling things, adjusting the colors, adjusting the position until I really like how the pattern looks. I'm pretty happy with this version of the pattern. I'm going to go ahead and save it. Then I'm also going to save a JPEG of the actual pattern repeat by going to File, Export, Export As. The Export As box pops up, and I want to make sure my JPEG is high resolutions, so the format is set to JPEG. The quality is set to high. My scale is at 100 percent, and then I click "Export." Then you just save the JPEG to your computer. Now, I want to try a second version of this pattern without the color blocks behind just to see if I like it better. I'm going to go through and turn off the color blocks that are in their own smart object. Then I'll go into the smart objects that have them in the background and by double-clicking on them like this cactus, turning it off in the smart object, and then saving it. That way I can see what the whole pattern looks like without any of the color blocks in the background. Here's the pattern without the color blocks and I like it. I was feeling a little bit like the colors in the background, we're too distracting from the icons, so they're gone now, but there's a little too much space for my taste without the color blocks there. I need to rework the pattern a bit to make it work without them. So I'm going to start adjusting the position of icons and the scale of icons until it works better. I actually think I want to duplicate this boot, so there's a set of boots. I'm going to tilt the boots and layer them on top of each other, so they look a little more dynamic and not so static. I want to move this one cactus down a little bit from the other ones. I'm going into the cactus smart object, selecting the smaller cactus, and just moving it down in relation to the taller cactus. Something that makes patterns interesting is having items of different scales, so I like to have some smaller items, some larger items. Sometimes I like to zoom out. You can see the pattern in a larger swatch or smaller scale, and it helps you see any issues your pattern might have. I think I'm happy with how this looks now after a million tweaks. I'm going to export it as a high-res JPEG and then save the file as a new file so that I have both versions. One last thing I want to do so that I can use this pattern more easily in Photoshop, is select all by doing "Command A" that selects the entire canvas, which is, remember it's not the whole pattern, it's just the canvas size that center square that it shows, and then go to "Edit and Define Pattern." Then I'll save this pattern here by naming it, and I'll show you in another video how you can use it in Photoshop. 7. Using the Pattern: In this video, I'm going to show you how you can use the pattern that you've created. First we'll start by showing how it can be used in Photoshop. The first thing I'm going to do here is create a new file. It doesn't really matter what size, whatever you need it to be is fine. Then this is just an empty file and I can click on this little adjustments layer in my layer palette and select pattern fill. Then this pattern fill box pops up. Any patterns that you've saved the way that we did in the last video where you said Define Pattern and named it and hit "OK", are going be saved here as one of your pattern fills. You can select the pattern that you want that you've created. Then it allows you to scale it right here, so you can increase the size of the pattern, you can decrease it to fill the page or object however you want. You can see I can do that here by sliding the slider. I just want to show you an example of how the pattern fill layer can be used in Photoshop. This is a stock image that I purchased. What I'm going to do is select the t-shirt so that I can overlay my pattern fill layer on top of the t-shirt. I'm going to grab the object selection tool and draw a box around the t-shirt. But you can see it's selected one of her arms and also a little bit of the space between her left arm and her shirt, so I'm going to save that selection by adding an adjustment layer and go into solid color while that objects is still selected. Then I create this mask, as you can see the brown area. I'm just going to use that fill color layer as a placeholder for my selection. I'm just going to turn that layer off by clicking the little eyeball to the left of it in the layer panel. Then I'm going to go in and select her arm using the Quick Selection tool. You can quickly adjust the size of your Quick Selection tool by using the left and right brackets on your keyboard, you want this circle to be somewhat relative to the size of the object you're selecting. I'm going to use this Quick Selection tool to select her arm and hand here, and then while that is selected, I'm turning on my solid fill color layer. Then I'm going to click on the mask part of the solid fill color layer and hit Shift F5. You can also go to edit and fill and this box will pop up. I'm going to fill that part of my mask with black, which means the arm will no longer be a part of the fill color layer. I'm just going to do the same thing with the little space in-between her shirt and her other arm. I'm going to select it, I'm going to make sure I'm on the mask part of the fill color layer and I'm going to fill it with black. I've got my solid fill color layer turned on, so I can see that my selection is now just selecting the t-shirt. I'm going to turn that off, but I'm going to command to click on the mask part of the fill color layer to select that area. Then I'm going to go to the bottom of the layer panel and then click on the Adjustment Layer button here and select pattern. The pattern fill box will pop up and it automatically selects the first pattern that's in there, which is a different pattern I made. This is where all your patterns will be stored. In the last video, the very last thing we did was define a pattern with our new pattern that we made. It saves that in this location, so all of the patterns you make will be options here. You click this little down arrow next to the pattern and you can select which pattern you want to use for your pattern fill. Then if you click the down arrow next to the Scale Percentage, this slider pops up and you can adjust the scale of your pattern. I'm adjusting it to a scale that I like on the t-shirt and then I'm clicking "OK". I'm going to make a few more adjustments just to make it look more realistic on my stock photo. I'm taking that pattern fill layer and I'm adjusting the layer style to multiply, so that the folds of the t-shirt and the shadows behind come through on my pattern. Next I'll zoom in. I want to take out the pattern on the inside of the t-shirt, because it makes it look a little more real if the pattern is not carrying on from the front of the t-shirt to the inside of the t-shirt, In the pattern fill layer there is a mask on the right. I'm clicking on the mask part of the layer and then painting black where the inside of the shirt is, so that the pattern doesn't show on that part of the t-shirt. I'll zoom back out. I just want to adjust the scale of my pattern again. I can do that by double clicking on the left part of my pattern fill layer, not on the mask part, but on the little icon showing the pattern. It pulls back up my pattern fill and I can play around with the scale again. Now that I've shown you how you can use your pattern in Photoshop, I'm going to move on to Illustrator. Here in Illustrator, I've opened up a file where I have a vector drawing of a little baby onesie. Next I want to bring in my pattern file from Photoshop. You can do this one of two ways. You can open up the actual PSD file and select all by using the shortcut Command A and then hitting Command C to copy, going back to your Illustrator file and hitting Command V to paste the pattern swatch into the Illustrator file. The other way to bring it in would be to place the JPEG that you created into the Illustrator file by going to File and Place and then finding the JPEG you export it of just the pattern swatch, repeat selecting it, hitting Place. Then it's going to drop in at its full resolution. By holding down Shift and dragging one of the corners, you can scale it down. Once you have your pattern repeat square in Illustrator, the first thing you want to do is scale it down to the size you think you want it to be, the scale you want it to be on the item. In Illustrator, you want to hold down the Shift key while you're transforming by dragging a corner, otherwise you'll distort the pattern, so hold down Shift while you're doing that. Then once you have it the scale you want, you're going to go to Object, Pattern and Make. Then Illustrator will automatically do a grid repeat. There is options for half drop repeats and all that other stuff and spacing it out. But for a simple grid repeat that's brought in as a square from Photoshop, we just want to leave it at the default settings and then click "Done" at the top of the window. Next I want to select the vector shape that I want to fill with my patterns, so I'm just going to select the front of this onesie. Then if you go up into your swatches, your patterns should now be one of the options in there. You want to make sure you're clicked on the fill part of that layer, not on the line, the outline part over on your left tool palette. Then click on the pattern in your swatches and it should fill that vector shape with your pattern. I'm going to go ahead and fill the inside of the onesie with a solid color. I'm just grabbing the eyedropper tool from my tool palette and clicking on different parts of my pattern to see what color I like for the inside of the onesie. I'm also going to try filling the inside the onesie with the pattern to see how that looks, but I think I like the solid color, the cream color, the best. I think I'll leave that there. That's how you can use your hand painted pattern swatch to fill objects in Illustrator. Next, I'm going to show you a couple of ways that you can use your patterns online. Spoonflower is a really great website to put your patterns to use. You just create an account, login and then click on "Upload a Design". Once you do that, you just select your file from your computer, confirm that you own the copyright by checking this box and then click "Upload". I think Spoonflower defaults to uploading at 150 DPI, so my 10 by 10 pattern is being shown at 20 by 20 inches, which is a really large repeat. If I want my pattern to be smaller once it's printed on fabric or whatever, I need to decrease the size of my original file and re-upload it. To do that, I'll click on "Upload Revision" and then I need to choose the new file which I haven't made yet. Let's get out of Spoonflower and back into Photoshop where we can open up our JPEG, we exported. Then I'm going to resize it by going to image size. Then the image size window pops up, I'm going to change the resolution to 150 and then click re-sample and change the width and height to eight inches each and then click "OK". Now I've scaled down my image so I'm going to do a Save As and just save it the same name and put small at the end so I know which one it is in my files and click "OK", and then I'm going to go back to the website, click, "Choose File" and select my new smaller swatch of the repeat, and click "Upload Revision". Click "OK" and now I have my smaller swatch uploaded and you can see now this is showing a 20 inch wide piece of fabric, and I like the size of the scale. It has been scaled down a lot so you can see a lot more of the pattern now. Once you have your pattern uploaded at a scale you like, you can add it to a collection. This one I'm just going to have on its own and I'm going to name it. Then you can add a description which helps with SEO, and if someone's searching for a specific thing, it helps your designs get more findable on the website. Next, you can choose what the thumbnail preview is going to look like on the website, and it's set automatically to Fat Quarter, which I think is good, and then this is really important if you want people to find your design is adding tags. Just think of as many descriptors for your pattern that you can and put them in here. I think they give you room for 13. Sometimes I have a hard time coming up with that many, but they have some prompts below in the gray box that can help you come up with tags for your design. Then if you would like to sell your pattern on fabric and various other products that they have on Spoonflower, you need to check off these boxes at the bottom of the page. Now you can see it's previewing my pattern as fabric. You can click through these images to see it on various products on a pillow, on a curtain panel, and on a bedspread. You may want to upload multiple scales of one design because what looks good on a pillow might not look as good on a duvet cover which you would want probably a larger scale on. But anyway, Spoonflower is just a great tool to see your pattern designs put to use and to potentially start selling them or purchasing for yourself for your own personal use. Another one of my favorite websites to upload designs to is Society6. Society6 is less fabric based, although they do have fabric products, they have a wider variety of products that you can put your design on. It's not pattern-based, like Spoonflower so you're going to need to upload multiple swatches of your pattern to fit on various products. It's not going to automatically repeat it like Spoonflower does. Once you have an account setup and you're logged in, you would click on "Sell" and it's going to pull up all of your designs that you've uploaded, and you will click on "Add New Design", and then you'll just fill out the title of your design, and you can upload here multiple swatches of your design to fit on various products. Once we get into where the products are, they give you recommendations for the file sizes, which is really helpful. I'm just going to upload my initial swatch first so you can see where it takes us. You need to click and agree to the artist agreement. It's going to automatically populate what I uploaded on various products. It will not populate it on any that it is not high enough resolution for so all of these grayed-out boxes, I need to upload new files that are either a different format or higher resolution. I'll show you how to do that on something that's rather large so you can see how it's done. You can also edit any that it automatically populates by clicking on the item. This phone case, for instance, I wouldn't want to adjust the scale down, which you can use the slider to do. But my file isn't tall enough, so I know that I would need to upload a larger file or a scale-down file for that. I'm going to select one of the larger items. I think I'm going to pick this shower curtain. You'll see when I click on it, it says the minimum dimension needs to be 6000 by 6000 pixels at 300 DPI. I'm going to make a new file in Photoshop, and I'm going to set it to 6000 pixels by 6000 pixels at 300 DPI. Next, I'm going to go down to the Adjustment Layer button in the layer panel and go up to Pattern, and it's filled my whole document with a pattern, but it's not the right one so I'm clicking on the down arrow and selecting my western pattern. Then I'm going to adjust the scale. This is basically going to be the size of the shower curtain so you want to adjust the scale as you think it would look good on a shower curtain. Click "OK" and then go to "File", "Export", "Export As". I'm just leaving it at the defaults. I want at highest resolution, and then I'm saving it as shower curtain. Now I can go back to Society6 and upload the file that I just saved. Once it's uploaded, I can click on this button that says "Generate Previews" to see what the shower curtain looks like. I think it looks great. Then if I want it to be ready to sell, I click on "Save & Enable". Now you can use the same file you uploaded on other items if you wish. They give you some suggestions here and you can check off the ones that you think it would work for so I'm checking off duvet cover, comforter, and floor pillow and then I'm just clicking "Enable". Now it's just going to load that swatch that I uploaded onto those items. Then after I've done uploading the different file swatches on to certain items, I can go to my shop by clicking on my profile, which looks like this little alien head, and then clicking view my shop. It pulls up my storefront and you can scroll through and see all the different items that I have for sale in my shop, including this duvet cover, which is pretty cool. Now you know how you can upload your designs online and actually sell real products or purchase them for yourself to use, or give away to family and friends. 8. Project: [MUSIC] The project for this class is to create your own hand painted pattern. First, you'll pick a theme and a color palette, next, you'll paint your icons, third, you'll digitize your art, next you'll create a pattern, and finally, you'll upload your pattern online to a website of your choosing where you can see it in real life on products. When you're done, I'd love it if you'd upload your project on Skillshare, so I can see it and your fellow students can see it as well. If you'd like more information on how you can get client work or get your designs on products and in stores, you can watch my other class roadmap to getting your illustrations on products. It's available here on Skillshare. I hope you enjoyed my class and I really look forward to seeing your patterns. [MUSIC]