Transcripts
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]