Transcripts
1. Toile de Jouy class presentation : Hello and welcome to
this class about how to create while the UE
patterns using Photoshop. When we use Photoshop
to create our patterns, we are guaranteed to keep all the details from
our original artworks. Making days its best advantage
over vector programs. My name is via three
Pascal and I'm a surface pattern designer
and illustrator from Madrid. In this class, I will
show you how to use Adobe Photoshop to create
while the UE patterns. We will start with a brief introduction about
to all the UE patterns. We will study the
types of trials, the motif scholars and backgrounds that are
used in these patterns. After that, we will
go through one of the pattern composition
most used in 12th, the half drop repeating pattern. In the second part of the class, we will plan and
gather references for our pattern design. And in the third, fourth parts, we will draw an assemble
our pattern in a half drop. We will make test to spot mistakes and to make
improvements in our design. And we will create different
color ways of our pattern. Finally, we will
learn best practices to save export and
show a worthwhile to UE patterns to make it as success or ride
the viewer looking forward to learning more
about 12 the UE patterns and how to create them. This class will be
preferred for you. Let's get started.
2. Introduction & Basic Concepts: The term, while the
UE simply means cloth from UE and
describes a type of fabric printing trials where originally produced in Ireland
in the mid 18th century. How quickly became
popular in Britain and France were originally, it was a colonel Claude, decorated with engraved
copper plates. Today the name refers
to the type of print which is applied
to multiple products. The term to all
the UE originated in France in the
late 18th century. In the French language, the phrase literally means
cloth from UE and your sauce, which is a town in the
southwest suburbs of Paris. In 1759, Christopher
Phillips overcomed, setup a codon printing
factory in Dewey, and just as being the
first manufacturer in France to use copper
plate printing instead of wooden blocks. Copper plate printing a load, finer shading details and
larger repeating patterns. Therefore, the images could become more complex and diverse. This way trials type of decorating pattern consisting of a white or off-white background, on which is a repeated pattern depicting a fairly
complex scene, generally of a pastoral theme, such as a couple having
a picnic by a leg, or an arrangement of flowers, or historical and
commemorative moment. These are some examples
of pastoral motifs. On the left we have a motif
with a religious theme. And the others to or showing
people preparing a picnic, just enjoying a nice time outside dancing and probably attending a wedding
or a celebration. The bottom portion consists
normally of a single color, most often black,
dark red, or blue. Greens Brown's, magenta, 12, less common, but not unheard of. Trial, is most
associated with fabrics, curtains, and upholstery in
particular, especially chins. Though TO wallpaper,
is also very popular. And dwells can also be juiced on teapots, beddings,
clothing, etc. Here we can see some examples of 12 DUE patterns apply
to different surfaces, such as upholstery at
row or wall coverings. There are many different
and interesting stories told in 12 patterns. Let's move now to
the next lesson.
3. Types of Toiles: If we take into account the distance between
them, Motifs, Motifs up here,
highlighted or not, we could classify
trials into a sparse. And these are patterns where
the motifs keep a distance among them with no failures
or elements connecting them. Normally they showed less motifs and they're intertwined. Ones. Hi blighted and a sparse. It is similar to
the previous one, but the motifs here have color applied behind the brushstrokes. Therefore, the motifs look
highlighted, intertwine. And in this type of design, the motifs appear
closer among them. And normally we find fillers
or elements connecting them. Therefore, they are
more complex to build. Finally, we have
highlighted on intertwine, and it is like the previous one, but again, with color applied behind the brushstrokes
of every motif. Here we can see some examples
of these types of twelfths. I think the x-bars on, highlighted on as far as designs normally convey a sense
of cleanliness and order. And in general, the
loop more static. However, the intertwined
designs are more vivid, given us a more clear idea about the certain scene that is taking place in front
of us right now, as if it was a movie. Also do easy feeling
of movement. As in this example
where we can see how people dancing
and celebrating. Or in this other example where some characters playing
and having fun. Let's move now to
the next lesson.
4. Types of Motifs and Scenes in Toiles: While the UE parents
tell the stories, also called P euro been yet. And traditionally we
could find these types of motifs and romantic scenes that include landscape
with clouds, animals, trees,
plants, flowers, legs, rebirths, buildings, rooms, or people in their daily life. Working, meeting
friends, I'm talking, dating lovers, having a
picnic hunting scene. To create a look of depth. Now motifs might be rendered
on a smaller scale. And the hatching technique
is used to create volume on light and shadow
effect on the motifs. They are also motifs influenced
by the oriental culture, such as pagodas, temples, palm trees, beat cards, etc. Repeated motifs are fillers and connectors, such as garlands, ravens, flower bouquet adds baskets with flowers,
scrolls, medallions, etc. There is also an important
role for motifs based on historical commemorative
moments and inventions. Leveling is a print that represents one of the greatest
inventions at the time. Hold air balloons. It was a print assembler after two separate balloon
flights from Paris in 1783. The funny part here
is that one of those balloons landed
in the town of gonads. And the story says that
some locals mistook, hold on for a monster and
called for an exorcism. Modular hose. Here is another great example of historical patterns depicting the crowning of the rose made in a fringe pigeon that dates
to the fifth century. It's a masterpiece of neoclassical decorative arts
with swine and garlands, tab or during puberty, leaping foxes. Finally, modern-day versions. We can see trials
depicting simple objects, fantasy or erotic scenes, a diverse characters from
children's stories or anything else that it is not limited to a French
on traditional look. Okay, let's continue
with the next lesson.
5. Traditional & Alternative Backgrounds : Traditionally 12s have
a plain background, either with the color of
the fabric itself or within other plain color to create more contrast between
the elements. But sometimes we can
find patterns with interesting backgrounds that I want to mention in this lesson. These are some examples of duality UE patterns with the
stripes as a background. The color combination
used for these examples, altering it darker
with a lighter color, makes a pattern look
elegant and classy. And in this third example, the thinner stripes,
gifted pattern, some kind of an antique look. Less common is to find patterns containing towels
as a background, which I personally can see. They're very interesting. In this example. See how the tiles give the
pattern a full perspective. Inviting us as if we could step into the scene
and be part of it. Right? So keep in
mind that you can use alternatives to the traditional blink color
backgrounds for your designs. Okay, let's continue
with the next lesson.
6. Color Palettes & Color Libraries in Ps: Traditionally, trials where monochromatic,
most often black, dark red, or blue, with the white or
off-white background, as we have mentioned before. However, as we have seen in the example shown in
the previous lessons, we can also find greens
browned or magenta as well, patterns, among other colors
with colorful backgrounds. This is a small selection
of color combinations from traditional and modern 12th
that can inspire you to create your patterns with
non highlighted two hours. To create these strokes, we can use dark colors,
searches, blues, reds, greens and browns, or blacks, or even y-naught, maybe
try an ocher color. Then for the backgrounds, we can use whites of
whites or creamy colors. For the highlighted wiles, we have to include
a third color to highlight the motifs and get contrast with
the background. So we will use a light tone like these few examples
I have selected here. Now I am going to
show you some ways to collect colors from pictures that you can use in Photoshop. I have these two images
in a CMYK document. If I wanted to get the
main colors from them, I could simply take the picker tool to grab
the colors directly. And then if I double-click
on the color selected, the color selector
panel will display. Here, I can see the extra decimal
references for these color. If I click on the
colors library, Photoshop will give us, which is the most
approximate color for this election in any of the color libraries
that it has gone. For example, here,
it is telling me that this color is
the most similar to the Pantone P 28 for C in
the Pantone CMYK coated. If I select another library, it will give me
the code reference of the color in that
particular library. This is very helpful if
we need to work with a specific libraries or
client requirements. Also, whatever color I select, I can include it into the color swatches
clicking on this button. But another option that is
very interesting is this one. In a new layer, I can select any color with the picker tool
and with my brush, I can make some thick strokes to create a color palette,
something like this. Now in the library's panel, I can click on this button with the addition sign and click
on Create from an image, a new window will pop up. And now I can go to the
color scenes section. And here I'm going to
see that it has created an automatic coloring scheme
for the active layer. I can see on the right all the hexadecimal code
references for the color mixing. But I can move these
circles on top of the colors and the colors seem will be modified immediately. It can also choose the chromatic style for
these color scheme. And again, it will modify it according to the new settings. When I like a
specific color seem, I can simply click on
Save on my library's CC. And this selection will
be stored in my library. I can click on it and enter a
name or description for it. And this is very
useful, isn't it? If I select a different layer with one of the
images I had before, and I repeat the process
in the pop-up window, I am going to see again the automatic selection of colors that Photoshop
has created for me. And again, I can
move to circles and safe my new color palette
when I'm happy with it, I can also name it
directly in the library. So following this process, I can save all my favorite
colors and scenes. The urine is stored
in the CC libraries. They will be available across every other Adobe programs
that I might need to use, such as Adobe Illustrator
or Adobe InDesign. So go ahead and create beautiful color palettes
easily with Photoshop. You can download a PDF with my colored light suggestions in the resources section
of the class. All right, let's move
on to the next lesson.
7. Pattern Composition in Toiles (Half Drops ): The half drop is the
pattern composition probably most frequently
used in 12 a UE patterns. Let's remind ourselves how
this pattern repeat works. When we have a
square root tiles, demo tapes have a
stagger drop in every two columns or two rows. Half of the distance
between the motifs in the vertical or
horizontal planes, as it is always
the same distance. However, when we have
rectangular tiles, we can talk about vertical half drops and
horizontal half drops, also known as bricked Layout. Let's have a look at these
two types of health drops. In the vertical half drop. We will have a staggered drop in every two columns in
the vertical plane. We're demo TBS, move along, up or down every second column, half of the distance
that we have between the motifs in
the vertical plane. However, in the
horizontal half-drop, we will have a stagger drop in every two rows in the
horizontal plane, where the motives move on to
the right or to the left. Every second row,
half of the distance that we have between the motifs
in the horizontal plane. To understand it better, let's check this
pattern where we have four different motifs displayed in a vertical half-drop repeat. We will take, for example, the motifs with a
circular shape. In every second column. With these motifs, the
circles will move down half of the distance
that we have between the circles in
the vertical plane, creating a vertical half-drop. When all the different motifs
follow the same process, we will have a complex
vertical half-drop. Now see that all of them
have one thing in common. If we move the yard
work place in it were four elements of each type
of motif are in the corners. On wanting the center, we find out that five is always the minimum number of motifs needed to create
the health drop. Five is our magic
number. Keep it in mind. We will see later
in detail how to create these eosin
Adobe Photoshop. Let's move now onto
the next lesson.
8. Planning our Toile de Jouy Pattern: Alright, it is now the time
to make some decisions about our next pattern and
we need to do some planning. And to make it easier for you, I have prepared a Google
document that you can copy and download to edit and use
as many times as you need. You can use these template
for all your patterns and not just for planning to all the UI designs
for this class. You can access this template in the projects and resources
section of the class. This document is super
easy to fill in, so let's take a look at it. If you click on the
date at calendar will display and you can
just select the date. Then on the right, you will find a section
for the skew numbers. This is optional bird, I always recommend saving every pattern with a
unique SKU number to track located properly and have our portfolio
well organized. Alright, after this,
we can now start entering all the planning
for our next design. In the style and inspiration
section, Teresa, drop-down list, where you can simply select the
one that you need. And as you can see, there are many options and
also avian needed. You can modify these options
or include new ones. You can also enter colors, so it is very
visually appealing. In the category section, we have another drop-down list to select the one that you need. In this example, I'm going to select the intertwined option. Next, we can include a
title for our pattern. In my case, these title
will be live in the forest. And in the ideas and
concepts section, we're going to
describe an include all the initial ideas that
we have for our pattern. This will be the ideas that
we will need to develop or look for references
for our pattern later. This is their description. I have written down. My pattern is going to represent a peaceful forest where different types of animals
live happily together. And as we are going
to design it, while the UE pattern, I need to list oldest scenes
that I have in mind to draw. This is what I have,
a burr looking for food in the forest with
trees surrounding it. As Query Folding a tree, a deer next to stream
in the forest, a fox with its
curbs kissing them. A hedgehog eating
mushrooms or maybe hiding. And finally, we can also include which are going to be the
fillers for these pattern. Like most rooms, bushes,
leaves, or branches. So it can have an initial
plan for my next design. After these, we can
pay attention to the more technical
part of the planning, such as the type of pattern. If it's going to be
a vector or raster, like in this case. The level of these
pattern and my design. It is meant to be
a hero pattern. Okay, The next section is interesting as we
can enter what are the final products or industries that we have in
mind for these pattern? And you have again,
a drop-down list with many options
available to pick up. After that, we can sell it. What is going to be the
repeat type for the pattern? And I'm going to select
half-drop the number of motifs. I need to create that R5 because I listed five is seen
previously. You remember? Next, I am going to select the size of the
art board or tile. And this part is connected to the industry that
I selected before. Wallpaper normally works with 53 centimeters by
three centimeters. But I am going to create
a vertical half drop. I can divide 53
by two and choose a rectangle of 26.5
centimeters for the high, 53 centimeters for the width, for the number of colors. I'm going to select two. Finally, I can enter as
well the color references, hexa, decimal, RGB,
Pantone, et cetera. And here you can also use the inspiring color
palette references included in the document
that I showed you before. Alright, so with our
first planning created, we can print it
now and save it in the correspondent
folder of this pattern. Okay, let's move now
onto the next lesson.
9. Looking for References & Inspiration: Previously we have written
down some brief ideas of the scenes that we will like
to have in our pattern. Now, we need to find out
references that are going to help us to put dose I initial
ideas into real sketches. This is one of the
most important faces before starting drawing, so we cannot escape it. But where could we get these references from and
find our inspiration? Well, the first option is
to find them offline using our previous photographs that we could have taken on portions. Sightseeing, traveling,
or visiting museums. We can also use ***** or magazines to find
our references, or even TV documentaries. And finally, we can use the
internet where we can visit many sites offering
free pictures to use with attribution
like Unsplash, that we will be saved now. And of course, when we have
all our references together, we should collect them in
a folder on our computer. In Unsplash, we can
find many photos that can be taken as references
for our patterns. These photographs are free
to use with attribution. In the majority of the cases, we only need to do a search
on the search inbox and we will get many images
related to that search. Then if we set at one and plot will show
us related pictures. So it is very useful when I
find the picture that I like, like this one for example. I simply download it. And after that, I will have
to make an attribution to the photograph on social
networks thanking him or her. So for example, I'm going
to use Twitter for that. Easy right? Now.
I'm going to search for the rest of the references
I need for my project. And I'm going to
speed up this part. Fine now I have
all my references. I have moved all of them into
a folder on my computer.
10. Sketching Scenes using Photoshop: Okay, Now it is time to start sketching and drawing
in Photoshop. We start creating
a new document in Photoshop around
the size A3 CMYK, and we've 300 pixels per point. The plan here is to sketch every scene separately
in a different layer. I'm going to start with
this scene with the verse. Here. I have the two
references I got from unsplash dot I'm going to
use to build my first scene. I have these adult bird and these cute baby bird to
create a nice composition. To have at hand my references. And if we don't have
a second screen, I can organize
their workspace in Photoshop in a different way
to make it more efficient. If I go to the main
menu Window organized, I have many options to
organize my workspace. I am going to select
segment all in vertical. And as you can see, all the documents will be displayed vertically
with the same width. Now I can grab and drag to
the right from the edges of the reference images
to give my sketching document bigger width so I
can have more space to draw. However, if you have
a second screen, you can move to a reference
images over the cell. You can have the
biggest width for sketching once you are also
looking at your references. And this is my
favorite way to work. Alright, I'm going to
start with the adult bird. And for sketching, I use a standard brush
with a low opacity. For his kitchen,
I always start by finding the direction
of the main lines, the general shapes of
the objects or animals. As in this case, I think the baby
Burr could be placed on a lethal heal,
something like this. Finally, I can
include some trees around them to
complete this scene. Okay, now, let's sketch the deer drinking water from
a stream in the forest. And we are going to
use a different layer. As before, I have at
hand my main reference. So let's do it. Find Next, I will sketch the tree with the squeal
rule in a new layer. I tend to draw big, so sometimes I need to
get a bigger art board. So when it is needed, I can just go to the main menu, Image, art board, size, and select a bigger width
and height for my art board. Okay, I can continue now
with this little friend. Finally, I'm going to create a new layer to sketch this
scene with the foxes. I have these lovely photograph,
awesomely main reference. So here we go. Okay, So I have a
sketch for main scenes, and I think that for the moment, I will keep the
hedgehog as a filler. Rcts a small animal and
I can draw it later, complementing any of
these main seems. All right, let's move now
onto the next lesson.
11. Drawing Scenes in Photoshop: All right, Now I'm
going to start giving the previous sketches a
more definitive look. As before, I keep
my references at hand placed on my second screen. And now I'm going to
create a new layer. And I will use a
standard tapered brush. But you can use any
other that you prefer, maybe with some texture. And regarding the
size of the brush, I think I will use 30 pixels. Fine. So as birds
have low differ, I think I will start
drawing short lines around its contour to simulate
the effect of differ. And also I want to highlight those parts were the muscles of the Br are more prominent. When I have this
first part ready, I can draw all the lines marking the direction of
differ on the body. And I can start adding more
and more details using the hatching technique to create darker areas on the burr. Okay, good tip is to create
a new layer for these. The second round of four in case that you need
to change some parts later without damaging
the first layer with the contour and
the general four lines. All right, I think it
is more or less ready. And now I'm going to
start with the baby bird. And I will draw in
the first layer, The general for lines. And I will follow the
same process as before. Fine. So now as you can see, I have into separate layers, the general contour lines and
field lines of the burst. In a new layer, I'm going to start drawing now the little hill bushes and
some other minor elements. Again, new layer. I'm going to start
drawing the tree. To draw this tree, I can use the previews, the sketching lines
as guiding lines. And I'm going to start with the trunk on the main branches. Again, also use a picture of a tree and use it
as my reference. But in this case, and used in bentonite
from my imagination. But first, as I have already
created many layers, I'm going to group the layers of the bears and rename this group. So I have everything
more organized in the layers panel and
I don't get confused. I include some texture lines to achieve the effect of
roughness in the trunk. And for these, I can use some horizontal and
vertical lines. The even draw the typical
notes of the trunks. We combine them with the
hatching technique in some parts to create
dark Arabia's on. With these lines, we also get volume in the drawing
wherever we need to. For drawing the leaves
in the branches, I am going to draw little
bunches of leaves, but not very defined. And I will place them
around the branches to give the tree a shape
that I want to achieve. In this process, I
can also include some darker areas to give
the idea of those parts of the tree where the
sun is not heating directly and to get more
volume at the same time. For drawing the
bottom of the tree, we can include some roots. Plans need to be
most rooms or rocks. Following the same process. I'm not using a previous
sketch for drawing this part, but of course you can use
it if it's easier for you. Good tip is to always
flip the drawing to the opposite side so you can adjust it to make
it look better, whether it is shown from
the right or left side. We can do this from
the main menu, addition, transform
and flip horizontally. And as you can see here, when I flip my tree
to the other side, I can spot that it needs
some more work to do. All right. I think this
is more or less finished. I can flip again the
drawing to check if it looks okay
from both sides. I have included delay Europe, these three into the
group of layers of the bears outside plan the
whole list seen together. But since every element
using a different layer, I will be able to
move to tree around to see where we can fit
better with my doors. For the moment. I
can leave it as it is and I can move to
build the next scenes. Scenes. The process will be the same for the rest
of the drawings. I'm going to speed up the video. Fine. So I have created three
main scenes and I'll do, I still need to add more
details and tweak some parts. We can move now onto
the next lesson.
12. How to Draw Other Types of Motifs: In this lesson, I am going
to show you how to draw the motifs that might appear
in your 12, the UE patterns. Clouds, for example, are very common in twelfths and disease. An example about three
ways to draw them. So these three examples
are drone in three steps. The first one is
to sketch and draw the outlines here shown
in magenta color. As you can see in this step, we're just going to sketch the overall shape of the cloud
without a huge definition. I'm used to using curves with different sizes, true shape it. Alright, now in the second step and shown with the blue color, I'm using curved lines to create volume using a
hatching technique. And in the third step, I am using a straight lines
to give the idea of movement, but also to create areas of
light and shadow depending on how close the lines
are among them evolve, I deactivate the colors. We can appreciate these
effects much better. Sometimes there are
other motifs that can be useful in our 12th because they can provide DID
of that to our patterns. And drawing them is very easy in one layer sketch and drew the outline of the mountain
using a few strokes, simulating the rich and
peaks of mountains. Then in another layer, add some texture lines to create volume and light
and shadow effects. Easy, right? When you need to include more plans or clusters of leaves
in your trees, you can use different shapes
for drawing the leaves using pointy or rounded
lots, for example. Then I texture lines to create volume and light
and shadow effects. Another type of
motif that we can include in our to all
patterns are garlands. These motifs can be built in Photoshop with
different layers. And using the vertical symmetry. In one layer, sketch your Garland using the
vertical symmetry that you can activate by clicking on the butterfly button
on top of the bar. When we draw something
in one of the sides, this will be reflected
in the other side. So you can be
creative and design different curves and spirituals and forming a skeleton
for the Garland. Then you cannot do this. Gauge some branches, leaves, fruits, or flowers, for example. When you are happy with
your sketch in a new layer, you can outline the
garland with more detail. And finally, in another layer, you can include
texture lines using the hatching technique
to give them motif, volume and light
and shadow effects. In the same way, if we needed to draw a person, we would follow
the same process. These use them, achieve I made for another 12 the ui button, and here I initially
made a basic sketch. In a second layer, I added more details
to this gauge. And in a third layer, I outlined the motif. Then a new layers are included, some texture lines to create volume and light
and shadow effects.
13. Creating Smart Objects in Ps: Alright, in this lesson, I am going to show you
why it is important to work with a smart
objects in Photoshop. Here is one of the illustrations that I
have created previously. As you can see in
the layers panel, this illustration has
different layers. So the first step is to combine all of them
into a unique layer. So I'm going to make a copy of these group and selecting it. I press Command, Shift and E to combine them
into a unique layer. Now, I'm going to duplicate
this layer to show you how smart objects
work in Photoshop. So I have two copies
of this illustration, and I'm going to transform
one into a Smart Object. To do so, I select the layer and click with the
right mouse button. And in this window, I select convert
into a smart object. Easy, right? I am not going to change anything in
the second layer with the same restriction. All right, now if I select this layer and I
press Command T, and I scale down the
illustration to something dramatic and unrealistic in
our k is like ten per cent. I can see that illustration has been pixelated completely. Okay? Now, if I do the same in the layer
with the smart object, the illustration has
also been pixelated. But now look at this. If I return the size
of the illustration, that is not a smart object. The first thing I can see
is that the size says that the illustration
is now at 100% size. This means that if I wanted to return it
to the original side, I should enter 1% thousand. And this is what happens. I clearly see that the illustration has
lost its definition completely because
the transformations didn't keep the original
properties of the drawing. Now, if I do the same
in the smart object, the first difference I see is that Photoshop tells me that this illustration
is out at 10% size. So if I change this
number and enter 100, the illustration is restored
to its original size, keeping the original
properties of the drawing. If I scale it up
to illustration, we'll still keep its
original properties. While the second one has
lost all the definition. Besides, another
interesting feature of a smart objects is that if we
click on this little square that appears in the
layers panel and you document will appear
with the illustration. Now, if I modify any part of it, for example, drawing
something like this, and I save it, pressing Command
and S. These will be automatically reflected
in the other document. In the same way, I can add other layers
into these smart objects. And if I modify
anything and save it, this also will be reflected in my document where the
smart object is placed. So as you can see, this gives us many advantages and possibilities
for our drawings. And another thing to mention, remember to create your smart objects
without a background. They always have
to be transparent, otherwise the background
will be also visible in the illustration or pattern. Fine. So I have duplicated all my illustrations and converted them into
smart objects. Let's move now onto
the next lesson.
14. Setting Our Tile Up in Adobe Ps: Now that we have our
Smart Objects created, let's set up our tile. To do this, I am going to
create a new document. This document will have the exact measurements
of the repetition tile. As I decided that my pattern was going to be
created for wallpaper, and I need to create
a vertical half drop. I am going to use
53 centimeters for the width and 53 divided by two. So 26.5 centimeters. For the high, the resolution will be
300 and CMYK color mode. I click on Create and
here I have my tile. Now let's pay attention
to depressants. We need to setup. The first preset I need is
to have my rulers visible. If you don't have them visible, you can go to the main menu, View Rulers and activate them. Also, you can press the shortcut Command R to show you a rulers. Then we need to have
snapped selected. And then in a snap two, I have to activate a snap to guides layers and
document bounds. This part is very important
because in the next step I am clicking and dragging
from my ruler a guide. And when I take it next to my
left bound of my document, it attaches to it immediately. I repeat the process and
AI plays another guide on the right bound of the document on top of it and add the button. Okay, Now I am going
to place two guides to locate the center
of my document. So I grabbed another
guy from the top. When I approach the
center of the document, it sticks to it automatically. It tells me that 13.25 centimeters is the
position of the y axis. This is correct as 13.25
is half of 26.50 default. Hi. I take another guide from the left ruler to place it in the center
of the document. And when it sticks to it, the x axis shows
26.50 centimeters. And this is correct as well, because 26.50 is half of 53
centimeters default width. Right? Now, I unlock this
layer and duplicate it. With the bottom layer selected. I go to the main menu
image canvas size n. I am going to scale it up to 150 centimeters width
and 150 centimeters height. The purpose of these is to have enormous space ambition
around the yard or the white rectangle to display on duplicate
later our motifs. Now I'm going to lock the
layer at the bottom and I will bring my smart objects
into this document. To do this, I simply go to the previous documents
with my smart objects. And I am going to
select every layer with a Smart Objects and then copy and paste them
in my new document. All right, so I have
copied and pasted all my smart objects and
it is very useful to have our layers
renamed with the name of each smart objects so
we can be more organized. Now see how big these elements are in
comparison to the tile. So I need to scale
down my smart objects. And for that, I will make all the layers
invisible except one. Now, with this layer selected, I press Command T. As these little
chain is selected, the proportions will be kept. So I can directly enter the NuScale I would
like for my motif, like for example, 30%. And we're in managing
a smart objects. So here you can see how after this transformation that
image keeps its definition. Although it is still big. So I'm going to scale it
down a bit more to 20%. And I will use the same
percentage with the rest of my smart objects to keep the identical
proportions among them.
15. Assembling Half Drops in Adobe Ps: So I have re scaled
down a bit more my motifs and now I have them all visible. For the moment. I am going to give
the background or different color so I can
see better what I'm doing. And I'm going to
select a dark color. Now in a new layer with the rectangular marquee tool and using my guides also
bounding frame, I am going to select the tile. Pressing the key x, I moved a white color from the foreground to the
background in the color set. Now, with Command Delete, I colored my tile with a
white background color. Alright. Now I am going to duplicate all the layers that
contain a smart objects. So I select them all
and I drag them to this button with the addition
sign to duplicate them. Next, I am going to group them as I like to always keep a copy of my original Smart Objects just in case I need to
go back to them later. Okay, So I'm going to make this group invisible
and lock it. Now, I need to rasterize
all my smart objects. This means that they will
become a standard layers, losing older properties that
the smart objects have, as I showed you in
the previous lesson. But it is okay because we
have already escaped and down to the size that
we needed for our tile. Therefore, in order to transform smart
objects into rasters, we select the first smart object and click on the
right mouse button. And these dialogue will come up and we select
rasterize layer. Okay, I'm going to do the same with the rest of
the smart objects. Now, I would like to combine
into one single layer, these tree and the deer. So I am going to
move around delayers a bit in order to find the
best position for them. And when I have it, I combine them by pressing
Command D and E. Next, I have left only one of
these layers visible, n. I am going to start setting these motifs into a
vertical half drop. When we studied earlier
how half drops work, we talk about five hours, our magic number.
Do you remember? Okay, So now we're going
to put that into practice. We need to display for
motifs of this scene in the corners of my tile
and one in the center of it. Then we might need to
add more depending on where we are placing
them in the pattern, but we always need
to start with five. So how do we do
this in Photoshop? Well, our guides are
going to be essential and we are going to work as
if we were creating a puzzle. So first, I need to place my motifs in one of the
four corners of detail. And I normally start with
the top left corner. But this is very important. I have to make sure that
there are pixels on my motif in the four
quadrants around this corner. Now I grab my rectangular
marquee tool and I'm going to select all the pixels included into the
top left quadrant. You see my guides as bound. As we have the preset snap to guides the rectangular frame
realistic to the guides. So it's very easy. Okay, So now I beat
my move tool and I press and hold the keys
Option, Shift and click. And with this, I have made
a copy of this section. And now I move it to the top left quadrant
of the right corner. And I don't release it until I find out that it does
reach the right position, that is 53 centimeters horizontally and 0
centimeters vertically. It will stick to the
guides automatically, but we always have to make sure that the position
is the correct one. If I zoom in, I can
see that it has been placed to the exact position
where it was meant to be. As my pixels are not overlapping the guides or are one
pixel behind them. When it is placed in
the right position, then I can press Command
D to de-select it. Alright, now we continue repeating the
process to replicate this section in the rest of the corners and in the
center of my time. So I take the rectangular
marquee tool and select again the same content of the left top section
of my left top corner. And next I grab the
Move tool and press and hold Option Shift, click. But this time I take it down to the left or top section
of my left bottom corner, and I don't release
it until it reaches the exact position
that in this case is 26.50 centimeters
down vertically and 0 centimeters horizontally. Then I release it and I press
Command D to de-select. Okay, I go on with the process and now we can select
this section and take it to the left top quadrant of the bottom-right corner until it reaches a position
53 centimeters horizontally and zeros
centimeters vertically. Now we only have to
complete the center. So for that, I'm going to
select this section again, make the copy and take it to the central guide until it
reaches their position, 26.50 centimeters horizontally, which is half of the
distance of my full width, and zeros centimeters
vertically. But I still need to lift
it up to the center right. So without releasing
the selection, I click press Shift
and lifted to the top left quadrant of
the center of the tile. Now pay attention to this, even with the snap
to guides activated, sometimes we can have problems. And this is why we need to
always pay attention to the numbers are not rely on
the prison it completely, as you can see in this case, this election issue we
meet the deposition is 13.24 centimeters vertically
and this is not correct. It should be 13.25 centimeters, which is half of the
distance of 26.50, our full height, right? Okay, so if we zoom in, we can see that one pixel has overlapped the
horizontal guide. If we don't correct this, it would end with a technical
error in our pattern. So always, always pay attention to the
right numbers, okay? To correct this error, while it is still selected, I can simply take it up one
pixel with the arrow button, and now it is correct. Okay, so now let's
continue with the rest of the sections that I need to duplicate in the
corners and center. I follow the same
process as before, and I checked the
numbers constantly to be sure that I won't have
errors in the pattern. Fine. So here it is, the vertical half-drop with
five elements of my birth. And now I am going to follow the same process with
the rest of my motifs. Okay, so I have finished
the half-drop of the year and seems every scene is going to be in
a different layer. I can start moving around the layers to find
the best composition. Now, look at this. If I place my burgers AND's
Position, for example, I can see that I
need to duplicate the brewers one more time
on the top of my tile. As this motif is now
overlapping my bottom bound. And you can ask, why don't
we just plays them achieve where we think it can feed from the beginning and save us time? And my answer is, of course, you can do it that way as well. But my experience tells
me that it is not easy to find the
best composition from the very beginning. And we are going to
be tweaking around the layers until we
find what we need. And for that, it is
easier if we start, we don't use all five
elements in every layer. So as you can see, I have de-selected the
layer with the deers and inner layer of the
bird's eye on following the same process we went
through before to add another motif of decent
scene to the top of my tile. Alright, so I am going to continue building up the
pattern and tweaking my layers until I find the combination that I liked
the most for the print. Fine. So after moving
around my layers, I came up with these first
combination of motifs. And in the next step, I will show you how to test it.
16. Testing and Objective Critics: So let's do the first test
of the pattern and reduce. So I will grab my rectangular marquee tool and I'm going to select all
the content of my tile. I still have my
guides activated. So again, they will be the frame bounds
for the selection. Next, I press the keys
command and shift and C to copy all the visible
content inside my selection. Then I go to File New, and I choose the clipboard. And in the new document, I press Command V to paste it and see that
all my motifs that were included into different
layers before happy now co-pay together
into one single layer. Let's just very quickly if
the pattern works well, and we're going to detect all the corrections that we
need to do in the pattern. First, I am going to re-scale
this layer to 50 per cent, and I will place it at the
bottom left of the document. Next, I am going to duplicate
it with Command and Option and Shift to lift it up
to the top of the tire. Fine. Now I can select
these two layers and combine them into
one with Command E. And finally, I can again
press Command Option and Shift to make a copy and place it on the right side
of the document. So with this quick step, we are able to check how
the pattern repeats. Now, in another layer, I am going to
objectively point out all the corrections I can make my pattern to make
it look better. So why get a red color? And the first thing
I can see is that the foxes could move a
beat down to the right. And the bushes behind the adult bird could move
a beat up to the left. Both trees are touching and I am not very convinced
about this. Next, I am missing
a square rule, climbing up the tree on
one of the two sides. And then these plants
next to the baby bearer, look a bit out of place. I really need to change that. I think that adding
more plants and maybe shades next to this tree will improve
the pattern design. And also, I need to include a mouse and a hedgehog
hiding behind the bushes. And maybe a bird flying
would look nice as well. In this space, maybe I can
include something else. And yes, I think I'm going to redraw the
leaves of this tree. Okay, I think that's all. So now with these ideas in mind, I can go back to my initial
Smart Objects and make all the corrections needed an include the new
elements mentioned.
17. How to Use Layer Masks to Make Adjustments: In this lesson, we will cover how to introduce
new elements into our smart object and
we will see in which cases it will be very
useful to use layer masks. I am back in the file
where I have some of my initial scenes and the smart objects that
I created previously. Inside the group of DC-3, I have included a new layer where I have drawn
a square root. Now I am going to press
Command C to copy this layer. Next, I am going to open my smart object by clicking
twice on these little button. So my smart object
opens up in a new file. After these with Command V, I paste the layer
with my screen row. And I am going to place it here as if it was
climbing the tree. Okay? But now if my square rule
is climbing this tree, I shouldn't be able
to see this droves of the tree crossing the body of these little fellow, should I? It is in these cases where
we need to use layer masks. Because when we use layer masks, we can make changes and adjustments without
deleting anything. We're just going to
hide some parts. Let me show you how it works. First, as my smart
object is transparent, I am going to
create a new layer, put some color on
it like this white, and use it more
maintain usefully as a background just to see much
better what we're doing. I will delete this layer. When we finished. Next, I select the layer
with my screen rule, and I activate this
square to recolor only the pixels included
into the layer. And then setting my
background with a red color, I press Command, Delete, and I change the
color of this tropes. Okay, now I can see much better, which are the
strokes that I need to hide from the tree, right? Fine. So now I
select the layer of the tree and I am going to
activate the layer mask, clicking on this button. Now, see that in the layer, a new white square has appeared and it is link to
delay here with a chain. This is the layer mask. Notice as well that when
we have active layer mask, my foreground and background colors have changed
to black and white. And now with the black
color set as my foreground, I take my brush tool and I start hiding all the strokes of the tree that are crossing
the square root rule. Okay, if I make any
mistake, for example, I accidentally
delete some strokes dot I shouldn't, don't panic. We can just set the white
color as the foreground. And now with the brush tool, we can paint together
in the same section. And the heightened strokes
will come up again. Easy, right? And I'm going
to return the nose of discovery rule as
I can spot here some pixels that
need to be deleted. Okay, when I finish, I recolor my squeegee
rule to black again. In a new layer, I am
going to add some strokes to simulate the shadow of
discrete rule on the tree. Finally, I delete the
layer with the background as I need my smart objects
to be transparent. I save we command on S, and now all the changes are visible in the other document. From here, I would follow the workflow I showed you
before to create a pattern, copy this Smart Object
in the pattern document, re-scale it, rasterize it, and create a half drop. Okay, I'm going to work on
the rest of my Smart Objects, adding all the elements that
I still need to incorporate. I will see you now.
18. Assembling the Final Pattern & Half Drop in Photoshop: These are my final smart
objects where I have made some adjustments and incorporated
elements and details. For example, I have included some butterflies flying
around this query will these couple of mice at the
bottom of the tree and a couple of hedgehogs
hiding behind this bush. This is the final structure and position for the
motifs that I have set that will allow me in a minute to create the final
health drop in a block, instead of creating half-drop for every scene
as we did before. But these final
composition tones after a few more trials dot I have done adjusting elements
here and there, and tweaking layers I have copied here in a group of layers all the different
tests that I have made following the process
I showed you before. So in every of these tests, I have pointed out all the improvements
that I could apply to my pattern regarding
both composition and the addition
of new elements. I have flipped elements
and moved everything until I have found the one
that I liked the most. Bear in mind that once you
have created the first test, you can use it as a guide to position the smart
objects on top of it. And with these action, you will see much better where you need to tweak
all the elements. So for example, this
is my latest test. If I turn on the group
of my smart objects, you can clearly see that
it would now be very easy to move any of them with the
text layer below as a guide. However, I want move
them at this point. This is the final block
and position that I have chosen. But
now look at this. I have all my smart
objects in this group, and each one of them is
in a different layer. But in my final composition, there are two
layers overlapping. Know D is that we can see
in the trunk of the tree some strokes from the other
layer that shouldn't be seen. So we need to fix this before creating the final half-drop. So let's do it. First. I have
duplicated the group of my Smart Objects and I have
named it as raster layers. Then have rasterized
every smart object as I showed you in
the previous lessons. Now to fix that issue with the overlapping strokes
in those two scenes, I have used a layer mask in
the scene with the deer. As those plants
are supposed to be placed behind the tree
with the square root. This way we cannot see all the branches on plants
that were crossing the trunk. Those strokes are hidden. If I select the layer mask and I use white as my
foreground color, and I paint inside the trunk, all the strokes come
back and to reverse it, I use black as my foreground
and I hide the strokes. Second, notice as well that I included the layer with
some shadow textures. I could have added this texture strobes directly
in the Smart Objects, but since I didn't do it, I can create it now, working directly with the
whole block of elements, you only need to turn down the
opacity of the text layer, change the color
to red or similar, so you can see better. And now in the new layer you
can draw texture strokes. And this way of working is
in fact easier in the sense that I will have a global
vision over the whole pattern. So it is very practical to add more details into
the illustrations. Okay, so now that I
have my layer ready, I can duplicate this group. I will name it global half drop. And next I'm going to merge all the layers
into one single layer, pressing Command D and E. Now
with these uniquely yours, we're going to create
the final half-drop. And I am going to place the illustration in the
left top corner of my tile. I make sure that
it is more or less centered with pixels
in my four quadrants. Next, I take my rectangular
marquee tool and I'll start by selecting the
first Jew left sections. I press and hold Option, Shift and click and take it
to the right until it reaches 53 centimeters horizontally
and 0 centimeters vertically. Then I release it and
de-selected with Command and D. Now I do the same with the other two right
sections of the motif. I take the rectangular
marquee tool and press and hold Option, Shift and click, and I
take it to the right. Next, I select the top
part outside the title, and I could move and
place it down until it reaches the bottom guide
on 26.50 centimeters. I go on to complete
the four corners. And now I only need to
fill in the center. And for that, I select
the top left quadrant, press and hold Option, Shift and click to
copy and drag it to the central guide until
I get 26.50 centimeters. When I get to that point, I released the keys and I press Shift and click to
take it down to the center until it
reaches 13.25 centimeters. Next, I deselect with
Command and D. And remember that you can check the position before deselecting. I continue with the process
selecting the content of these quadrant now to copy and place it in
the central guide. And after I released
the buttons and I press Shift and click to
lift it up to the center. Now I have to go pay
these quadrant and place it into this section
of the title, right? But look at this. There is a part of the
illustration that is already included into
the destination section. As the illustration
is transparent, if I duplicate it, this tropes of that
part will look darker. So what I can do is to select
this part and delete it. Now, I select these quadrant. Present hold Option, Shift and click and take
it to the center, to the 26.50
centimeters position. Release. Press again, shift
and click to take it down to the center to the 13.25
centimeter position. Next, I continue making a copy of this section and I place it next to the central guide of the 26.50 centimeters position. And after that, I
lifted to the center. Finally, I only need
to go be this part of the tree that is
outside my tile. So I select it, I press and hold Option, Shift and click and
copy and take it down until it reaches the bottom
guide, our deposition, 26.50. So always check that you haven't left any parts without
repeating properly. Otherwise there will be a
technical error in the pattern. Alright, so now we're going to test the pattern
as we did before, but I am going to deselect
the bottom layers with color. As I need to go pee only the
transparent illustration. So we will be able
to recolor it. I take a rectangular
marquee tool and I select all the content inside
the frame of my guides. Now I press Command
Shift C to copy all these content and I go to File New Document and
in the new window, isolate clipboard, CMYK 300 BBB. And I press Create. In the new document, I press Command V to paste it. And this is the tail
with my pattern. I save this document as
my title and I always use this queue number so I can track and locate my patterns easily. Now I am going to
duplicate the layer and I place guides around
this document. And next with Command T, I am going to scale
it down to 50%. I will place it in
one of the corners. Now I duplicate this layer again and pressing
Shift and click, I lift it up. Now I can combine both layers and duplicate it and
move it to the right. With this action, I can see quickly how the pattern repeats. If I started something that
I didn't like, I would, then go back to my
Smart Objects and repeat the full process that
we have been following him. But now I am going to
leave it as it is. So in the next part, we're going to see how to create color ways of our pattern. Let's go onto the next lesson.
19. Creating Colorways from Photoshop Libraries: So we have here our pattern, and in another layer we have created a test to
check the repeat. Now that we know that
the repeat is correct, we're going to test
different colors before creating a final color
weight or final color ways. So we don't get
crazy like there is no tomorrow and try lots
of different colors. So first of all, I am going to duplicate
my text layer. And I am going to show you
how you can benefit from Adobe Photoshop libraries to use your favorite color
palettes in your patterns. In the previous lesson, when we talked about
colorways for the UEs, I showed you how to save color pallets into
your libraries. Now we're going to put
that into practice. I have here some color
palettes that I have created. An, I have in mind
that for this pattern, I would like to try blue, green, and a dark red. I can select directly a color from any color palette
saved in here. So I am going to select
this dark green, and now I press the key x to
shift it to the background. Next, I pick up a
light color like this one that will be set as the background
of the pattern. Now, back in my layers panel, I select the text layer, and I need to activate
this button to recolor only the pixels
are not the whole layer. I press Command ON delete
and I color the pattern. Then I select the
background layer, press X to shift the foreground
color to the background. And I press Command Delete to recolor my background layer
with this creamy color. It looks quite nice. In fact, the next color I
have to test is the blue one. So I am going to duplicate
the layer of the test and I select this blue
color from my library. And as you can see, it is too light, so I need to use a darker tone. I go back to my library and I select a darker blue and tested, and this color
looks much better. Finally, in a new layer, I'm going to test
a dark red color. All right, I think it
also looks very nice. Okay, so now I can group all these tests and save
my pattern tile document.
20. Creating Highlighted Motifs: In this lesson, I'm going
to show you how you can create highlighted
motifs for your trial, the UE patterns with Photoshop. I'm going to take some of
the final motifs I have to use to create my
intertwined bottom before. If you're using
your smart objects, you will need to
rasterize them as we need to work with
a standard layers. So now I am going to create a new layer and I will
select a red color. Then a Young going to color all the contours of
the illustration. Finally, I will fill it. I can also use the
Lasso tool to select bigger areas and then shifting my red color
to the background, I press Command and D lead
to color the selected area. D is this pizza, the
coloring process. You can combine both techniques
to complete the coloring. Totally just find it very relaxing to color
using the brush, liking the traditional way. Okay, perfect. And now I am going to follow
the same process to color daily illustrations of
the doors on the fluxes. Fine. So now we're going to create a new pattern
using these motifs.
21. Creating Sparse Patterns with Highlighted Motifs: In this lesson,
I'm going to build this bars and hot
lighted pattern. So now I am going to create
a new pattern document. And this time I
will use a tile of 32 centimeters by 32 centimeters and the rest are most useful, 300 pixels for the
resolution and CMYK. I hit Create and my
new document comes up. Next, I attached the
guide to the document, bounds on to this under. I create a new layer and now
I make my canvas bigger, going to Image Canvas Size, and I entered 64 centimeters for the height, for the width. Next, I will glaze at the
bottom the new layer. Now I am going to select the motifs and the layers
with the red paint. And I will copy and paste
them into these new document. I will group them separately
and name them accordingly. Okay, now look at these. I can see that the size of my foxes is bigger
than the other motifs. So in order to scale them down without leucine resolution, I will temporarily convert these two layers
into smart objects. Good, I will need to rasterize both of them before
creating the health drops. Okay, I have applied a bluish color in the background layer to
see better what I'm doing. Now, I will start creating the half drops with every motif. So I start placing the whole
group in one of the corners. For these, I select the
group in the layers panel, and I press Command T to move
it to the top left corner. At this point, I will
need to create 2.5 drops, one for the illustration
and one for the red block of pain that
goes behind the illustration. So I am going to deactivate
the layer with the red paint and I start making in the half-drop with
the illustration. As we learned in
previous lessons, I select these two
left quadrants, copy and move them to the right. But look at this that
might happen to you. Sometimes when we
present hold Option, Shift and click,
it isn't a Lowe's to move to copy to the
right or to the left. If you find yourself
in these cases, hold the option key, but release the Shift key, you will be able to
move around the copy. Now, press Shift again
and the QP will align horizontally with the
original illustration. Can you see it? Alright, so now I can
take it to the guy down until it reaches 32
centimeters horizontally. Then I copy and take the other
two sections to the right. After that, I can
copy the top part of both illustrations and pasted
at the bottom of my tile. Then I copy and paste the bottom part of both
the illustrations. And now to copy the
tree in the center, I can select these two
sections on the left, make a copy and take it
to the central guide. And then I select both
sections on the right and make a copy and take it to the other side of the
central guide, right? Then I can select
the top part of the central
illustration and make a copy and take it to
the center of my tile. Here again, if Option
Shift and click, don't respond, no worries. Just release the Shift key
and leaf illustration up. Then press Shift again
and it will align with the original
illustration until it reaches a 0.16 centimeters. Alright, I can delete
this part now. Finally, I can select the last two sections
of the illustration. And this time I can just
press Shift and click and lifted to the center until it aligns perfectly with
the other health. Alright, now I can turn
off the visibility of this layer and activate the
layer with the red paint. I need to create a half
drop off these motifs. So I'm going to follow the
same process as I did before. And for these reasons, I am going to speed
up the video. Okay, I have completed the half drops off my three motifs, and now I can start
tweaking them around to find the perfect
posture and composition. As you can see, I need to move
the whole group containing the two layers with
the health drops off the illustration and
delay with the red paint. Every motif. To move the whole group selected
in the layers panel, and then press Command T on t. Right? This is the final
position for my motifs. In order to get to this point, I have already made some tests following the process
I showed you earlier, so I am escaping that part now. But what we're going
to do next is to change the colors and to do it, as you can see in
all the layers, I am activating the
bottom to apply color only to the pixels
contained in the layer. I had already set as my
background color to a dark blue dot I can use to color all the layers with
my illustrations. Remember we select the layer
and then we press Command, Delete to recolor the
pixels in the layer. Okay, and now I can go back
to my libraries panel. And I am going to select
from my color palette. I like cooler to use for
highlighting my motifs. I shifted to my background
color and now I start selecting all the layers with the red paint and width command, Delete, I recolor everything. Okay, and this looks
quite nice, I think. Hello, We're going to change
the color of the tile. I select the layer
in the layers panel and I activate the button
to block the pixels. Now again, in my libraries, I can try different colors to see which is the one
that I liked the most. Okay. I think that out of
all those nice colors, I like these light blue
for the background. So now let's test our pattern with the
rectangular marquee tool. I select the frame of my tile. Now I press Command Shift C to copy all the visible content
inside the selection. Then I go to File
New Document and I select the clipboard
with the use well presets. Now in the new document, I press Command V to paste my pattern in
one single layer. And these would be
my pattern tile. And we need to test it. So I duplicate my
tiling a new layer, make invisible one
of the layers. And now we'd come on Tom T, I escaped the visible
layer down to 50 per cent. Fine. So now I place it at the left bottom of my
tile and I duplicate it. Moving to copy to the top, I select both layers and I
combine them with command E. Now I duplicate this layer and take the
cookie to the right. I select again both
layers and combine them. Finally, I can see how my spars and highlighted
pattern looks. And I think it
looks quite pretty. All right, let's move
on to the next lesson.
22. Creating Toiles with Stripe Backgrounds : In this lesson, I will show
you how to create a simple, Let's try background
to your trial. The UE patterns. I have here, this bars pattern I created in
the previous lesson. I am going to group
log and making visible all the motifs
of these pattern. Now when a new layer, I am going to take their
rectangular marquee tool. And as my title is a square
with side 32 centimeters, I am going to create
a rectangle of 32 centimeters high by
two centimeters wide. From my library,
I'm going to take a blue color and I will use
it to color the rectangle. I deselect the selection
with Command D, and now I move it
to the left until the center of the rectangle
reaches the guide. The correct position
will be one centimeter horizontally to the left and zeros
centimeters vertically. Okay, no, I make a copy
of this rectangle with Option Shift and click and
move it to the central guide. And I make a new copy and I
place it on the right guide. I have to make sure all the time that the
position is correct. It should be zeros centimeters vertically and 16
centimeters horizontally. All right, now we
have three stripes, but we need to complete the full width of the tile
with more stripes, right? But unfortunately, we cannot use our guides
directly to position the rest of this tribes
in the tile because they don't attach to anything
that is not a bound. So we can use a trig using
the rectangular marquee tool. I'm going to select one of the
four quadrants of my tile. And now if I grab a new guide, I can place it in the center of the selection and it will
attach to it automatically. I can repeat the process, selecting the next quadrant, and I take another
guy to its center. And now I can go on and select the smaller quadrants that have been formed
with the new guides. I'm pleased, new
guides in the center. Over all these new guides, I can place new copies
of the blue rectangle, completing my pattern
tile with more stripes. Now I can combine all
these rectangles into one single layer by
selecting all the copies. I'm pressing Command
D and E. Finally, I can make my group of
motifs visible again. And now we're going to test the pattern with the
rectangular marquee tool. I select the frame of my tile, and now we Command
Shift and see I copy the visible content of the selected area
in a new document. I press Command V to paste it. This is the title
of the pattern. Now, if we want to test it, we follow the process I showed you in the
previous lessons. I duplicate the layer of the tile and I scale
it down to 50%. Place it on the bottom left
of the tile and duplicate it. I lifted a new copy up
and combine both layers. Next, I'll duplicate this layer
and move it to the right. And finally, I
combine both layers. Here it is my 12th
DUE as bars and highlighted pattern with
a striped background.
23. Best Practices to Save Your Patterns: In this lesson, I am going to give you some ideas about how to save your buttons and how to create different
scales for them. Back into this pattern, we have been testing
different color combinations. Let's imagine that out
of all these tests, I want to keep the
green version. So I am going to prepare a file containing these
colorway and I will place it inside the parent
folder where I have all the previous work that I
have done for these design. The reason behind this is that in my portfolio
organization system, every pattern needs to be saved
with a unique SKU number. So everything is always
easy to track and manage. So what I do is that I
saved this pattern tile in the corresponding folder
with its unique SKU number. Alright, so now I
recolor the pattern with the green color and I
delete all detest layers. So far we have only the style. Remember, I choose this
particular measurement as my pattern was
thought for wallpaper. Therefore, the motifs were created these vague on purpose, but maybe we might need
to use our pattern for other types of surfaces that might require
a smaller motifs. It is a good idea
to have at hand our pattern tile in
more than one size. So I'm going to teach
you how to prepare different scales of our
pattern tiles in Photoshop. The first thing I'm
going to do is to select the layer with
the print of my pattern. And I'm going to convert
it into smart object. Next I am going to select both layers and clip it on
the right mouse button. In the next dialog, I'm going to select
Artboard from Layers. Window will come up and I'm going to give it the name 100%, including the measured
months of my time, 53 by 26.50 centimeters. And now I am going to create two more copies of this group, grabbing and dragging
the whole group to the bottom with
the addition sign located at the bottom in
the layers panel. Great. So now we have three art boards. I'm going to rename them with
the names 50%, 25 per cent. Now, let's change the
size of these artboards. First, isolate the layer with the Smart Object in
the 50 per cent group. And I press Command T to change the percentage
to 50 per cent. Remember to have activated the chain to keep
the proportions. Later, I select the layer with the Smart Object in the
twenty-five percent group, and I resize it to 25 per cent. Fine. So now I am going to
re-size the background layers. We can do these where
we easily isolate my layer with the Smart Object
in the 50 per cent group. And I am going to place guides around the
bounds of detail. As I have snap to guides, layers and document
bounds active, the guides attach
automatically to the edges. And I follow the same process, selecting the layer with the Smart Object in the
twenty-five percent group. Next, I select the
background layer of the 50% group and I press Command T. But this time I'm going to
de-select the chain. So now I can grab from every
bound of the layer and drag it until it reaches the
guide and attaches to it. And finally, we click on the art board and
we can transform it directly by clicking on the corners and dragging
them to the guides. Now if we go to the main
menu window properties, we can check that the new measurements
of these art board is 26.50 centimeters by
13.25 centimeters. Which is half of
the initial tile. Right now, I'm going
to do the same with the background layer and art bore of the twenty-five
percent group. Fine, so now we are going
to define the patterns. We make this step when we
want to apply the pattern, for example, to a new document, as we will do shortly. To do so, I select
my first group of 100% and in the main menu edit, I select Define Pattern. The window that comes up. I am going to enter a
name for this pattern. I normally keep the name of the document because it
has this queue number. But I am going to add 100 and I can add the measurements
of detail as well. I press OK, and now I select the second group of 50 per cent. And I go to edit, define pattern, and I
include 50 to the name. I go on and repeat the
process with the third group. Okay, so now I am going
to create a new document. And since my initial tile is big and we need to test
the three patterns, I am going to set the width and the height with 6
thousand pixels, which is quite vague. And it can leave the
resolution of 150. Buddies could vary depending on the final purpose
of the image. We're just Dustin here. Okay, so I hit Create and
here I have my new document. Now. I go to Edit
and I select field, and a new window will
come up here in options, I display the arrow
next to custom pattern. And in this window, I will see all the patterns
that I have saved previously. If I hover over them, I can see the title of each one. So it's easy to select
the one I need. I click Okay, and my pattern will apply
to the full document. It looks very nice. Next, in a new layer, I am going to try the
pattern or the 50 per cent. And I repeat the same
process as before. And finally I repeat it again, testing the pattern or
the twenty-five percent. So now if we set
the view to 100%, we can see the real scale
for everyone of them. And we can make better
decisions about which one should be used depending on
the surface to apply right? Now, for example,
if I need to show a digitally and I prefer
these patterns size, I can go to File
export, Save for Web. And in the new window, I counters different
options to see, which is the one that
suits me better. This will depend on the final
destination of the image. I will have to make decisions
about choosing JPEG or PNG is the image size
order resolution. A good idea is always to preview what we have said
before, saving it. Finally, if you need
to export to PDF, you can go to File Export and
select artboards to PDFs. Next in the window data beers, I can set the destination
folder and I am going to select the folder
that contains my pattern tile. I can give the file a name. And next I am going to
activate this option. I can also include the name of the artboard and I
click on Execute. When the process finishes, I will have in my folder
the three different PDFs.
24. Project of the Class: For the project of this class, you have to read
your own while to UE products following
the lessons that are included in the class. If you have any questions, please feel free to include them in the comment
section of the class. And I will be very happy to
help you as soon as possible. Finally, I would like to
thank you very much for watching this class and I
hope to see you very soon.
Beatriz Pascual, Pattern Designer & Entrepreneur
