Pattern Design For Painters (A Photoshop Class for Traditional Artists) | Bari Ackerman | Skillshare
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Pattern Design For Painters (A Photoshop Class for Traditional Artists)

teacher avatar Bari Ackerman, fabric and surface designer/painter

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Preview - Pattern Design for Painters

      1:55

    • 2.

      Welcome! What will you learn and need?

      3:07

    • 3.

      Photoshop Basics

      3:58

    • 4.

      My Fav Photoshop Tools

      13:26

    • 5.

      Scanning 101

      3:56

    • 6.

      Removing Backgrounds to Prep Your Art: Lasso and Magic Wand

      15:49

    • 7.

      Removing Backgrounds: Pen Tool

      5:02

    • 8.

      Removing Backgrounds: Freeform Pen Tool

      3:16

    • 9.

      Creating Dynamic Motifs with Multiple Pieces of Art

      9:32

    • 10.

      Creating a Simple Half Drop Repeat

      3:08

    • 11.

      Creating an Overlapping Half Drop Repeat

      5:51

    • 12.

      Creating Multiple Colorways by Indexing

      13:04

    • 13.

      Conclusion - Bonus: About Pantone Colors

      1:56

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About This Class

Get your art ready to go on products! Using Photoshop, learn to use your traditional art (paintings, drawings etc) to create pattern repeats while maintaining the hand done charm of your work.

Working knowledge of Photoshop is a plus but not 100% necessary. I will cover scanning and some photoshop basics.

What will you learn:

• Photoshop Basics

• My Favorite Tools for creating patterns in Photoshop

• How to remove backgrounds from your scanned art

• How to create pattern repeats (half drop and overlapping half drop)

• How to change the colors of your original design, reduce for screen printing and create multiple color ways.

Meet Your Teacher

Teacher Profile Image

Bari Ackerman

fabric and surface designer/painter

Teacher

I'm a 10 year veteran surface pattern designer with over 16 collections of fabric on the market as well as wallpaper, rugs, dishes, homewares, phone cases and more. I design for Art Gallery Fabrics, Wallternatives, Murals Your Way, Loloi Rugs and a host of other manufacturers.

When I started in fabric design in 2008, there was nothing like Skillshare on the internet. Online teaching wasn't really a thing yet. So, I was making stuff up as I went along which made it a much harder "row to hoe". It took forever to get up and running. I'm so excited to be able to share what I've learned along the way. Hopefully, this will make it easier for you!

It's been a journey, and now my art is in Anthropologie, Grandin Road, Lulu and Georgia, and Pier 1 (etc) as well as fabric shops worl... See full profile

Level: Beginner

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Transcripts

1. Preview - Pattern Design for Painters: Hi there. This is pattern designed for painters. I'm Bari from Bari J and I've been designing patterns for over 10 years. I developed this course specifically for traditional artists because I understand what the issues are for traditional artists. I do a lot of painting and I scan that art into the computer. If you use a traditional software such as Illustrator, you're going to end up with very clean lines and it may not necessarily look hand-drawn anymore. I use the techniques in this class to create 16 plus collections of patterns which are on fabric, wallpaper, rugs, dishes, and all sorts of products they are in the retail space. I used Photoshop to do that. Photoshops can help you maintain a nuanced nature of your designs. The issue is then, how do you change the colors and paint multiple color ways? How do you put the patterns into repeat? In this class, I'm going to show you exactly how to do that. You'll learn a few photoshop basics, how to scan your art and clean it up in Photoshop. How to put it in repeat. How to create multiple color ways and how to get your art ready to be on products. So if you're a traditional artist, whether you paint, draw or whatever you do, this class is for you. 2. Welcome! What will you learn and need?: Hi. This is Bari from Bari J. As you know, I've been a Patterns Designer for over 10 years and I've created 16 plus collections of patterned designs. In this class, I'm sharing all of my secrets for how I do that in Photoshop. Pattern design for painters is for the traditional artist to teach you how to keep your designs looking like their original painted art. Even after you've manipulated your art in Photoshop, you've changed the colors, you've reduced colors down and you've put it into repeat, your art should still look like it's hands-on, and in this class, I'm going to show you exactly how. First, let's talk about what you're going to learn in this class. You will learn a few Photoshop basics, including my favorite tools to use, you're going to learn how to scan, clean up, and remove backgrounds from your art, you'll also learn how to create dynamic motifs using multiple pieces of your art to put into repeat, you're going to learn how to create half drop and overlapping half drop repeats, and you're going to learn how to index your colors to create multiple colorways so you can get your art on products. So what will you need for this class? Of course, you're going to need Photoshop. Head on over to Adobe if you don't have it already. Check out their creative cloud options. Next thing you're going to need is a scanner or somewhere to scan your art. You might be able to do that at Office Depot or Staples if you don't have your own scanner. I actually take my large pieces to a scanner here in town. They have a really large scanning bed. And you're going to need a Wacom graphics tablet. A graphics tablet is a pen that you draw onto. Actually, it's alloy and it goes straight into Photoshop. I'm not talking about like your iPad or something like that, so checkout wacom.com and see what their options are. I started with a Bamboo Fun, which was really inexpensive and easy to use. Then I moved up to an Intuos and then I moved up to Cintiq, which is something now I draw directly onto the screen and I love it, so it just depends on what your budget is and what you want to get, and of course, you're going to need your art. I'm super, super excited to teach this class. Thank you for joining me. I have been wanting to teach this class for a really long time because when I first started out, there was literally no online learning and I was just making the shoes up as I went along and it took a really long time to learn, so I hope that this helps you get started in a much easier fashion than I did. Let's get started here. 3. Photoshop Basics: Welcome to Pattern Design for Painters, the pattern design class for traditional artists. This is Bari from Barry J, and in this video we're going to learn a little bit about Photoshop basics. Let's talk a little bit about Photoshop for those of you who have never worked in it before, or if you have very low experience in it. I just wanted to show you when you open the Application, these are all documents that I worked on in the recently. You've got this create new button. Create new documents, will go back to that in just a minute. You have an open button, recent files, creative cloud files, lightroom files. So these are all things that you can access from this panel. There's even a learn button which will take you to some videos from Adobe. So those are basically when you open it, this is what you need to know. So if I want to create a new document, I can either hit click here or if I've got files open and this whole thing is covered up, I'm going to do file new. From here, I do create new, and this window comes up. This shows me all the different sizes that I've worked in very recently. I usually start with an eight by 10 unless I know what it's going to be. I can name it from here if I want to. I'm just keeping it untitled for now. I can do the orientation different ways and I use 350 resolution and I use RGB color so that I can share on screens with people who need to look at it. I can make sure that my document is transparent as opposed to white, black, or the background color, so then I just click create, and I have a document here. What I want you to know about Photoshop documents is that we work in layers in photoshop documents. If you have a photo and you want to draw on top of it, you're going to create a new layer and you can just draw right on top of it or whatever it is you're going to do. You want to keep your elements for pattern designs separate so that you can manipulate them. That's the most important thing to know. So if I want to create a new layer, I come to Command Shift N, or I can do via new layer. I can even name layer from here, I can it later, whatever I want to do and I just click Okay, and it ends up the layer goes on top of that one, but you can move these around as well. I'm going to close this, and I'm not going to save it. I'm going to show you a document that I have that has a ton of layers in it. So right here you can see that I've got all these different flowers and they're in layers and their in-group layers as well. So you see I've got these grouped, etc. But I don't have these group to create the group, I'm going do shift. I can choose all of those or I can use shift to choose one at a time. If I want to skip this, if I want to do this one, I press the command key and I can choose them separately like that. Then I can do command "G" for group, or I can do layer, group layers. I can name this by double-clicking on it and name it whatever I want to name it. So basically that is what you need to know. So you can take this layer and you move it around. You can do whatever you want with the document. You won't have to worry about things getting change together. You're just going to have separate layers for everything and then you won't have to worry. That is what I wanted you to know before we go ahead and get started. Then I'm going to show you a few of the tools in the next video. In the next video you're going to learn some of the tools that I use to create patterns in Photoshop. 4. My Fav Photoshop Tools: Welcome to Pattern Design for Painters, the pattern design class for traditional artists. This is Bari from Bari J. In this video, we're going to learn about the tools that I use to create patterns in Photoshop. Before we get started here, I want to go ahead and show you the tools and the pallets or windows that I use. First, let's start with the windows. I use the layers window in Photoshop, you have the layers that you can create. I can Add Layers, Command, Shift, and we'll get you a new layer, or Layer, New, Layer, and I'll do a cheat sheet of all the shortcuts. So you'll be able to see that. I can move this layer behind that layer or the other way around. I'm just dragging them. Then the swatches, obviously, these are the swatches that I've put in here from the Pantone app. I'll show you a little about the Pantone app in a little bit. But it's one of the things you don't absolutely need it, but if the company that you're designing for likes to choose Pantone, you might want to go ahead and get Pantone decks, but we'll talk about that later. Here are my swatches and I can view them different ways. Put that back here, and these magnetically kind of click together. This is the navigator tool. I'm going to use the magnifying glass. The default for the magnifying glass is the plus sign. For some reason the minus sign. Just switch it to the plus sign and press the "Option" key, you'll see the plus sign come up. I'm going to just make this really big. You see, this is a document that's got a lot of pixels that we've got to clean up, and funky edges and all of this kind of stuff. But here's the navigator window, and I'm going to make this really big so you can see it, or I could do this. This works too. You can either move this red box around, you can do this, go less, go more. There you go. That's basically how I use that, and that's basically what I need to get in real tight, and see where I'm in the document still. So put that over here and then I want to View, Fit on Screen. Now, let's move over to all the tools that I use. This is the Move tool. What you do with that is, I'm going to put it on the top layer, I'm going to choose the top layer, and I'm going to move that. I can also scale this. I can shrink it down. Now obviously, I did not keep that and proportion. If I want to keep it in proportion, I can do one of two things: I can either press the Shift key as I'm making it smaller, or I can shrink it down whatever size I want, willy nilly, and I can press the "Link" button up here, and that'll keep it in proportion. "Don't Apply. " You need to apply or don't apply. This is rectangular Marquee tool and there's different shapes that you can use in here, and a Marquee tool is simply a selection tool. I'm going to select this little bit here and make sure I'm on the right layer. I've got my keyboard. I'm going to press Command X, or "Edit" to cut pixels. That got rid of it. I can either paste it, and now it's a new layer. Let's show you that layer. See there's no other new layer on top. It's somewhere over here. There and I can put it back, or I could just get rid of it altogether. Command X, Delete it. I'm going to go backwards. Command D to deselect. This is also a selection tool. I don't really use these very often, but I use the Lasso tool. Basically, I can again select something, and I could cut it and paste it somewhere else, or cut it altogether. Command D to deselect, and here's the Select menu. So you can also reselect, de-select all that. Now I'm going to move on to the Magic Wand tool. You see my tolerance is up at 22. Tolerance is about how much of something will get selected. If the tolerance is higher, more won't get selected, and if the tolerance is lower, less will get selected. Let's say we put this down, let's see, 15. I click this little yellow bit. You see I get some of that yellow. Now, let me put up at 22, and deselect, and then I'm going to hit that again. You see it chose more. Then I can hold the Shift key down, you see a plus sign come up, and I get more and more of that. I'm adding to it as I do that. I can get rid of that Command X, Command V to paste it somewhere else. But for right now, all you need to know is that that does a selection, Command D to deselect. This is the Crop tool. Obviously, we're not going to use that for much of anything except for our repeat patterns. This is the Eyedropper tool, it chooses color. If I want to choose a yellow, you can see I've got yellow here now, and this is the swatches. Back to that. What did I skip? Here's the Band-aid tool. Band-aid tool is one of those things you've got to train yourself to use it a little bit and play with it a lot. Let's see if it works here. If I want to get a little bit more of this color over here. If I do this here, it did fill it in a bit, and I'm actually going to leave it like that. If I want to put some more of this color over here, I'm going to swipe over there. You see it's deciding for itself what color it's going to come up with based on where you're selecting. Now, if I want to make this bigger, and this is pretty much with any of the tools, I'm going to use the bracket keys on my keyboard. This is the easiest way, and the bracket on the right makes it bigger, and the bracket on the left makes it smaller. You can also get the brush window up, and change the sizes. I just use the keyboard though. Again, I'll talk about shortcuts in a document that will be attached to this. Now we're going to go the Brush tool. I use the Brush tool, and the Pencil tool here. I don't really use anything else. The Clone Stamp tool. So this is a similar kind of like a healing tool as well. See how there's this dot here, what I'm going to do is I'm going to choose this color by pressing "Option" on my keyboard, and just clicking. Then I'm going to spread that color around. Let's fill that in a little bit. Again, it's a tool that you have to play with to see what it's going to do. You see that, it doesn't look quite right, and let's maybe choose from over here. You'll have to play to get it how you want, and it's kind of useful. So say I want to fill in again more of this, it shows that. I'll give me more of the colors, and you can see it does what it wants to do. It's again a tool to play with. Got it. Step backwards. I think I have to go back like six times. Then after that, this is a tool that I don't use. This is the Eraser tool, and obviously you erase with it. You can also use the magic arrays. They're amount of deal bigger swaths of color. Here, the tolerance is setup at 40, so it'll probably select a lot. I got rid of all that. Command Z to bring it back. If I have a tolerance lower, it'll be less, a tolerance higher, it'll be more. The Paint Bucket tool. I'm going to make this layer invisible. Then I'm going to be on Layer 0. This you can either do the foreground color. You can see I'm switching, now that's the background color, this is the foreground. Then I'm going to just dump it in with the paint bucket. Command D, get rid of that, and then I'm going to do a pattern. I've got patterns in this palette. I'm going to choose one minimum, and dump it in here. Command Z to go back, and then make this visible again. This tool, there's a Smudge, a blur, and a Sharpen, and it's again, things that you can use for fixing some of your art. This one is the Burn tool, and the Dodge Tool, and the Sponge tool again, things you can use for changing the lightness and darkness, and you can play around with this to help you fix some of the art in once you've scanned it in. This is the Pen tool. I also use the Freeform Pen tool. I'll show you both of these. The Pen tool, I'm going to blow this up. Say I want to get rid of this whole nasty section of pixels. I'm going to choose the Pen tool, this is basically creating a path. If I click over here, it's doing a straight line. I've pulled this out, and it bends it. So there you go. But if I do this, now you can see it's just doing this curve or even odder, so it doesn't. What you want to do is get rid of this arm, and you press "Option," and hit that little point, and then you won't have a funny curve. Then to curve it, you're getting, like I said, pull. I'll make my curve go whichever way you want. Put it back. They want to curve around here, a curving curve. Now, I'm just making points so that I can now just close this. So that's close. Now I'm going to right-click, and I'm going say, "Make Selection". Then this little thing pops up, and I say, "Okay", and then you've got that selected, and what I can do now, I'm on the wrong layer, so I'm going to click the proper layer. Luckily your path and your selections stays with it. If you were on the wrong layer selecting things you're okay still. I'm going to press Commands X, and get rid of that. You can see I got rid of all those pixels, and I'm going to keep that, gotten rid of. "View" it back and "Fit on Screen". Then the Type tool, don't use too much of that in fabric design. These are shapes you can use to draw with the Hand tool. Let's blow this up so you could see how this works. I use the Hand tool, and just move it around, you know what the magnifying glass does. Then again, these are your foreground color and your background color. That is basically it. Get that back on the screen, and you are good to go, and we will talk about scanning art. 5. Scanning 101: This next video is about scanning and I know a lot of you are familiar with how to scan your paintings. However, you might want to listen to the end of this video, which is a very short video because I do give a couple of hints and tips for when you have to troubleshoot. So, stay tuned. Look at me here and my screen is my scan software menu and I have an Epson Scanner and when you have a scanner, you download the software, of course and so I always start my resolution. This is the most important thing you want to know. I always started up at 600 so that if I want something to be bigger later, I'm not going to have a problem with resolution. If I started at 350 and I then wanted to blow something up bigger than it was to start, I would be lost because I didn't have as much resolution. I like to start it up really high and change it later. This is really the only setting that I touch on here, is resolution and 24-bit colors what you want chosen. You can obviously do black and white and all this other stuff as well. I'm just leaving it at original. I don't hit anything here except unsharp mask is already hits on, I'm just going to leave that and then I press preview. This was what came up in my preview when I previewed it earlier and then I just hit scan and it gets saved to somewhere in my computer. Now, the one thing that I have run into with scanning on a flatbed scanner where it has a top that you put down on top of it say you have a Canvas and of course, Canvas is 1.5 inches thick. Well now you can't put the top down while along the edges of the top are these little levers that get pressed down when the top is closed. Sometimes for some reason I've heard this happens in absence sometimes is that those are meant to be pressed down when you're scanning because the top is down and sometimes it'll cause a blur if those aren't press down. What I did to remedy the ad, was take some packing tape and just push them down on my own. It was really no big deal, just remedy did it with a little packing tape or duct tape or masking tape or something like that. The other thing is when you have a canvas on there, sometimes the Canvas isn't touching the glass all the way and you'll get that blur, so you'll just want to stick some heavy books or something on the other side of the canvas to that everything is depressed on to the screen. You can see here that I have a scanning bed that is about, let's see, shows in the bottom left-hand corner the size of the whole scanning things. As it felt right here, 12 by 17 is the whole scanning bed. Then the other thing that I needed to tell you is if you don't have a scanning bed and you want something or you have one that's not big enough, you can bring it to a local printer and a lot of places have huge scanning beds. I do Thomas Print works here in town. There may be Thomas Print works in other towns and some of them have the really large scanning beds and they've scans paintings up to six feet for me. There are ways to get around that. You can also go to Office Depot or Staples and have things scanned, but you just want to have access to a scanner and in some capacity. That's really it about scanning super easy, nothing too big. That's really it on scanning. Now we're going to take our scans art and we're going to start removing the backgrounds and you'll see why in the next video. 6. Removing Backgrounds to Prep Your Art: Lasso and Magic Wand: In this video, I'm showing you how to use the magic wand to remove the background and then how to clean up all of the pixels that are hanging around, causing trouble. We're back in Photoshop here and we are going to remove backgrounds from scanned artwork. I'm going to open this one. Now you can see I've got scans artwork, it's got some blips in it. I've got some edges that are against here, so there are a lot of things that are going to need to be cleaned up. But the first thing that we want to do is remove the background from this. There are several ways to do this, but the first way we're going to learn is the magic wand tool. I'm going to click this and what the magic wand tool, it's selecting the color here. You can see it selected this based on the tolerance that we've got it set at, which is 22. Which is okay, I can go even lower than that, but it'll select a less of the background. What I do now, is I do select ''Similar'' and you can see that it's chosen most of the background and I've got some things that shouldn't be chosen as well. Whoops, so like these bits in the leaf that are chosen, I don't want those to be chosen, and there's probably edges of flowers that are cut off. What we do here in order to remedy this, is we go to the lasso tool. But first, let me explain to you why we want to get rid of our backgrounds. When you're creating pattern repeats, your edges of this white are going to line up together and they won't necessarily match based on the edges here. The edge won't match up. Then also if you wanted to just overlap your pattern, you can't overlap anything because you've got these white. You want to get rid of the background and create new backgrounds for yourself later. Basically this is what we do. We've got the lasso tool, you can see when I bring up the lasso tool, there's just a little arrow and the lasso. Now what I'm wanting to do is I don't want this portion of the leaf chosen, so if I press the option key, you'll see a minus sign come up next to the lasso, and that means I'm going to take away from the selection. Now again, I'm using my Wacom Intuos, so I'm drawing right on the screen and you can do this easily too with a Intous or even a bamboo. I still see things that are chosen, so I'm just going to get rid of them. I'll do this for the entire document or I see things that are chosen and I don't want them chosen or vice versa, and I'll show you the vice versa here. There's a bit over here, I know wasn't chosen. This part, this edge, I want that to be chosen, so instead of pressing the option key, I just press the Shift key and I'm going to go along that edge, and I'm going to choose that. Now that is picked. I'm going to go through this document with a fine-tooth comb. You see all this that shouldn't be chosen and you see some here that should. What you need to remember here is the option key brings up the minus sign and the shift key brings up the plus sign, so you can go through this and get rid of what you want and keep what you don't. That is the first way of getting rid of backgrounds. First, I want to make sure none of this flower is selected, so really, I'm going to have to go over all the edges here, and first I'm going to do it from a not so close up standpoint, then I'll get closer to check the edges. But first I just want to make sure I get the whole flower in. Let's just speed things up here for a moment. I'm going to fast forward this video a little bit. You can see with the lasso tool, you have to not let go while you're doing it. There's another tool that allow you to let go, which will help you get these edges a bit better. Right now I'm just showing you how to do it this way. The reason that I'm showing you more than one way to do it is because you'll find yourself in situations where you'll want to use one way and you'll find yourself in other situations where you'll want to use another way. You'll want to watch here for a minute while I add and subtract to the selections. This should give you a better idea of how you want to do it when you open your own images. I'm just continuing along here, adding and subtracting as I go along. You want to keep noticing where the minus sign pops up and where the plus sign pops up when I'm using the Lasso tool here. One of these things is very useful with the Lasso tool. As I can take out this blip that I do not mean to get on the paper. I pressed the Shift key and the plus sign came up and I got rid of that. I can see couple more blips. Like I said, I'm going to blow this up really big so that I can really see closely what's going on, on all of these edges. How about we speed things up so y'all don't fall asleep. Now you might have noticed that I left a few blippies in there. That is so that you can see what happens after we get rid of this. The first thing we're going do now that we have all of this properly selected or as best as we can, is we are going to go to the Magic Eraser tool. I'm going to click some of those background. It's going to remove most of it. But it doesn't get all of it because it's clicking and it's getting the similar colors, or the closest colors to that, that are chosen. I see here I've got this that's left and I need to make sure this stays. Actually, I think I caught that. Now what we're going to do is is we're going to edit, cut or command X. That gets rid of everything that was chosen by the magic wand and your Lasso. Now what happens, I want to make sure this is on the screen just a little bit tighter. Okay. Now I've got that on the screen. Now we need to check to make sure we got rid of all those pixels. What we're going to do is we're going to do a temporary layer style. You're going to put temporary stroke on everything so we can take a good look and see if anything's got chicken [inaudible] , if there's little dots hanging out around. What I've got here is I've chosen red and I've got about 24 pixels. We can even make that bigger and it will show us more of that. But we want to get it in pretty close. It's basically we're seeing the edges here and we're seeing what's left. This just makes it more simple to see what you have left. You could see I accidentally left this. I'm going to take the Lasso and I'm going to command X or edit cut and that's gone. I don't think I'm going to want this here. I'm going to command X and get rid of that. Now I'm going to go in nice and tight and see if there's anything left. There is when it get this edge here, command X and then we're going to look to see if there's any dots. There are. I'm going to just blows up even more so you could see, move it over to the center. You can see there were tiny little pixels left here. We're going to just get rid of that. You could go through the whole document this close. Sometimes it actually doesn't matter there's little pixels, especially if you end up using like a white background and the background that wasn't originally white. It ends up not being noticeable, but I'd like to go through and see what I can get rid of and it will make me happy that I did it. Basically, you go through and you just clean up the whole darn thing. I can now do this Layer Style little bigger and I'm going to ignore the edges here to see if I can see any bigger dots. I'm ignoring the edges, but I'm looking for dots. Just get you a nice clean up and you're really clear, clean background when you're all done. Yes, it does appear a little tedious, but as you learn this a little more, you will get used to it and you'll be faster. Now I am choosing some of this rough edges that are really like their pixels hanging out around them. That's why the stroke looks like, big and wide. Now of course you're going to want to get rid of this effect, this layer style. You're going to go open the layer window and you're going to right click right over here where it says effects stroke. Then you'll do clear layer. That's gone. In the next video, you're going to learn how to use the Pen tool and the free form Pen tool to remove backgrounds as well. That way, you'll have two ways to be able to do the same thing. You'll get to choose which way is most appropriate for the thing that you're working on. 7. Removing Backgrounds: Pen Tool: In this video, we're going to learn how to use the pen tool to remove backgrounds. This will give you a second option to do the same thing that we did in the last video, so that you'll be able to choose which thing you use for which project. Now, you can see I have another document open here and we are going to use the pen tool to get rid of backgrounds. Remember, we use the lasso tool. If you let go, it decides the selection for you. The great thing about the pen tool is that you can lift your hands up. Let's blow this up. What I'm going to do is I'm going to use this pen tool and I'm going to create a path around this leaf. First, I put down a point, another point along the straight. Now, when I want to do a curve, I put down a point, I hold it and I drag. Then I click the Option key and I get rid of that second bar. I keep going all the way around. When I click and drag, it creates the curve. You going to play around to make sure that you're getting the curve of the right way. Again, the Option key, and we click the square, I'm going straight, so I don't need to do that. If I make a curve, it comes up with these bars again. Option click, put down the point and drag. Option click until I'm all the way around the guy. Now, remember, we can totally use the lasso. When we're done, we're using some of those same techniques that we just learned to create more accuracy where I'm not being very accurate right here. Now, the path is closed. What do you do? You right-click and you click "Make selection". You'd see here its operation new selection because nothing selected yet. Now, I click "Okay". Now, I'm going to want to do this to my entire document, but let's just pretend we're doing a couple of leaves and we're going to do this again. We're going to create another path point and another point and drag to make the curve. Get rid of that by pressing the Option key and clicking. Keep going all the way around your little leaf. This is one of those tools you have to really play with. Excellent pressed a button. Here we go all the way around. You can even do tiny little points to get around these little curves. Now, I'm going to right-click again and do make selection again. However, I'm not going to do a new selection because that would get rid of the old one. I'm going to add to selection and I'm going to press "Okay." Now, I have two things selected. I'm going to use View, Fit On Screen and you can see that I've got those two selected. Now, if I just did "Command X" right now, those would be gone. We don't want those gone. Let's go back and we wanted to say we just want these leaves. We're going to go Select, Inverse and then "Command X" to get rid of that, does this. We don't want that. What happens is you can now have the background color. We're going to do "Command Z" to go backwards. What I'm going to do is, I'm going to take the magic eraser and click some of this stuff we don't want supposedly. That gets me the transparency and I'm going to do "Command X" and get rid of it all. Now, all we have left is these little guys. But, of course, we don't want that. What I would do is I would go around to every single one of these and have them selected before I start magic erasing things. The next video is going to show you how to use the free form pen tool, which is even a little bit easier. You're going to want to try these techniques and different things and see which one works best for which thing. 8. Removing Backgrounds: Freeform Pen Tool: Now we're going to use the Freeform Pen Tool to do the same thing that we did with the Pen Tool, and I think you're going to find this really easy. It's one of my favorite tools to use. Let's get started. Now you can see I've that same image up here, and I am going to blow it up. Now we're going to do the Freeform Pen Tool. Since it's right under the Pen Tool, I'm going to choose that and again, it creates pads. But with this, you're going to be able to lift your hand up and you don't have to pull to make curves. Really, you're just drawing around the object. Then if you stop, that's fine, it doesn't close it or anything. You just pick up where you left off, and you keep going around it. I love this because you can just be a little bit more accurate with it because you can go in shorter bursts. Again, if you are not accurate, you can go back with that Lasso Tool and create that accuracy the way I showed you in the first segment about removing backgrounds. I personally have a little bit of a shaky hand, so I have to go back and correct things a lot. Now we've closed to this path and we'll do right click "Make Selection." You're going to do the same thing that you did before with the Pen Tool. You're going to click and erase. I did not do this. Inverse, click, and erase. Command X and that everything's gone. Now we're just going to bring everything back. Remember, you would want to then go on to your next piece and do, well, let's just do this. Right click "Make Selection." Instead of New Selection, Add to Selection, and say, "Okay." That's it for removing backgrounds. In the next video, we're going to learn how to take some of the motifs that you've created, combine them together, and create more dynamic motifs. To get started on a project, why don't you go ahead and remove a background from some art that you've scanned using one of the three techniques that I taught you in the last three videos. 9. Creating Dynamic Motifs with Multiple Pieces of Art: In this video, I'm taking multiple pieces of art, and I'm putting them all together to create a really dynamic motif that you can use for repeats. Let's get started. Likely when I go to make a repeat, I'm not going to just take this piece. I might be moving things around within this piece, and I might be bringing things from other pieces to join this piece. But let's go ahead and take a look. I'm going to make this a little smaller just for giggles and apply. Let's go ahead and try to figure out how can I take bits and pieces of this and move it around and put them in different layers. I'm going to hide this one for now. Now I've got the Lasso Tool going again and say I want a duplicate of this bit. I'm just going to circle it. You can use the free form Pen tool or the Pen tool, but I chose to use the lasso. Here we have our layers palette. I'm going to just do command X, mess gone, but now I'm going to put it in a new layer commands V for paste and here it is. Again, I'm using my move tool and I can move it wherever I want and I can shrink it down or whatever I want to do on ban, of course, I can duplicate it. Player, duplicate Layer or Command J. Move that here. I could spin it around. I can warp it a little if I want to make it a little bit different, whatever I want to do with that. I can add that over here. I can take this and put it in another document altogether and create just a little motif out of a little flower. Move that around. Then let's see, we can take leaves and duplicate them. You just do this, circle it again. I'll do command c for copy. That's empty because I'm not on the right layer. If I go to my big layer here, and of course it's still selected, I'm going to command c for copy, command v for paste, and I've got two of those right on top of each other. I don't like that up on top, so I'm going to remove the layer down. Things can look really different when you start moving them around, start resizing them and stuff like that. You can also go into edit and transform and pick any of these, just door warp skew and play around with those to get them looking different as well. Then say I want to take a piece from this guy and I want to put it in here. I'm just going to circle all this. Take that, pop it over there, some dragging it and holding it until that shows up. I can put this in here with this. This is how you can combine multiple pieces of art into one motif. Then what's going to happen is we're going to put it into repeat. We're going to need it to be a certain size or shape to do that. What we want primarily here is that we're going to want that to be even. I'm going to say fit on screen here again. I'm also going to do view, show all. I'm going to give myself some lines here. Say I want this to be eight by eight. I'm going to give myself a nice line on the eight, and then I'm going to get myself a nice line. I'm just dragging from the ruler down to the eight which I cannot see because that's in the way. I'm going to pull that again down to the eight. It's going to get me ready to create a motif. One, I'm wanting this to be as somewhat square. First, move this up here. I'm going to shrink you down, put you in here shrink you down some more, more and more and more. Me over here. Let's make sure snap is on. We want snap on, and pull this out here. You see this ruler line is not on the eight because I did not have snap-on. Now when I put snap on, it gets it exact. Still just snap itself in place. Move this up into here. I could name these layers which would be helpful to see how it lights up pink when I hit the edge. I will take that leaf, put it over here. I'm going to duplicate this command J, move that down here, and I've got a pretty full motif, I'm going to shrink that and put it the other direction. They get a little bit different from that one. What we want is to fill up this whole square. We want everything to fit within it. We're going to not check. I like to have something touching on every edge. Not everything else to touch on every edge, but that's what I like to do. You can see I've nothing touching on this left edge, so I'm going to take that flower and I'm going to move it, so it touches. I suspect there to be some pixels scoring around with me there. Now we have, let's see, there's nothing touching up at the top. That is all set. Now we have this put together as a motif in different layers. What I'm going to do at this point is I'm going to save it as. We're going to do Command Shift S or File Save As and I'm going to save it as, A new motif with layers. Typing is the pain. We're saving it as a PSD, so it's got those layers, and we click "Save". Now, I would like to merge all of these. I'm going to do another Save As Command Shift S for Save As, and I'm going to do, say it's no layers are merged. I'm going to merge those layers. I'm saying this one is the merged document and I like to do that. If I can go back. If I mess this up, then I can go back and I can get those layers again, then moved things around, click Save. Now I'm going to choose all layers by clicking the first one, pressing down the Shift key and clicking the last one. I'm to do Command E to merge everything. That would also be merge layers, which is in here somewhere. It's actually down here, and you would do that by having all of them selected. It's invisible right now because I already merged them and I only have one layer. Now that he's got your motif in one layer, you ready start making repeats. Why don't you go ahead and post your motif to the class projects so we all can see? I cannot wait to see what you're up to. 10. Creating a Simple Half Drop Repeat: We've gotten to one of the most exciting parts, creating a repeat. This one is going to be a simple half drop repeat pattern. So I'm going to show you how to do a basic half drop repeat with doing very little math. I have a motif here on the screen. I'm in Photoshop and I have the grid shown so and I hit Show All, and so everything's hit, and then I also have Snap-on. I know that this is an 18 inch square and so I made my whole page 36 inches. I just doubled that. This is going to be a half drop repeat but with no overlap. What I'm going to do is I'm going to duplicate this layer command J. I'm going to slide this down by holding the Shift key. It keeps it in line with the column and I just slide it down until I see that pink and it lights right up. I'm going to vary this. I'm going to Edit, Transform, Flip Horizontal. So there's a little variation. But overlapping repeat I would bring it up and it would overlap the other one. This is going to be a simple repeat with no overlap. Now I'm going to hit command J and copy that. I'm going to take this transformed motif that is flipped horizontally and I'm going to put it in the middle on the right side of those two. So I could see when it matched up because those pink lines showed up because I have the Snap-on. Now I'm going to go back to the first motif. I'm going copy that, command J. Put it one over it. Make sure it's long edge and all matched up. Command J, Copy that again, hold the Shift key down, slide it down to underneath the other one, and they all, have a simple repeat created. Now I'm going to do the Show None, so we could see it. Then I'm going to do Edit, Define Pattern. I'm going to Test this. To make sure I made no mistakes. Now I'm going to click the paint bucket because that's where the pattern is, and I'm gonna choose the last motif that I created, and I'm just going to dump it on here by clicking the Sheet. Here it comes. In there you can see that I have no breaks in the pattern. What I did was I made it. The whole pic was 36 inches and I made this one 42, so you could see if there was any break anywhere. Now it's time for you to take that really great motif that you created before and put it into repeat. Let's see that in class projects. On the next video, we're going to do half dropped repeats with an overlap. 11. Creating an Overlapping Half Drop Repeat: One thing I want to remind you about doing repeats this way is that we have that snap tool on so that we can basically get away with doing very little math. So make sure that snap tool is on so you could click things right into place. Now we're going to do an overlapping half drop repeat pattern. I'm starting here with a fresh motif. It is a 16-inch motif. I'm going to make sure it's exactly in the top left corner and that it's exactly 16 inches. Just going to check so it snaps right into place. There you go. Just check all my edges. It's exactly 16 inches. Now it's going to be an overlapping half drop repeat. What I'm going to do is I'm going to hit Command J and I'm going to copy that motif. Then I'm going to slide it down so it matches. Then I'm going to flip it horizontally, transform, flip horizontal. This is just for some variation. Then I'm going to slide this up. Sure we're exactly in the right place. Slide this up by an inch, is that how I want it? That's about the overlap that I want. So now I'm going to hit Command J, copy it again. Drag it over to the right. Now the middle would normally be this point right here. But because I've gone up an inch, I'm going to go up half an inch and that'll be the middle of this new overlap. Would I like to see it overlapping this way too? I think so by an inch or maybe even just a half inch. Then I will take the original motif. Sometimes I'll vary these by flipping them vertically as well. But I want these leaves to hang down, so I'm going to leave it. I'm going to make a copy of that, Command J. Now vertically, I had it overlapping by an inch. So I'm going to slide it horizontally, it's a half-inch, so I'm mashing up this edge. Now I'm going to slide it down an inch. Then I'm going to copy that, Command J. I'm going to slide it all the way down here where it met with that pink little light up. Then I'm going to overlap it by an inch. Now I'm going to take this three motifs that are on the right hand side. I'm holding on the control key. I'm picking all three of the ones on the right. I'm going to hit Command J to copy all of those. They're going to need to overlap by a half inch on the left. That's three quarter. There is half. Then we need that bottom motif to be copied on the right, Command J. It's going to go over by an inch because that's what I've done vertically. So now we need to crop this piece so that we see where the repeat is. So I did half an inch overlap going this way and an inch going this way. I'm going to do an inch cropped from this edge. One. I'm going to do two inches. That's because I'm doubling that half inch. I'm going to double the inch that I overlapped and I'm going to do two inches. You can see in this little blackouts that I've got the little bit hanging there and it's also here. I know I've got it right, but I'm going to check that later as well. I'm going to hit this tool and then crop. Now I'm going to do view. View, Show None, take a look at that. I'm going to test my repeat. Let me get rid of our thing that's on this original test here. Edit, step backwards. Let me go back to the one I was working on. I'm going to do Edit, Define Pattern. This is how I test it. Then I'm going to come over here, and the Define Pattern put it in the paint bucket. So I'm going to choose that last one that I created and take a look at it and dump it on this page. I don't see any broken motifs. So it looks like I've got it right. I could blow it up a little bit. Then I'm going to add a layer, just so I could take a real good hard look at it. I'm going to do foreground, put this behind. Let's see it a little better. There you go. I've done my repeat correctly. Now that you know how to create two different kinds of pattern repeats, let's go ahead and index those colors so you can make multiple colories of your beautiful designs. Be sure to post your overlapping half drop repeats and your regular half drop repeats in class projects. 12. Creating Multiple Colorways by Indexing: Now that you know how to make beautiful pattern repeats, it's time to learn to index your colors, which means you're going to reduce them down, and then you'll be able to change the colors and make multiple color ways. What I'm going to be doing here is indexing the colors on this repeat that I've already created. It's without the backgrounds because what I'd like to do is create a background in indexed background and an indexed foreground. The reason that I wanted to do that is sometimes when I have them mixed together, what will happen is there will be a color that's so close to say a color in one Mideast flowers in the background, then it will mix the two together. Then if I change that color in the foreground and the color and the background, they'll both change and I don't want that to happen. What I'm going to do is I'm going to reduce this to 14 colors. I know I want my background to be two colors, so those will be two different colors and then merge the two documents together once I have it all finished. But I don't want to confuse the colors, what I'm going to do is start with the foreground. I should tell you that the company that I'm width allows 16 colors for screen printing. I can do up to that, and some other companies do last, some other companies do more, but that's what I'm allowed to do, you don't just want to check with who you're working with. To start, you can see I've got all these layers, and what's going to happen when I index the colors is all the layers merged. I'm going to want to save a copy of the repeat without indexing it first. I've saved this as repeat, and then I saved it as indexed. So image, this is how you start image mode indexed color, merge layers. I'm going to want to choose local adaptive, and then I want to have the mat on none that did there on none transparency checked, that's the background here. I'm starting with 20 colors. If I were to move down to say six, I lose a lot of my colors. I'm going to start her way up at 20 colors. I have all the variations that I've been working with, I can even go higher, say 40 colors. You can see I get even more variation in here. But I'm going to do 20 because I know I have to reduce to 16 anyway. That's going to hold that. I'm going to lose a little bit over the color. You're definitely going to lose that. Now, I'm going to do custom, and a color table will come up in this, the colors that Photoshop is seeing here, Click "Okay", and then "Okay" again. Or blow this up a bit so that I could see basically just one motif in their own repeat because I won't need to really see more than that. This about right here was my repeat. I want to be able to see what's going on here. Then I'm going to go to image mode, color table, and that color table of it I was given is going to come up. Do away with the layer palette for now, and this star, along with these colors, in order to see where it is, I'll sometimes tap. Blacks and now I know where what I'm working with here. I'm going to change that color to this nice rich ruby color, and click "Okay". Let's see what this is. That's that next bit of the pedal. I want that to be a little lighter so I'm going to click this one. That might be in the same area. I'm going to also click that same color here. This is probably another lighter shade of the pedal. I'm going to go to a lighter shade. This is that purple right here. I'm going to pick this purple. I want to make sure that my black isn't changing at the same time and it hadn't. Let it go here see where this is coming up, this in some of my black leaves. I'm going to pick a dark gray for that. This probably in the same area. But you see if I choose that same dark gray, I'm probably going to list some of the tone, but let's see what happens when I do, so I'm going to pick up black. Or I could pick a heel, that it might be nice too. What I don't want is I know that I want to keep this black so I'm going to go back to black. Then see where this comes up. Right here in this leaf, you'd see it's probably in here too. I'm going to pick a similar shade of gray, and also keep that shade of gray. Now remember, I can always change this later as well. Just trying to check where it's at so I'll sometimes just do this to see. I'm going to go with a similar shade of green or as in tone as dark. Probably bat for right now, I might change that later. Here's that black, you see, I came up with green here in my on black flowers. I have to decide do I want to keep them or do I want it to really remain black? Let's go back to that green, and I think I like that better. See here, that's really a green. I'm not losing the black in here, that's good. Just going to choose the next tone down. This is so close that I don't need to do too much worrying about that. Now, where is this? That's right in here. Or do I want to go with a gray that I've already used or do I want to pick a new Gray? I don't believe I've used this gray. Maybe I have for a placeholder until I have some other colors in this palette, I might just choose something totally different, and then come back to it later. I'm going to use this yellow as a place holder because I know I haven't used that yellow anywhere else, so we'll hold this place. I'm probably going to change that later and, I'll choose my widest white. Remember, all of these can be placeholders because we're going to obtain, we can change these all later. Now, about a font through each one of these, I'm going to go, "Okay", and I'm going to switch image mode RGB. You can see some of that pixelation went away. Now, I'm going to go image, mode, index, color, and I'm going to say exact, exactly what I've chosen, and I'm only down to 17 so I'm going to need to reduce colors a little bit more. You see what happens when you are in index, it's a little more pixels, but when you switch it to RGB or CMYK, which is what you'll end up printing it in, it becomes less so. Then reduce that just a little bit so I can see more of the actual print, and then I'm going to image mode color table. I've obviously got way too many colors somehow or another, I've two blacks, I know I want to use this black. I'm going to make sure that is chosen for both. I have probably tough to take this color and merge it into another color so that it, so that I get my reduce my colors down. Maybe I'll use that same muster that I used. No, don't like that, so how about one of the grays? Not a fam that either. What about this lighter gray? I think I like that. It's purple is probably going to have to go. Let's put that as that same pink. Let's see how many colors I'm down to this one the same as this one? Now, what color do they choose? Let's see where we're at here. I've got some pixel is pink in here, but I don't think when I change it to RGB though, it's going to turn back, that it's going to turn back to black so let's see. Yeah, when we go to screen print, I'm not going to really be able to see too much of that thing, so I'm not concerned, it's still going to show up black. Let's take a look at this whole repeat here. Let's go back to index colors, see where we are, and now we have 14, so that's really great. I'm going to make sure that I save this as a next, and then I'm going to save it again as RGB. This is just to indicates me what I've got going on, and I'm going to click "Save". I'm going to change it to RGB and coming into us save. Now, I have two files at the same thing, one in RGB, and one in indexed. Now, that I've finished indexing the foreground, what I'm going to do is I'm going to create a new layer, put it in the background, and I'm going to add my background to it. It may be that I do to extra colors and I index those and I add that to the background, or I can just take the paint bucket and dump a color in the background. In the next video, we're just going to talk a little bit about Pantone colors, which I mentioned in an earlier video. Then we're just going to wrap it up. Be sure to post your projects. I can't wait to see them. 13. Conclusion - Bonus: About Pantone Colors: In this next video, I'm simply talking about the Panton Color Manager and Panton Books. I had told you earlier about Panton colors and how I use those in Photoshop and I wanted to show you how I choose those. I got these from Panton.com. This was the first book that I got, probably about eight years ago now. It is the Fashion Home Color Guide, and it's all the swatches on paper. Recently I got the Cotton passport, which has all the swatches on fabric which makes it just a little bit more accurate to that. I can pick these out and then it comes with a Color Manager, software Panton color manager, and I can pick them out and make little pellets out of them. I can also take a photo and put that in Panton Color Manager and it will bring up all the paints on colors and then you just import them into Photoshop. There's instructions on all of this on the Panton websites, so you want to go look at the Panton website, it's universal color language and a lot of manufacturers use it. I do know that some just ask you to attach swatches and point to the color in your piece. But this really is the universal color language, so I really like using it. But thank you so much for joining me. Please keep posting your projects in the forum here, and I can't wait to see what you guys make. That was the last video. Thank you so much for joining me for Panton designed for painters. This was my first skill share class, but it won't be my last, so please subscribe to my newsletter at Barry J. #science.com to keep yourself updated and don't forget, upload your class projects. Thank you again for joining me.