Transcripts
1. Intro Learn the Basics of iOrnament Pattern Design on the iPad: Have you been looking to try pattern design on the iPad? Would you like to learn an easy and fun way to create digital designs in a hand-drawn painterly style, and be able to use them as seamless repeats for surface design? In this class, we're going to explore the tools that can help you do just that. Hey everyone, my name is Jane and I'm an illustrator and designer and the creative force behind JSP create. This all began with an innocent 100 day project to explore pattern design on the iPad. It let me delve into the many features of the iOrnament app. I now have a means to draw loose painterly style digital designs in a structured, symmetrical way. Then export the design as a tile which can be used to create a variety of surface design ideas. Best part is this app does all the math for you. How awesome is that? I have structured this class in an easy to follow step-by-step format, which walks you through the features, starting with your very first open of the iOrnament app. Each lesson is built on the previous lesson so that you learn a new feature each time, and you build on the knowledge as you go. So yes, this is a beginners class, but so much more. There's something for even the seasoned user. We finish up the class with a full project demo, working in design from beginning to end I've also included a bonus lesson with a few highlights from my 100 day project demos for your inspiration. The app has a great variety of digital design features, but I am going to focus this class specifically on the features I used to create my pattern designs. When you're done this class, you'll have the tools to start creating your own symmetrical painterly style designs with nothing more than your tablet iOrnament in your imagination. So make some creative space for yourself and let's dive into learning a new and fun way to create pattern designs on the iPad. See you in class.
2. Getting Set Up: Before we begin, I want to go over what you'll need to get set up first and how I've laid out the class first, what supplies you need? Well, that's pretty simple, not much involved. You'll need a tablet. I use an iPad Pro, 12.9 inch first-generation with an Apple pencil. I like the Apple pencil because of its pressure sensitivity, it really helps with the brush controls in this app. I feel like I'm painting on a canvas and it's really handy for getting those subtle shading techniques. iOrnament will work without the Apple pencil of course, you can use your finger or another stylus. But for this class, I am using one and I highly recommend it if you're using the iPad for achieving similar results to the examples that I'm going to show you. Next, you will need the iOrnament app. This is available for purchase for a small price in the App Store. The only other thing you will need is the printable download. I provide this in the project and resource section of the class. You'll find it on the right-hand side and you should be able to directly download that to your iPad or your computer. This is a 20-page references available in PDF format, so you can print it or you can just keep it on the iPad in digital form for reference. The workbook contains all 17 wallpapers laid out with where to find them in the menu. What a single tile looks like, the grid layout on the canvas and an example of what a single spiral drawing will look like using this symmetry. Included are the two Rosette layouts as well. The last page is a quick reference of the 17 wallpaper spiral examples for comparison to help you see the difference between the wall papers at a glance. These wall papers have a lot going on and you'll learn by using them so don't get discouraged with how much is going on in this workbook. I've laid out this class to teach you the basics of the iOrnament app. There are more tools than you can imagine in this app. But I wanted this class to be encouraging to those who've never used iOrnament before, so I'll be focusing only on the main tools that I use to create my pattern designs. You may see some features in the app menus that I do not address in this class. These will be great for future classes. But for this one, I want to focus in on pattern design ideas that you may want to use to create home decor, fabric, or accessories. Again, this is a beginner class and the how tools of uploading to print on demand is outside the scope of this class. However, you will learn how to export your designs in the format that will allow you to use them elsewhere. The goal of this class is to get you to a point that you can enjoy using this app to create amazing and unique designs easily and to have fun doing it. Both for creating pattern design as well as just a great way to unwind and relax with creativity. This class we'll finish up with a full real-time project demo. I'll walk you through creating a design from start to finish with the hope to inspire you to create many, many more of your own. I love this app for simply being able to draw and relax while creating fun symmetrical designs. It has wonderful features that let me get a loose painted style to my designs while keeping a symmetrical structure that I can easily export for seamless repeats. Get yourself setup and I'll meet you in the next lesson where we'll open the iOrnament app for the first time and we will explore the main home screen. I'll see you there.
3. Menu Overview: So, we're going to get started by opening the iOrnament app, now, I use it in landscape mode and when it first opens, you end up with the factory default settings, when you're opening it from close. You get this black screen that says, draw here, more info's on tip button and you get this menu that slides out from the right hand side. Now, that more info on tip button, we'll address that first because if you want to learn more about this app, you go down here to this little tip icon and when you touch it, it turns blue and a screen comes up and in this screen section, you get 54 tips that walk you through all the basics that are available in iOrnament. They are brief descriptions but it tells you where things are and what type of things you can explore in this app, so there's 54 of them you can explore through those, it's very interesting to walk through it, we can close it here. Now in addition to the tip button, go down beside the tip button and select the light bulb, it'll turn blue and a second menu pops up. Now, this icon second from the top, the M, if you select that one, you end up in another screen that will explain the theory behind the iOrnament app. Again, it's all based on mathematical formulas. This helps you understand the symmetry and how the app was developed, you can walk through these, one screen at a time and the screens are fine because they're interactive, so when you touch on things, it'll show you how the symmetry works and how they're referred to, so that's an interesting section as well that you can walk through. We'll use the home and we'll go back to the main screen, so that's the two areas that you can find out more about the app within the app. Now, I'm going to explain the app the way that I use it, for simple design and fun digital painting, you do not have to understand the math to have a lot of fun with this app. I'm going to explain the menu section but first, I want to show you how to change this background because I like it to be white, now black is great if you want to go ahead with the colors and draw some really cool designs but I like to have that white background because that's what I'm most use to, plus it'll also show you in relation to how the menu sets onto the drawing space. To change the background, I'm going to go into this gear icon at the bottom, you get another window that pops up and there's a lot going on here that we're going to explain later but, we're going to go directly to this square with the two stars, select that and that takes us into our background options and I'm going to go down to one of the presets here and choose white. Now my background is white, here you'll see the color circle that we can play with later but for now, we've got the white background, we're going to close this window down and now you can see where this menu sits on the drawing surface. If you want to draw in full screen, this menu can slide to the right by selecting these three lines and it disappears off to the right, if you want to bring it back, you select the three lines again. I often leave my menu up because I'm often changing my settings and I prefer to draw with it out, however, sometimes I want to see what the design looks like or I want to draw on full screen, that's how you can get rid of the menu. Now let's go through the basics of what you see in front of you here. At the very top, we have the color palette, there's 12 colors that you can choose, it comes up with a preset selection of the 12 colors, it's always the same but we will be able to change those. If you want to choose a color, you just touch on it, you get a white circle around it so you know which color that you are using at that time. The next thing below is the brush settings, this one at the top is size, so they all have sliders, so as you touch the sliders, you get this extra box and it tells you down here the size of the brush and you get an idea of how thick or thin the brush is going to be. The next one is saturation, and again, it gives you a percentage at the bottom of this little window and you're going to see the saturation change up in the color palette, they're all going to change based on the percentage here, so as I desaturate, they all get very pale or I can take them back up to 100 percent, where they're very bright. Next one is brightness, and again, you'll see it up in the palette, as I go down, they get very dark and much more into the black tone, whereas, when I bring it up to 100 percent, they're very vibrant. The next one down is opacity, so the opacity, I usually leave it at 100 percent unless I'm looking for special effects and I can move it down all the way down to zero which would be nothing, so we'll leave that at 100 percent. The final one is blur, so I usually leave it right at zero because I like a nice sharp, crisp line but if you want the edges to be softened or you're looking for a digital paint effect, it's nice to have some blur to the edges of your stroke, so I'm going to leave that at zero. Next we have what we call the wallpapers. There's 17 of them and again, if you want to go into the mathematical part of it, it can explain to you why they're 17 but again, it's absolutely not necessary to know that, to have a lot of fun with this app and use it to its full extent. Here are the 17, they do have names and I'll show you that later on how to get those and we also have here the rosette and that's what I use for my mandala's. At the very bottom here we have a few extra tools that are really handy, we have the eraser, this little sparkly one gives you a glow effect, these are the layers, there's three of them and you change them by just touching and it rotates through them, we've seen the tip and what the light bulb does. This is the gear icon and again, there's a lot going on in this window that we're going to explore a little bit later. The camera is for exporting and that's how you share your images. We have the undo and the redo and the trash can. Now, in this second menu that you can close by tapping on the light bulb, we have a few more things going on here, we have a few different brushes, we have a shortcut to our grid, we have a ship tool, we have local symmetries, some sphere shapes which are fun, and we have some color symmetry as well. All of that we'll get to much later in the class, we're going to just work on the basics for now. Now you have an idea of what's lying in front of you and how to change your background and where we're going to start drawing. In the next lesson, we're going to actually get our pencil onto the canvas and start playing around with some of our ideas. See you there.
4. Brush Settings: In this lesson, we're going to learn the basics of the Brush Settings. Like I said at the beginning, I'm going to show you some basics in the Brush Settings on how to draw, and then I'm going to show you the basics of all the symmetries. Then as we work through the course, I'll show you more advanced ideas as we explore each of the symmetries and using the different ideas with the brushes. Let's get started with the Brush Settings in this class so that we can get started drawing. If you want anything like me, you want to get right to it, so we've already made our background white. I'm going to start in this top left corner with this symmetry, and I'm going to show you two things before we get drawing. First, I want to turn the names of these on, so you have an idea of which one you're working with. It's really hard to say the one in the top left or the one in the middle of the second line, so we're actually going to turn the names on so that we can stay on the same page together with what symmetry block we're exploring. We're going to go down into settings, and it brings up our first setting window. If it doesn't come to this window which it should automatically, you want the one with the gear icon, because that is what we click down here, and you're going to want to go down to this area right here that says show group names. Turn that on and you'll see down here now this popped up name and what they call orbifold. The name is what we're concerned with, and the one in the top left corner is called P1. You'll also find this information on the downloads that I gave you because in the downloads, I have a printable exploration of each of the symmetries by name. Now that we've turned the names on, the next thing I want to do before we get drawing is I want to show you how to turn on your grid. Above where it says show group names, we have something called show symmetries and fundamental region. We'll get more into this in the next lesson when we explore all of the different symmetries, but I want to turn them on so you can see what we're doing. Show symmetries if we choose, faint will turn on a basic symmetry. You're not seeing it there because it's a simple symmetry. They're really actually isn't one in this one, and fundamental regions as well, we can turn on faint. Fundamental regions is the region within which the repeat happens, and then symmetry shows you the lines over which the mirroring and et cetera will show as well. For now, we'll just turn them both onto faint. You could also choose full and maybe we'll go full with the fundamental region just because it makes it clear on the camera, and that's all we need to do in this window. For now, we're going to close it down. You can see now that there are these gray lines that have shown up. This is our fundamental region in which when we draw, we will see the repeat happen. Let's go over to our colors and I'm just going to choose black to start with, so it's already chosen with the white circle around it. I'm just going to start to draw something so you can draw with me. We're just going to create a line, so across we go. Now see it repeated in all of the fundamental regions. One of the same thing that I drew, repeated in every square. If we go in a little closer, you can zoom in by spreading the fingers apart and zoom out by pinching them together. When we zoom in, we can see here, I didn't change the width from the preset one from an opened, and the blur I left the way it was as well. We change them in the last lesson, but I've reopened so that everything is the same as what it should be on yours if you just opened. Here we go. The line was at 33, I can move that thinner and let's try another line, see how it's thin now. My saturation and my brightness aren't going to matter because it's black. My opacity is already at 100 percent and my blur is at 10 percent. See this very light gray around, that's the blur. Sometimes it gives a nice soft look and sometimes it gives you a blurry shadow around it. It depends on what you're looking for and we play around with these to get the looks we're looking for. If I take it down to zero and draw again, now I have a nice crisp line with no blurring edges. I can make that a little bit bigger and you can see it better on the camera. The default for my brush is a pressure-sensitive, I'm going to get into that later, but for now, yes, it's pressure sensitive if you're using the Apple pencil. The next thing I want to show you here is if I increase my blur, let's go quite high as we get. Well you know what, let's go to our 100, so you really get the idea. Now we're going to draw and see how soft my edges are, gives a much more painterly look. If that's what you're looking for, I can go quite and I'm running out of room on here, so I'm going to go and undo everything I just did. We're going to do a nice thick, will go right up to a 100 on our size and a 100 on our blur. Sometimes the best way to learn about the settings is actually that to max the mode and see, go to extremes, gives you a better idea what you're doing. Now you're going to see a huge, so it just looks like a big painted blob. This is a fun way to set your settings if you'd want to do like a nice background and you want the blending to happen between your colors. Let's try a color instead of black, so undo that again. Let's go into a nice bright pink and see how that works. See how it's a nice painterly blob, and then we'll put a nice orange over top just to contrast it, and it paints right over top of it and they blend at the edges. Much different if they were crisp edges with no blur at all, and a nice blend when you've got it up to a 100 percent. That's how the blur works and that's how the pen size works. We can keep undoing or you can just hit the trash can. The next thing I want to show you in the brushes is the saturation, the brightness, and the opacity, and how to control them from this particular menu. Let's try something like the blue. Let's go blue. We're using their preset colors because we're going to learn how to change our colors in a future lesson, so let's just work with what they've given us. Let's start with saturation. Let's bring it down to about 25 percent or get as close as you can. It's not always accurate because they are sliders, so when you take your finger off sometimes they change, that's okay. You're about 25 percent, and we're going to bring our size really comes down quite a bit, and I'm going to bring down the blurriness as well, right down to zero. We're going to get a crisp edge on this one, so now let's just draw something. Now that's probably pretty pale in the camera. Let's pick something, maybe pink, that might show up a little bit better. That's a desaturated down to 25 percent. Now if I were to take it all the way back up and draw the spiral again, see the difference in the colors, so that's how you get a soft color. You desaturate the color and you get a nice pale color. Now we're going to go back again and we're going to bring the brightness down this time, not quite as low. Let's just try to go around 50 percent, and again we'll stick with the pink. See how dark it is, there's a lot of black in there, and if we bring it all the way back up to a 100 again, you get that nice bright color. You're seeing the difference between low saturation and high saturation and the same with brightness, and it's all controlled here. Again, we're going to go backwards. The next one we're going to use is opacity. Now because we're on a white background, you're not really going to see how this works because you need color on color, so let's go to the background section in our gear icon and let's change it back to black. Let's use our pink, and we're going to draw our spiral at a 100 percent opacity. Let's go really low, let's go down to 25 percent here. We're going to draw and see how the opacity changes in here. You can see the black. Much easier to see if you have color on the background than if you're doing this on a white background. We can go back to our white background. Again, the gear icon, you're going to get good at this, and the square with the two stars and go back to white. Close it down, and you can tell opacity after go pretty low to see it on a white. If we take it right down, you're not going to see anything at all, so there's no capacity to your stroke. If you bring it up once again to about 20 percent, let's try scribbling and see how wherever you go back over your stroke, it gets dark again. Let's try a different color, let's try the orange. Now we're going to go like this. See how you can see a little bit of that pink underneath, not too strong, but you can tell that your pen now has a translucency to it. That's really great for when you're looking for painted looks. I love that opacity ability. We'll send it back up and let's hit our trash can. Now we've learned about our Brush Settings and we've experimented with our colors, we know about sizes, and in the next lesson we're going to explore the symmetry. Make sure you have your downloads in front of you because I have each of them on there with their names and what it looks like when you draw in each one. I'll see you in the next lesson.
5. Wallpapers: In this lesson I'm going to go over the 17 different wall papers that are available in the eye ornament app. This is just going to be a brief overview. There is a download in the attachments sections that has each one of these wall papers with the individual tile, the canvas with multiple tile regions and what it looks like when you draw one simple spiral on that canvas. So it lets you compare each of the 17 to see how many different designs you can come up with with one simple objects such as a spiral. I'm just going to run through it now and show you some of the regions, some of the symmetry lines and explain it a little bit more but again, it's just going to be a brief overview because the best way to learn these symmetries is to actually use them. As we go through the rest of the class, we're going to try different ones and you're going to get to know them better the more you use them, play with them, that is how you're going to learn which ones you like and how they react. If you want a specific design look, you'll be able to figure it out eventually, how to achieve that using specific wall papers. So let's get going. We're going to start with our first one in the top left corner. Just so you know, I have my symmetry lines and my fundamental region lines on full, there in the gear icon at the top and over to the right. I also have the show group names on, so that you'll be able to refer to which one I'm using, that helps out a lot when you're trying to figure out which one of these they have the mathematical names and that's what you'll find here. We're going to shut that down for now and we're just going to start. I have my black color chosen. I have my blurred down to zero and my size and my pan is around 25. So zoom in and we're going to start drawing a simple spiral. In this fundamental region of a square, it repeats the exact same spiral throughout my Canvas. So I can zoom out and I can zoom in just to see what I'm working on. So that's the first one. Let's move on to the second one. We're going to start to see different symbols as we move through. It gets more complex as we get close to the bottom. Here we have these little diamond shapes in there colored. Again, in our symmetries, if they're on faint, they're gray and if they're on fold their colored. So I have them on fold, so you can tell the difference between them in the fundamental regions. These little things are rotational centers. A diamond means that it will rotate two ways. If I draw it on this side, it rotates it and puts it on this side as well and it will do it on every blue diamond there is. So each color corresponds to itself and there's multiple colors going on and this one in particular but I am going to show you how we can just draw a spiral within this gray fundamental region. Because of these rotational centers, it responds differently than the last one. So each one has its own way that it responds to your drawing and depending on where you start your drawing, it's going to look a little bit different. As we move through these, it may look a little bit different than what's on those download sheets but they're great to refer to, so you can understand the difference between each of these wall papers. We're going to undo and move on to the next one. So Pm, our fundamental regions are now rectangles and this solid colored lines are called mirroring lines. Again, the colors correspond to each other and solid color means that the spiral will mirror. So let's see what happens if we just draw a spiral within one of these rectangles. It mirrored across this blue or you could even say it mirrored across the red. That's a fairly simple one. So moving on to the next one is Pg. Now our fundamental regions are offset, so they're still rectangles but they're offset from each other and that's these dotted lines, the colored dotted lines, will zoom in a little. Dotted lines means glide reflection. It's creating a reflection but it collides it up. So a lot of this stuff you'll learn in that education, the home button that I had showed you, where it walks you through all the ideas of the symmetry but again, don't get all in your head about this. The whole point of the app is to be creative. If you overthink these, start overthinking them or trying to figure them out, you might actually frustrate yourself. You'll get overwhelmed and you won't want to create things. This is just to help you understand what's happening on the screen. Again, a lot of people will love to learn this just by playing with it, you'll figure it out as you go. So again, we're going to draw a spiral inside of this and you get the glide reflection happening, so you get a little bit different design again. Moving on, we're on to Cm. Now again, our fundamental region is back to a square. We have solid mirror lines and glide reflection dotted lines. Let's try to stay within this fundamental region again. Once again, our spirals are behaving differently because of the symmetry lines. I am going to keep on moving through these. You can play with them at your own leisure. So here we have all sorts of lines happening, as well as some rotational centers. Our fundamental region is this basic square again but you will see because of these collide lines that cut it in two, it makes this one not operate the same as the others. Let's just go from this rotational center and draw a simple spiral and end up with a design like that. Moving on to the next one, Pmm, we have solid colored lines and we have these little squares for fundamental regions. If you want to see where the fundamental regions are because now the colors are covering everything, go into your settings and turn off the show cemeteries and see the gray, it's there and shut this down, you can see it. That's my fundamental region. I don't have to have the symmetries on to draw. Let's just try a spiral. We get this really cool little design. If I want to know what's going on, I can turn those symmetries back on. But you don't need the symmetries on to draw but the fundamental regions are very handy because it's good to know where your main repeat or tile is happening. Moving on, we're going to get the Pmg. Here again, we have these diamond rotational centers and mirrored lines and glide reflections. Again, let's go back in and turn the symmetries off and our fundamental regions are just squares. I can just draw a simple spiral and get a unique design. Now, these aren't necessary, they are going to look exactly like the downloads, because depending on where I started my spiral in that square, I may have gotten a different design. You can get different designs even within the same wallpaper depending on where you're starting. I shifted over to Pgg, but I still have the same fundamental regions. Let's just turn on the symmetry and see what's happening there. Now we have a rotational center happening where the fundamental regions meet. Then we have these glidelines happening in the middle. If I were to do, and sometimes you don't know until you actually draw what's actually going to happen on the screen. No matter how many lines and symbols you have, you may not guess. Again, you'll learn them as you use them. Let's move on to the next one. It gets more complex as you go. Here we have symbols that are squares. Wait, I don't think we've seen those yet. The diamond is a two-point repeat rotation, but the square is a four-point. If I were to draw a pedal, it repeats it in four places on that square. Again, our fundamental regions are these gray ones. I will just draw my spiral. It repeats it's a rotating spiral. Moving on, we're onto P4m getting a little more complex with our symmetry lines. Again, we can go in and turn those off if it seems to be too much to look at. Here we have our fundamental regions in a triangle. I don't know where my rotation centers are because they don't have the symmetries on. Let's go in and turn those on. I've a four-point rotational where the fundamental regions cross and I have a two-point over here. Again, let's just try drawing a simple design here. I actually could have reached out further. Let's try elongating are spiral. There we go. You're starting end up a little flower designs coming off of this four-point. See these are red. The blue ones would give me something different. I could add a second spiral there for a second flower. There's where the symmetry helps you out. You can see where things are going to show up. Let's move on to the next one, which is P4g. There's a lot of them here. Again, I don't want to be overwhelming you, but I want to walk through each one so that you've experienced each one. Again, we have our fundamental region here, with all kinds of lines crisscrossing. Then this little cube here. Let's see what happens. See now this mirrored line is cutting right through my fundamental region. Now, actually, if I turn that off, the fundamental region is actually a triangle not a square. Let's go back. Now I just want it to be in that square. Let's just try it without the symmetries turned on. See how unique my little design is here. It didn't actually create like a rotating flower. I'm going to turn my symmetry back on because there is no rotation point there. The rotation point is here. Let's go on and move on to the next one, P3. This one has a hexagon as a fundamental region. You haven't seen that one yet. It has these little triangle rotation centers, which means that it has three points that is going to repeat from. Let's try drawing our spiral to fill this hexagon. Now you can see it rotates it in a three-point. Moving on. We have P3m1. The next four the final four, they're going to be quite overwhelming to look at on the screen. We can go in and turn off those symmetries just to see where the fundamental region is. It's a hexagon divided into six. Let's try just drawing a simple spiral within them. You can see by the symmetries what's actually happening there is this rotational center. Let's move on to P31m. Again, we have a hexagon. Let's go in and check. The fundamental regions are a little bit different shape. Let's try a spiral inside that fundamental region and you end up with this cool little flower design. I can turn my symmetries back on. Most of the time I draw, I actually have my symmetries turned off unless I can't figure what's happening and where my rotational centers are. Then I turn it on to find them. You can turn them on faint and they'll be gray so that you can see the symbols. But they're not overwhelming you with all this color and interfering with your design. The second last one is called P6. This one is cool because it looks like a cube here. Your fundamental regions are diamonds. They can create a three-dimensional cube. It has triangle rotational centers, hexagon rotational centers and then in the middle of your fundamental region is another rotational center, which is going to cause. You won't be able to fill this hole. Well I'll show you. You won't be able to fill it because unless you draw that cool design. This little rotational center is working its own little magic in there. We'll just draw up to it. It actually allowed it to mirror inside the fundamental region. That creates a really cool little flower. Now we're on to the last one. Lots going on here. Let's turn off the symmetries and see where fundamentals are. It's a hexagon shape and it has 12 divisions in it. I can just from here draw simple spiral inside one of those 12 shapes and end up with a beautiful little heart flower design. The really cool thing with these is because there's so much going on with some of them. This one's my favorite that I can never get the same design twice because it has so many lines and so many centers. In general with this app, I rarely get the same design twice. In fact, I never get the exact same design. But they're hard duplicate because there's so much going on with these. But there's so many options and so much creativity available. Play around with those. That's all 17. Print out that download or downloaded onto a device where you can have it to refer to. It helps you see what is happening with those spirals. One single spiral can create so many designs. Have fun with it. You will learn them as you go. Do not get overwhelmed and do not get frustrated with it. The creativity comes from playing with them and playing with them. I've drawn so much in this app and I still i'm learning about these symmetries. Have fun and In the next lesson. I haven't forgot about this little guy down here. This is called the rosette and we're going to go through that in the next lesson. The rosette operates a little bit differently because it doesn't do the repeating patterns like this one does. It works more like a Mandela drawer. I'll see you in the next lesson. Have lots of fun and we'll see you there.
6. Rosettes: Now that you've played with all these 17 wallpapers, we're going to do this last little guy on the bottom right, he's called a rosette. The rosette lets you do a mandala or you can do symmetry, either vertical or horizontal. Let's get into that one and I'm going to show you how it works. We touch on that, it turns blue and we get a whole another menu popup just in that little square. Up here, we have mirror and rotational. Down here we have the number of sections, we can use it automatically puts you to seven for some reason, but that's okay. I'm going to turn off this design name, it's in the way. Go back in your Settings and turn off Show group names, that's only for the wallpapers. So it disappeared there outside of the way. You can change this with either the slider or the minus and the plus because sometimes the slider is not exact. Let's just take it to an eight. You can see on here, we have the gray fundamental lines. If I go back in here, I don't have my symmetry lines on, I can turn them on full. But for rotation, it doesn't have symmetry lines, it just has the fundamentals. If I go to the mirror, they come on full. Again, you can change this to any number, we follow that. Over here we have a circular and a square. If you use the circular and you try to draw out here, it doesn't work. If you use the square, it does. Still with the laws of the rotation, but it works with a square canvas as opposed to a circular one. Let's undo that, I'm still using black. Let's start with the rotational, and I will draw the simple spiral. So you're rotating around the center, and in rotational, it just rotates the one design all the way around, so it's rotating it by eight. I can go back and change that to say 16, and I can try again, and I get 16 of these little spirals. That's pretty simple on how that works. Let's go to the mirrored one and I go back down to the eight, so it's not overwhelming. Everything will mirror on the blue and do that all the way around and everything mirrors on the red. If I were to draw my spiral, see how the spiral actually mirrored across the red line, and it also mirrored across the blue line really technically. You get a different look and you'll see that on the printouts, well, I also have the rosettes. That's very basically how that works. You can move it up to say, 16, and you can draw a very simple designs using those mirrored lines in then I can mirror around the blue. You can draw some really cool mandala designs in this mode. This mode doesn't have the repeating like the wallpaper is do, this one only has the one design. I'll show you later how you can incorporate this into the wallpapers, but in itself, this is the tile and it's not a repeating tile. The other thing you can do in this mode, is you can take it right down to one. Let's go to rotational. If I'm on one it now becomes a drawing board, so I can draw anywhere and nothing repeats. That's cool if you want to try something out, or you just want to draw your own things or going forward using some of the advanced features, that's giving you just a simple drawing board. If I were to move it to a two, see that's where I want to use the minus because it couldn't get it to slide there. Now I've got a mirrored line or rotational line really. So if I were to draw my spiral, it's really just flipping it over this line, flipping and rotating it. If I were to go with a mirror, it's going to mirror whatever I do. See how it mirrored it across that line, but it also mirrored it across this line. You can go down to really simple numbers and create just very simple designs where you have a horizontal and vertical axis. You can play around with this, you can move it up to four, remembering I'm on the Mirror. That's a simple design there, or I can go over the rotation. Again, I have a vertical and horizontal axis for which I can draw a simple design that's rotated into each of the quarters. Keep in mind if you have it on the circle, you won't be able to draw a past a certain point. If you put it back onto the square, you'll be able to draw it right up to the corner. Now you have an idea of how each of the wallpapers in the rosette works. You have the printout to keep by your side so that you can refer to it. Play with them just with a simple black or any of those simple colors and then we're going to get into more detail. There's so much left to learn in this class and it's going to be so much fun. Join me in the next lesson where we will explore how to create custom color palettes. I'll see you there.
7. Colour Palettes: In this lesson, we're going to look into our color palette and how we can choose the colors that we want to work with. When you first open iornament from close, you end up with all the general settings that it sets you up with. You'll also end up with the same color palette each time. The black and the white stay consistent, but the other ten colors up here, we can change. You're always going to get the same consistent ten colors when you first open. But I'm going to show you how to get into your color palette and change that up. The first thing we need to do is to figure out how to get into the color palette. The long way around is you choose the gear icon. We get our setting window and we go over to this red, yellow, blue circle. In there is our color wheel. But the shortcut is this little plus right above the color palette. You hit that and it takes you directly into your color wheel. This is very handy when you want to change up your colors back and forth and you don't want to have to keep going through the long way. Remember this little plus sign, it's also a quick shortcut to get you into the setting window. Now we have our wheel in front of us. The system that the iornament uses for their colors is the HSV, HSB the hue saturation and brightness method. There's different ways of determining colors. There's the RGB, the HSB hex codes. In case you wanted to go further and discover what that means, you can, it's the HSV or also known as HSB. What the color wheel gives you is the hue number, which is a degree on the wheel out of 360. Each of these, when you touch them, have a degree number and you can move them. You know you're working with one when it has a white circle around it. It's corresponding over here to your palate with the white circle. I like to switch mine up to a certain specific color palette. If you have a favorite hue number, you can remember it and put it right back to that number so that you know you're consistent. I like to keep mine over in this range and then I also like to have some over here. Now, as you move these circles around, they can't pass each other, so there's only ten of them and you can't take this one and pass the others, it'll push them. But if you want all of your colors to be within the same range, you can also do that. Now all ten colors are all within a green and blue color range. Or I can have them over here and they can all fall from yellow through to pink. That's another way that you can play around with them. But again, I have certain places that I know I like them, but I'm often back and forth, in and out of this window changing up the colors depending on what I'm looking for. I'm going to leave them just like this. There's more going on in this window, but we're going to deal with that in a later lesson. For now, pick some colors you're happy with on your color wheel and we're going to go back in here to this section. I'm going to leave the color wheel up for the moment because like I said, this is a hue saturation and brightness method. Right now, if I move these sliders bright the top, my HSB number for this one in particular would be 35600. If I want, I can add some white into it. Basically is what Saturation does. Or some dark, which is what the brightness does by sliding it down. I can lower down a saturation which really just adds white into the hues and it gives me a pastel look and it does it on a wheel as well. So that you can also see as you pick the colors, what they're going to look like next to each other. If I want, I can slide the brightness down as well and that starts to add in some darkness or black into the hue and I get a more muted, muddy color. This is how you play around with the colors. You can bring your Saturation up, your brightness down. But if I close this window down, keeping my palette, again, I can see my saturation numbers. You're basically looking at a color hue number, which is the degree. The saturation number would be the S value. Here let's say I'm going to put you at 40 percent. The B or the V number in an HSV could be around 76 percent. Your HSV value would in general be 136, 39, and 76. That's the concept behind it. Now, I do find that if I tried to find exact colors, they don't always look the same in this program as they do in another. Again, that could be partly because of the way that the iPad screen works differently between the RGB and the HSV. I do find the same with my Mac and my iPad color can look a certain way on here, but I switched it over to my Mac or another laptop and it looks different. Again, when you print stuff out, looks different again. But it gives you a really good idea on how you're looking to use the colors within this program. The black stays consistent no matter what you do with these sliders. The saturation has no effect on the white however the brightness does. This is how you get a gray tone. You can work that all the way down to black as all the colors are black now at brightness being 0 percent, or you can bring it up. This is your gray shades in here depending on your percentage. When you have gray shade percentage values which you will find in certain documentation, I'll tell you what percentage the gray is, this is what it's referring to. A 50 percent is right there, and that's your 50 percent gray. If I were to draw with that, you can see that you can play around with the grayness. I'll go up to 75 and that gives me a little bit lighter, I love my spirals and I can go down to 25 one more time, so that's even darker. That gives you your different gray tones if you want to work with a gray tone design. Move that back up to the top. That is how you get all the colors on the color wheel. First you look at their hue through the wheel, and then you work with their saturation and the brightness over here. Now, if you have a specific palette you really like, I would recommend that you write down the numbers that you've chosen and that's how you'll remember them. If you want to get back to an exact color that you used last time, be sure that you have the degree number, the saturation level, and the brightness level, and you'll be able to duplicate that color in future projects as well. Join me in the next lesson where we will learn how to save our designs as images and projects. I'll see you there.
8. Save and Export: Now we've covered the basics of the color palette, we've covered the brush settings, and we've covered the basics of a wallpaper. You have an idea of what's on this menu. Now, before we go any further into all the fun things that iOrnament has to offer, I think the next basic thing we should cover is how to get your images out of iOrnament because as we go further in and we start experimenting and getting creative, you're going to want to save some of those images or some of your projects. I'm going to show you how to do that. On your menu, down at the bottom, we have a little camera icon. That's how we're going to export our images. If I touch that, you'll see we have quite a few different options in here. The most important one to take a look at, first is preferences for export. Open that one up and let's take a look. Your first option is a transparent background. I have it turned off, which means that any background I have will be in my image or on my tile. I like that, especially if I'm using them for social media and I want that background there but I also want it sometimes to be a PNG transparent image if I'm bringing it into another program and I'm going to play with background colors in that program, or sometimes with the seamless repeat, I want to be able to change up my background, so you have both options. I'm going to leave the transparent background off for now, so there will be whatever you see on the screen is what's going to get saved. Highres for images, I tend to leave that on, you can play around with that. The images refers to the canvas, saving the canvas. They're saving images and they're saving tiles, which we'll get into in there. This refers to the images. The other options, I don't use, this ultra high resolution for tiles I have used. I find I don't need to use it because iOrnament does export at a very good resolution and I've never had problems when I upload for print on demand or when I upload my seamless repeats for spin flower, they come out beautiful resolution. Let's go in and turn on our symmetries and our fundamental regions on paint. Let's pick one here that we want to draw with. I'm going to choose P3m1 this time around, and let's choose, we're already using a nice pink, so that's good. Zooming in, I'm going to draw a very nice simple flower, we'll add a little extra something to it. Here's the thing that you can either zoom it in or zoom it out and decide what you want your image to look like. Let's say I'm just going to do that. If I were to go in here and choose export image, I get some options here. I can drop it to another device such as my computer, I can e-mail it to myself or down here, which is the most common one I use, is save image. This one will put it on my camera roll. You can also print it, save it to files, or save to another device or a Cloud service that you have attached to your iPad. Back here to save image, it's going to go onto my camera roll. Now, remember, I chose no transparent background so you will see the background behind what I drew and you will see these grids because I didn't turn them off. But let's go in and take a look at our camera roll and see what it shows. There's the image with the grid still on the image, exactly what was on my screen. Without that menu on it, it disregards the fact that there's a menu there. It shows exactly what's on my screen. I can go back and zoom it out and I can go in and export image again, save it to my camera roll, let's take a look and see what that did, and there it is, exactly what I have on my screen. That's if you have a nice design setup and you want exactly what you see on your screen. That's how you save it to your camera roll. Go back into iOrnament and let's zoom this in for a bit. Now, we can go into our export options again. The next one down is export tile. The export tile only exports the repeating tile that's within that drawing. Each one of these wallpapers has its own tile. When you choose Export tile, again, it's going to give me all my options. I'm going to choose save image to my camera roll. Remember, I'm not doing a transparent background. I'm going to have my grid showing again. Jump into your camera roll, and there's the tile. Some of the tiles are square and some of the tiles are rectangular, it depends on the wallpaper. This right here is a seamless repeat. If I were to place this tile beside each other and all around it, it would look like a seamless repeat and I could actually get to this image. These are great if you're working in Spoonflower, you want to create a seamless repeats on fabric or on print on demand products. That's one of the main reasons I love iOrnament is because they give you this option to export the tile. Going back into iOrnament, let's go back and look at any other options we have here. Exporting raw data really just exports as an iOrnament file. I tend not to use that one. Exporting layers, that's just emailing a layer to yourself. I tend not to use that either. Preferences, we've already dealt with, 3D spirals and more. Is there other app where you can create 3D ornaments? That's one is a lot of fun, but that's a whole other class in itself. Next, we have save and load, which we are going to look at and last is World exhibition, which if you just go in there, it's just everybody uploads pictures around the world. You can be a part of that as well. Let's go back to the save and load. Let's say you're working on a project and you have to step away or it's late and you want to start on it again tomorrow but you don't want to lose what you've done by mistake or by closing it down. What you can do here is you can save the project, so save and load. Here over here you would save the ornament and see how it saved my project. I can go back out, I can hit the trash can and see it's gone now. With that say, I want to work on a project that maybe it was working on before. Let's go in here back to save and load. There's my project. All I have to do is select it and it pops back in. It's ready to work on again. You can see my undo button picks up right where I left off, and it saves it so that you can continue working on it as you did before. I already had one saved in here. Let's say we want to load that one instead and it'll just, it takes a little longer. There's a little bit more going on with this one. Again, it just picks up where I left off if I hit the ''Undo'', it undoes and redo but just brings it back in. It just picked up right where I left off with it. That's handy if you want to work on a project over time and you just want to save it. That's how you do it. If you go into the save and load and let's say I don't want this project anymore, you can choose Delete ornaments. It gives you these little Xs to choose. I want to get rid of that one, there you go. It's gone. As we work on more images, you can save them along the way and never lose one of your beautiful creations. Join me in the next lesson where we'll start to explore our brush controls. I'll see you there.
9. Brush Controls 1: Now that you know the basics on how to draw, how to set up your interface, and how to save your images. Let's get into some of the more advanced features that I ornament offers. The first thing that we're going to address is the brush controls. So we have these brush settings here. But there's also ways to control your brush in more intricate ways. So let's go in and take a look. We want to use the gear icon and touch that and your window pops up. We're going to go over here to the brush icon. This is where our brush controls lie. So we have what they call the influences. So in this row, you can influence your brush. You can influence the size of it, the saturation, the brightness, the Alpha, or the opacity and the hue. These four are over here, but this is even more detail control. We're going be able to control them with a multiple of factors. Each one can be controlled by a different factor, but we're just going to start simple and control one at a time with pressure to start with, so that you get an idea of what this window does. Then in the next part of this, we will get into more of the controls. To start with, your brush is already preset with a pressure control set to 50 percent. You can see the number here. Down here is your effect strength. Decrease is this direction and increase is that direction. First we select it and then we control the strength. You can see here the number is changing. If I decrease the strength that we can decrease it down to zero and increase it all the way up to 100. That's just how strong it's going to control that pressure, how sensitive it's going to be. We'll leave around the 50 Mark. We'll go in and I'll just show you what that means. We already know, let's choose our blacks easiest to see. We can tell that that's a pressure sensitive, lets zoom in. So that's not distracting. To do this part. I think I'm just going to go into the rose art and turn it into a simple drawing tablet so that you don't get distracted by the symmetry at the moment. So just turn it down to one. Use the rotational. Now we just have a simple drawing Canvas. So back we go into our brush controls. Choose the brush, we're working with size and pressure at the moment. Let's take it all the way down to, let's say maybe 20. Close that down. Let's just draw something simple like a spiral. Spirals are my gem. So let's go back in. You don't actually have to close it down, but it's easier to see what your drawing, into the brush. Let's move it up to say, 80 or 90. Let's move it up to 90. Let's go big. Close it down and now try it again and see how much it controls the sensitivity. But I didn't change the size of the brush at all. I just control the sensitivity. So if I press lightly, it's very thin and as I press harder, I get quite a nice thickness and it'll go up to the thickness. This also controls, so if I want super thick lines with a lot of difference between my thin and thick, I move this slider up so these sliders enhance the other sliders. Let's just try it up here. I've moved my size of my brush up about 85. I can still get the fairly thin, although it's thicker now because the brush is so thick, fairly thin, and then I go right into, ran off the screen. Go back down here. Instead of the circle, choose the square. Now, I've got the entire Canvas to work on. Let's try again just a really thin, and then we go really blobby. So see how large the brush can be now because I've got it all the way up here. Plus I have pressure sensitive, very high. So you're combinations with this slider and the slider in the brush controls can really get you a lot of differences. So going back into the brush, that's pressure on size. Let's turn the pressure on size off and try it in these other items. To turn it off, you just touch on it, and it's no longer blue. If it's blue, it's on. If it's not, that's off. So see my size now it doesn't have any little blue symbol. If I turn it back on, see how the symbol is there, turn it off, symbols gone. Let's move over to saturation. This lights up because I'm working with it, but it's not on yet. I'm going to choose pressure, and see how the little pressure symbol shows up, and it automatically sets it at 50. We're going do saturation using pressure. Now, I'm going to go into a color because in order to see the saturation, I have to have something colorful. Let's do the blue. I'm not moving these sliders at all at this point. So let's just see what happens. Pressure sensitivity of size has been turned off. So the only thing that pressure's going to change is the saturation of my color. So let's start with a light touch. Oh, let's bring it back down so it's not so crazy big. I think I'm going to be brown at 20. So let's start light. Then as I get heavier, I go more into a bright color that almost went green. I'm going to move my brush up a little so that you can see that better. Again, not pressure sensitive in size. My brush is going to be consistent. But what's changing is the saturation. So see as I push and then I let off, it's subtle, but it's there. This part where I pushed harder is much brighter. It almost goes into a green. Then here it's less saturated, so it's a duller blue. Let's try a different color and see if that works. Maybe the red. We'll start and then we'll push hard and then less. It's very subtle. But let's go in and change that effect strength and move away up to, let's go 100. Now, let's try again. We start, and then we go hard and then we light off. So you can see here what I let off. It really goes desaturated, almost goes into a gray. So that's the saturation. These work really well in combination with each other, but we're just going to walk through them one at a time here. Let's go back in and turn off the pressure and saturation and go to brightness. We're going to leave it at 50. Turn on the pressure for brightness, nasty little blue symbols here. We're going to give that a try. Let's try a different color. Let's go with a green. We'll start light, and then we'll push harder, and then like this one, you see a big difference with the brightness. It goes very dull and then it goes into a very light color, and then very dull. All working with that green. But this is an extremely bright, takes it into a yellow. This is a very dark, which takes it into a very dark, muted mossy green. That's brightness. Moving on, we're going to try opacity. So actually I have to turn off the brightness. So when you're in brightness, I have to choose pressure off. Then we move on to a opacity and we're going to turn pressure on. Again, we'll leave this one at 50 percent, see what happens there. Let's try a purple. Again, we'll try a spiral and then we'll let off, very subtly you can tell here at the end that it's a little bit blurry, which means the opacity on this one is it's less opaque, more translucent. Then as you push harder, it gets solid. Then again at the other end, I lessened off the pressure. So very subtle, working with them this way. So again, we're going to take your strength right up to 100, very light touch, very dark, and very light touch. You see it a lot more here. See how depending on how hard I was pushing, it almost went very faint. They're almost disappeared. So 100 percent will help you see just the difference the opacity gives you. So that works you through size, saturation, brightness, and opacity with one of the controls. How to change the effect strength and what you're going to end up with. So play around with that just a little bit to get a feel for it. In the next lesson, I'm going to show you how these other controls work, and how you can use multiple controls across multiple influences. I'll see you in the next lesson.
10. Brush Controls 2: You now know how to use a single brush control influence. Let's go back in and see how to use multiple ones, as well as the other influencers. We're going to go back into our brush. Down here we're going to go back to size turn the pressure sensitive, make sure there are no symbols across here. Go back to size and let's try a different control. We have used pressure, so we understand that and we're used to using that in other iPad programs. But there's other ways to control your brush. You can control it using time, which is the time that passes as you draw. You can use it with length, which is how long you draw it. The longer your line, the more the influence. You can get a manual slider which will pop up on the side and you can control it that way or you can use the tilt, which is really good for using shading brushes because as you tilt your pen, you can get different effects. Let's just try time and let's try size and let's really increase the strength so that we can get an idea here. We're going to go up to around 85, 86 and we'll use an orange trying out the different colors. I'm so used to using pressure that I have to get my mindset out of it's not pressure this time, size, it's going to be length. Not push. I'm just really used to doing that. Keep in mind that this time we're doing time. The longer I draw and see it was super sensitive. It literally stopped really quickly. Let's take it back in and lower the sensitivity quite a bit and see how that works. I'm down to about an eight. Again, we're going to try to draw. That's a little better. The longer I draw, the thinner my brush gets. It starts out thick and it goes thinner as you go. You can't control the reverse of that. That's just how it works. But there are certain design techniques where that might come in handy for you. Let's go back into our brush control and look at the next one. That was time, now let's try length. Now, I've left this strength on this one down very low. Our length now is also an eight. Let's try it and see what happens, see, the longer you'd draw. Length and time can be very similar, but you can also draw a very slow and the time will take effect where length, it's all about the length no matter how fast or slow you draw it. This is with a strength of eight. Let's go back in and try a strength of let's go up to 85. What happens up there? Again, we're working with length. See, you only got the very beginning of it. We've tried both time and length, and we decided that a low strength is probably the best in those. Let's turn off length and turn on manual. See again, the symbol shows up here so you know what's being influenced. This one, I don't really know whether the strength really makes difference because here we have a slider. It probably does because it depends on how effective your slider is. But let's just go ahead and try it. I'm going to clear those two off. Let's leave it in the center and we are going for size. Keep in mind which of the influences you're working on. We're working on size right now. We're just going to draw a straight line and then I'm going to move it up to the top and draw another one. See how thick it is, and all the way down to the bottom and see how thin it is. Lets just go in and try and see if the effect strength happens. Take it right up to a 100 and see this one was this thinness, let's try again. It does make a difference. Now it's even thinner and I bet you when you go up to the top, it'll be thicker than this, and it is. It does have an effect, this effect strength. If you're up at a 100, there's going to be a wider range between your thin and thick. If you're down there probably wasn't going to be. The effect strength still works with your manual slider. But your manual slider you can change it yourself. This is kind of handy when you get into the brightness and saturation because you can work through different shades of color just by changing your slider as you draw. Let's get rid of those. Go back in and see what else we have here. Let's turn off manual and go for tilt. Tilt's very subtle and it works really well more with opacity. If you want to do shading. But let's try it with size and let's turn our effect up high so we can see what's going on here. As I tilt my pencil, we should be able to see a difference in the thickness of our line. We'll start drawing and then I'll tilt it up on end and see how it goes really thin and as I move back down onto its side, I get really thick. That's handy. If I'm up this way, it's thin and if I'm down low, it's thick. That's just the tilt of the pencil. Then the last one is pressure, which we've already done. Let's try some of these. Let's turn them off, make sure that there's no symbol there. Let's try it in saturation and let's try length. Let's try green. We've got a really thick pen so we can see what we're doing here. Let's just see what happens. We're going for saturation. Desaturated very, quickly here. These over here will also have an influence. If we take our saturation down really low, we start out with no color pretty much. But if we take our saturation up to max and I'm going to go back in and change our sensitivity here. It's up at a 100. Let's move it down to say 20, going back. Saturation here is at max. I've got 20 on the controls and see how I had color here and then it slowly desaturates into basically gray, which means no color. If I were to move this down, you lose your saturation faster because it starts out desaturated. These settings still have an influence. There's a lot going on here and it actually gives you a lot of control over how it works, but it does take a lot of practice with it for you to achieve the results you're looking for. Let's go back into our brush controls and let's try the manual. Under length we have to turn that off. Let's go over to manual. Let's move it back up to 50, just so it's norm and let's pick a different color, maybe a darker green. Here's where we're going to draw a line and then you're going to move it up, draw another line, and then move it down and draw a third line. Really subtle here because my strength has only ran the mid 50. This one's definitely more saturated and this one is definitely more desaturated. Again, if I go in here and increase the strength all the way up to a 100, let's see what happens there. I'm up at the top. We draw a line nice and bright. Middle, definitely a different green and down at the bottom, very desaturated. Again, you can use this as well to start if I've moved it down now to about a 25 and I'm down at the bottom, pretty much get a gray line, definitely more desaturated than this one. They work together, which is handy, gives you a bunch of different levers to work out at the same time. Let's get rid of all of those lines. You can explore each of these different controls with each of these different influences. Again, the hue we're going to work in a different lesson. But here's another trick that I use and this is what I get a lot of people asking how I get the shading in my drawings. I use multiple ones. You can set up an influence for each of these and they can be the same influence or different influences. I'm going to turn that link off on brightness. I like my size to be pressure, and I usually keep it around the 50. My saturation, I'll also go pressure. I usually do them all pressure. Pressure is my favorite one. Sometimes I'll use the manual slider, but for the most part I use pressure. In saturation, I'll take it down to about 20 brightness. I will also do pressure. Again, I keep it around the 20, little bit higher than saturation, but maybe 25. Then I'll even turn the opacity under pressure. But I bring it down to maybe about again a 20. I have all four of these on pressure and I'm going to go in. We'll choose the normal blue and let's just draw something and see what happens. Let's bring our size down a little bit. Maybe around the 50 or 40. Let's go around 40. Let's just try our spiral. I skipped it a bit there, but you can see the shading in the blue. My favorite color blue is this one. Let's see, I'm going to bring the saturation and the brightness down just slightly so they're not maxed out and try it again. There you can see it more in this one. I start out pretty dark and I move into a bright, but this nice shading in there. It goes into a brighter and it goes really bright and then it comes down. It's beautiful shading when you put a lot of these influences on different controls. Let's try the green and see what happens. There we get an a dark and then it goes light. There you start really dark and you go into bright. Once again, we'll look at that. You can put multiple controls into multiple influences. Pressure's one of my favorite, but play around with them, find which one you like. Some of them come across very subtle, but when you find the right combination, they work really well. A lot of my drawings I do, I love the blended colors, just they're so subtle, but you can get them and this is how you get them. Have fun with that. Play with the different influences, play with the different controls, and see how that works for you. In the next lesson, I'm going to dive into how to control the hue because it has a little more involved with it. Have fun, I will see you in the next lesson.
11. Brush Controls Hue: Now you know how to use influences, multiple influences, and multiple controls with multiple influences. But what we haven't addressed yet is this one over here called hue. We're going to go over to this hue and it immediately takes us into the color window, which is where you choose the control for that. Down here are where the controls are. We have time, length, manual tilt, pressure, and we have the effect down here and you can change the numbers on that. Different controls work better with certain influences and you'll find that out as you use them. For the hue, you can use time and I'll show you how that works when you choose time, then you get these extent in speed, show up and they have numbers. You can take them all the way to 100 or down to zero. Right now they're around the 50 mark. Extent here is this blue line and it shows you how many colors are going to be included in this control. If I take it all the way to 100 and see how the blue line increased and I can slide that around, so the one I pick is the one it starts with here. If I want it to start with orange, I pick the orange and it will extend all the way around to the blue. We're using time, we have a large extent up to 100, the speed at which it happens can be altered, will keep it around 50, and I'm going to show you how this one works. As you draw, the colors are going to change and we've chosen time, so it's the amount of time that we draw. The longer we draw, the more the colors change, so C out went all the way from, there's actually a touchy yellow at the very edge here through the red into the pinks, purples, blues, and all the way into the greens. You get to draw a rainbow effect there. That is how the hue works, and that one was under time. We can go and choose length like we did before, and it just creates a similar idea only this time I'm working with length. In this case, it happened really fast in a really short period of time. You can play around with the settings and see if you can get it to do what you want. Now short way into this as this little plus sign up here takes you directly to the window and the influences, the controls are right here. Manual would give me the slider. I'm keeping my extent of 100 and so you can get the idea. The slider, no matter where the slider is, it's going to be a different colored depending on that extent we have. If I just draw a line and we're on the orange, if I move it up, now I've got green, I can move it down. I've got red, so that on here are all the different colors that showed up on my wheel under that blue circle. All the way from this green, all the way to purple is what's included. All the slider is all through here. That's a lot of fun if you want to choose literally different versions of the colors as you go. Because every little mark on that slider is going to be a little bit different color. That's a fun thing to do. Let's get rid of those ones. The other one is to tilt. Tilt works really well because depending on what tilt you have on your pencil, you're going to get a different color. Let's just start drawing and then a tilt it up and I get a purple, and then I can get green and orange and red. Depending on my tilt, I'm getting different colors in different tilts. It can be fun to play with if you want to draw and have multiple colors showing up depending on how, what direction you're drawing. The tilt is a really fun one to play with. We'll go back into the hue, and the last one that we haven't used here is pressure. You can go light and dark, and then light again, when you have a lot of colors, you can really get the idea. Lighter gives me reds, darker, more pressure gives me blues and back again. That's fun. That's the pressure. Now how I like to use this is lowering my extent quite a bit. Let's say I want to work in the blue range. It's fun to keep this on and you can use either pressure or tilt. I just keep a range of colors here. In this case, the one I pick in the middle for pressure is going to be the range will go either side of it. I can move some colors into that. Let's say I put another one in there, so I've got five of them in here. This is the one in the middle and we're going to work from a dark blue all the way into the greens. This is nice when you're working a subtle, you want to subtle shading of your colors, so we'll use pressure for that. Then I'm going to go back into my brushes and turn on my pressure from my size, and then I'm probably going to turn on my brightness. That's one I like the most pressure for size I want on brightness there where pressure for that as well. Now if I'm going to draw, bring this down just a little, and let's just see, can end up with some nice. I've got bright happening, so got some dark colors. It's wrapping your head around it. They're all pressure sensitive, so when I push harder, I get multiple things happening and when I lessen off, I get multiple things happening. The color is changing, the brightness is changing, and the size is changing. But it gives me lots to play with when I'm doing my drawing. You can see here I've started with a darker blue, and because I have a less pressure there, it's more into the greens. Then more pressure brings me into this nice bright blue and then less in a brighter color, and then less brings me back into that dark green. You can play around with it if I were to move it over here into the reds and go with pinks to oranges. Let's try that. Yellow all the way to a pink. Let's see what happens when I do that, keeping the same settings. You see more of the reds and the oranges showing up. The pinks are at the very end, and because less pressure is less brightness, the bright pinks aren't showing up. I could take the bright off, pick that off pressure and you'll get a different look now. Now you're getting a little more of that and the tips aren't as dark as they used to be. It's very subtle some of this stuff, but it gives you some nice shading and some nice variant of color through your drawings. That is brushed controls. You now know all about the influences, you know all about the controls, and you know how to use multiple ones and multiple controls at the same time. Go and play with that. There's a lot to do with that and even if that is the only thing you play with, there's so much you can do with that. Join me in the next lesson where we'll explore where to find in use an assortment of brush styles. I'll see you there.
12. Brush Types: Let's move on to checking out what kind of brushes we can use in this app. Let's move into the symmetries and have a little fun in there. I'm going to show you the first place to find your brushes. When you choose the light bulb, you get a second menu that pops up. We had seen that at the beginning. Now, before I touched the brushes, I just want to show you this little honeycomb right here, right now it's blue, which means it's on. If I turned it off, it's my fundamental regions. It's a really great shortcut to getting to your fundamental regions instead of having to go through the gear icon and turn on your fundamental regions and then getting out of that window. You can turn them on this way. They are there, or you can turn them off. When it's blue, it's on and when it's not, it's off. We have multiple brushes to play with. Three of them are up here. This is a multiple line brush. This is a multiple line, but little more like scribbles, and this one is more like a calligraphy brush. Let's go through them and see what they look like. We'll use the pink for now, and you can see there's my multiline, I have my settings little software and the colors and a little lower in the brights, and then we have this multi-line brushes a little more like a scribble, so little hard to see from a distance. Sometimes if you lower your opacity, you get a little more of that painted look with this one. That's fun, gives you different looks, and then we have the one that's like a calligraphy brush. If I were to draw that, it's more like a nib. The same nib you would use when you're doing calligraphy, that's the flattening that this brush is. Now, that's three places and if the blue there on, if they're gray there off, and the other place you can find lots of different brushes is in here. This letter A, when you touch that, you get all different brush nibs available to you. These are your controls just like we had over here on your brush. We time length manual tilt and here we have time length manual tilts over here and pressures here, and then we also can control the angle of our nib, and here is a rotation. What happens with these controls is the nibble rotate. This controls the amount of rotation and I believe the direction of the rotation whereas this controls the angle of the nib. You can go into, let's pick one here. We have quite a selection. Let's use this double dash nib. I'm going to take this back and try the nib and see what happens. We have a bit of an angle working on that. Let's go back in an angle at a 45-degree. If I have the double, see how it works, very much like a calligraphy nib. I'm going to go back and my brushes, I have my size and I have my hue. There's something going on with you there. I'm going to turn that the hue off for now, and we're going to go back into our brushes which is the letter A with our nibs, and we have it at a 45 degree angle. Let's try one of these controls. Let's try the time and see what happens there. Again, we're going to go and draw and see how it rotates it. It gives you a really beautiful scalloped edge to your nib. It's rotating your nib as you draw. We're going to go back in here and take another look at this. This here will influence it a little bit. You have to play around with it. See that one is like no rotation, oops, and then we're going to go back in and try it up at this angle, and that one gives us a quite of a large rotation. That's what that little slider does, is this is the amount of rotation you're going to get, and this is the angle of the rotation you're going to get. This influences or controls how you're going to get it. You can also do it by a length, you can do it by manual and pressure and tilt. Let's try on length, and let's try a different nib. Let's go with the dot-dot. I'm going to clear off our board and choose a different color and see what happens here. That gives another beautiful little scalloped edge. If I go in and decrease that rotation, not all the way down but partly down, let's see what happens there. Little bit of rotation, but not much. Here we have again a bunch of different nib tips to play with, and we also can control them. We can control the angle, and we can also control how they rotate and if they rotate at all. Lots of different things to play with there. Have some fun with those and see what designs you can come up with. Join me in the next lesson where we'll learn how to use the shape tool to assist in drawing with circles, lines, squares and more. I'll see you there.
13. Shape Tool: Now let's explore the Shape Tool. We find the Shape Tool by going into our light bulb menu and you come down below that honeycomb grid, there is an icon with a triangle, line, and a circle. When you touch it, it turns blue, which means it's on and it also has numbers pop up beside our sliders here in the brush settings. That is your Shape Tool and when it's blue it's active. Now let's go into our canvas. I'm actually going to go into just our drawing board to show you just so we can focus on the shapes themselves. Go into your rosette. We're going to bring this all the way down to one and hit the rotation and now we have our drawing canvas with no symmetry. I'm going to use the black. The first thing we're going to do is, I have my blue down to 0 and I have my size around 15, 16, we're going to draw a line and keeping in mind that with the Apple Pencil, I have my pressure sensitivity on, that's the default setting and I have it set at that. I'm going to draw my line, which is pressure sensitive line and when I release the pencil, it automatically jumps up with the shape tool because I have it active. Now up here in the shape menu, we have a line, a triangle, a square, a circle. This is a consistent with natural draw line, and this is a pressure sensitive naturally drawn line and this little slider here is our smoother. It's very subtle, but it's slightly smooths off some of the edges of your line. Here we have a gray disk at each end of our line. It's recognizing it as a pressure sensitive line. So when you first draw something, it will recognize it as best I can, but you can switch between them. I can move these gray disks and I can shorten the line or lengthen it, or just shift the endpoints to wherever I want them on the canvas. Now I can also choose a consistent line, but still hand-drawn so you end up with a little crooks in there but now it's a consistent width. I can choose a straight line and that gives me a perfectly straight line of consistent width and I can also change the width of that line by shifting over here on the size so I can make it a much thicker line or I can take a write down to a super thin one and the same with the pressure sensitive line, I can increase it or decrease it. When I touch the screen, it sets the line the way that I have arranged it, now I can't change it anymore. So what the thing with the shape tool is, it's more of an assist. You can't keep going back and forth and altering the shape that you've already drawn. It's not a vector-based program. It's really just meant to give you a little bit of assistance with an item when you first draw it. Let's undo that and we're going to try this time a shape. Let's draw a circle. I still have a pressure sensitive line going and it recognizes it as a circle. If I wanted that nice pressure sensitive, I can go back to pressure sensitive. It's still recognizing it as a circle, but it's recognizing it as a loop sided pressure sensitive one which I might want, or I can go and get that nice perfect circle. The two gray disks now is; one is the center of the circle and the second one we'll rotate it and expand it out from the center. Again, on my drawing canvas, I should go to the square so that I can have right to the edges so I can move this center anywhere I want and I can make it a very small circle or I can make it a very large circle. So that's really handy to be able to place it anywhere you want and make it any size you want. I can also increase the width of the line of the circle or decrease it right down to something very small and when I touch it, I end up with that circle placed where I placed it. Now I can draw a second circle inside of that. Again, it recognizes it as a pressure sensitive circle and the gray disk operate the two ends of the circle. But it's still lets me change it and rotate it around but let's turn that into a normal circle. I can place the circle in the center of the one I already have, increase the size or decrease. I can also make it a thicker circle. Now, once I have a shape already defined, I could turn it to a square, or I could turn it into a triangle and the same way, one moves the center and the other one increases or decreases the size, as well as it rotates it and with a square and a triangle that makes more sense than it does with the circle so it's a very handy thing to be able to rotate those objects. Once I touch, it stays where I put it and again, as long as my Shape Tool is active, anything I draw will be recognized. I'm going to bring up the size of my pen down a bit. I can even draw a spiral and it recognizes it as a shape and I can make it a consistent line or a pressure sensitive. I can smooth it out a little. Now, you might not have caught that on the camera so many edges smoothed out. It doesn't really smooth out your lines so much as it smooths out the little bumps on the edges of your lines. So I can put that back the way it was and again, I can place the center of my spiral wherever I want and I can increase the size of that spiral or make it very small. Once I touch, it stays exactly where I put it. Let's go backwards here. If I were to draw a square, this is my lopsided square, and then I choose the square, it does recognize it as such. It has a little bit of a rounding on the corners though in the square tool, the triangle as well has a little bit of a rounding. If you want an object that has perfectly sharp edges, probably the best way to get that would be to draw it with lines. So there's my nice straight lines and then touch it and I can draw another one and again it recognizes a straight line and then I can join those two edges up so I can zoom in pretty close here and see how I can just join those. Zoom back out again and I can just place that. So that's how you get a nice sharp corners. You can place your lines and join them that way. If I touch it, it stays there. How can we use that Shape Tool in our designs? Well, the fun thing is, let's go back into our asymmetry and let's choose P. Turn on my names here. P4M. Let's try something different. Let's go P3M1 and I'm going to draw a circle. Somewhere in here, let's just see what happens with our circles and it recognized it as a circle, which is what I wanted it to do, placing it right about the center of the fundamental regions and now I can use the size and I can increase them so they overlap each other. Once I've done it about where I want it, I'm going to decrease the line to slightly. Touch it and there you go. You get some really cool symmetrical designs when you use the Shape Tools with the wallpaper symmetry. That gives you an idea how to use your Shape Tool. You can use it pretty much for any item like I did before. You can do a simple spiral and see how it lets me place it somewhere and I can make them really small or I can place some quite large and make them join in the center. You can use your shape tool with any object as long as your pencil stays touching the canvas, it will recognize it and when I lift I can place that center wherever I want and I can take the ends and I can join them here. I can join them down here. So it lets you play around with your shape a little. It's fun to use. I can smooth that spiral just lightly and when I touch it, it's where I want it. Have fun with that. Play around with all your shapes. You can put in different shapes using the different symmetries and come up with some really fun designs. Another thing I really like doing is creating polka dots. So if I draw my circle and I turn it into a circle, I'm going to place it over here. If you bring it down really small and then bring the size of your pen up a lot, it turns it into a dot. Let's put them really close together. Sometimes they fit right on top of each other, that's the best and if I touch it, I end up with this perfect little dot and then I can do another one and I can bring them over top of each other and I can move that center wherever I want. Once they're on top of each other it's a dot, I can even bring it down slightly to make it smaller and touch again. That gives me perfect little dots that I can put into my designs as well. Join me in the next lesson where we'll have some fun drawing with color symmetries. I'll see you there.
14. Colour Symmetry: So iOrnament is based on symmetry. When we draw, we're drawing in symmetry, hence all the wall papers. But another really fun feature it has is drawing in color's symmetry. So not only are you drawing with symmetrical shapes and lines, you're also drawing with symmetrical colors. Let me show you where to find the color symmetry menu. We have our light bulb menu. When we touched the light bulb and that second menu comes up, that's where you're going to find your color symmetry. Now, each one of these wall papers is going to have different versions of the color symmetry based on their symmetrical properties and what they're able to draw. When you go in here, the solid red is your base color symmetry that we always work in, just one color. You can see up here, the white circle is around the green. When you draw, you'll be drawing in simply one color. But as we move down the selections, this one is two color symmetry. As you can see, there's two colors. Then up here in your color palette, it's giving you two color options. We have the green with the white circle, which is what we would be drawing with in the main symmetry, and then when we touch it, it will jump also to the purple. When you're drawing, you'll be drawing in green and purple in symmetry. Now let's try that in one of these wallpaper. Let's jump to PMM. With the green and the purple, I'm just going to draw a simple pedal. You'll see that it's drawn a green one in symmetry. Each one of these colors symmetries is going to work a little bit different, and you really just have to experiment with them so you can see how they play out. You'll see here we're going to leave that drawn because as you work through the color symmetries, these will change our options as well. The next option we have in PMM is going to be another two color symmetry, but a version two. If you can see, I'll jump between these two and you can see how it changes on the screen. Here we have a green mirrored to a purple, and then down below we have a purple mirrored to a green. But if I choose the first version, both of these are green and both of these are purple. So it's mirrored in a different way, but still only working with two colors. Now in the PMM, we only have those options. Let's jump to a different symmetry. I'm going to put that in the garbage can and start again. Let's jump to this one in particular, the P4. Again, with one color, I've got the green. I have a two color, one version and a two color in the second version. Let's try drawing and see what we end up with. So draws it in a rotating symmetry. So we have purple, then rotates to green, then back to purple and then to green. If I were to go to the second version, my complete flower is purple here, but the complete one up here is green. So that gives you two different versions of the two color. Now in this particular one P4, we have a multi-colored version down here, but this one, and it's the only one that does this, jumps to four colors. Most of them jumped to three colors. But this one, because of its symmetry, let's you use four colors. So I really like using this one. You can see here, it automatically jumps you into four colors, and we have four different colors in our pedal. If I were to draw another petal, it would again draw each of the petals in the color associated with that symmetry. Now, with the colored symmetry, let's say that I want a purple petal in this particular square. If you touched the colors, they'll rotate around the colors. Then you can pick whichever color is going to be your primary when you draw with. I said I wanted a purple pedal here. I've chosen the purple, what if I draw with the purple, again, it's rotating the colors around. So that gives you a lots of really colorful variety, drawing in symmetry. Now let's put that one in a trash can and try another one. Let's get into some more complex stuff. Let's try this one, P6M. You may notice the grid seems to disappear on some of them. That's maybe just a little bit of a glitch in it, but some of them it comes back to. I am quite figured out how to make it stop doing that. Let's try P6M and see how that one works. Again, we have a solid and we have two versions of the two color, and then we have a multi-color. Again, I have three colors going on here. Let's just try drawing a simple little flower piece and see how quickly you can draw a beautiful flower just with literally one petal. So not only am I drawing in symmetry, the colors are also showing up. It goes pink, green, blue, pink, green, blue, and that's the way that that one works. Again, if I want to mix it up a little, I can choose the green by touching the colors, rotate through them and going back where I had drawn the pink because this is going to be my primary. Then I draw the green. So now you know how those symmetries work. What if I don't want those three colors together, well, you can also change that. If we go into our color menu, it's showing up with another option in here because we are in the color symmetries. If I go back to single color, that option disappears and see how all my flowers went back to just plain green. But if I go back down to the Multi, I get some options going on here. You have two ways to draw in color symmetry. You can draw the colors that are all alike and close together or you can draw them that they're opposite sides of the color wheel. It will automatically pick if you touch on either of those. But you can also drag these colors around. The color with the white ring is going to be the one that it's basing everything off of. If I were to touch one of these other colors, it would now base it off of this one. Or if I chose this blue, it would base it off of that one. But these other two colors, I can move freely. See how I can move them to say I want that green and perhaps I want this orange over here. Now I've chosen three colors that I want. I'm going to bring my saturation down just a bit and get more into the pastels. When you choose the one that has like colors, it bases it off of this end. If I were to choose yellow, see how it's the one on the end and the other two are free moving. Just remember that the one that it's based off of, whatever you touch, it'll go and then if you move it, it pushes all your other colors. You don't want that. So you want to be able to move these colors. At this point, these colors around the outside don't particularly matter. It's going to choose the colors from the inside that you have selected. If you go down to a two-color version, then you end up with two colors. So one is based on what you choose on the outside and the other one is your choice on the inside. Here I've gotten a pink and an orange. Let's get rid of that design, and let's try going into our Rosetta and see what happens there. So again, I have a single version, a double version, and a second double version. When you move between symmetries, it'll reset what it chooses so you probably have to go back in. Let's just try that. If I were to choose a different symmetry, nope, it let me keep it. But sometimes it resets itself. So just be aware of that. Let's try this second version. We're in a mirrored symmetry on eight sections with a pink and green, and let's just see what we end up with. The very close and color perhaps I should bring up the saturation so you can see it better. Let's draw another one and that's actually move it to the pink so that there we go. Very quickly you can draw a multi-colored design simply by using these colors symmetries. That's just a basic introduction. Go and play with those, have lots of fun and see what you can come up with. Join me in the next lesson where we'll learn how to use multiple symmetry options in one design. I'll see you there.
15. Design Mode: Now you've probably experimented a lot with the different symmetries, but what you may have found is that jumping between symmetries might cause problems with your design. Let's go in and just giving you an example of what I mean. We'll just use black for now, and let's choose this P4m. Let's draw something in symmetry, and then let's say I want to also draw now in P1 and see how it changed my design, you've probably experienced that. As we work through the class, we were working in one symmetry at a time, but you can work in multiple symmetries without this happening. The trick there is to go into your settings and choose this right here, design mode. Really simple lever, when you turn it on, it will now allow you to jump between symmetries and add more using different symmetries. Now the trick with this though is that you are not allowed to do that with every symmetry. It will blank out some of the wallpapers. If I'm working in P1, let's just get rid of this. If I were to draw something in P2. Let's just draw something very simple. Now, because I drew something in that, it's telling me these are the only symmetries left that I can still work in. The more complex your design gets, a few of these might drop out. They don't all work together, and once he started drawing, it will mess things up if you try to combine them. But there are a lot that do work together. Let me show you if I'm in P6m, and I just draw myself in a simple flower. Look how many of them drop out because it just won't work if you try those other ones so it works them out, you can't do them at all. The only thing with design mode is that it does limit. Once you started drawing, you have to stick with a certain symmetry. I could go into P6 now having already drawn this in P6m. When I go back to P6, I can add something in differently. If I just wanted that little pedal in the middle, P6 lets me do that. Whereas if I tried to draw it in P6m, it draws differently, it mirrors. You get to know your symmetries and you decide maybe I want something simple. If I just wanted to draw a basic circle right here, see how it mirrors from all sides because there's so much going on there. I can take it back to P1 and I can just put that circle in there, and if I wanted, I could use the shape tool if I wanted it to be a perfect circle. The nice thing that I like about jumping between the symmetries is I can always go back to some simple symmetries to add in some basic circles or basic little objects that aren't going to get mirrored everywhere else. The only place I want that is in-between the flowers, and so that's the only place it puts it. If I were to try and do that, let's go backwards, in another symmetry such as this one, maybe I want a little dot right here, but now I've got three dots. If I were to go back to P1, I could put that dot right there and that's the only one I get within that fundamental region. That's a handy thing, if you want to be able to switch between symmetries. I didn't want to introduce that too early because it can get very confusing and it's good to stay in one symmetry as you're learning. But as you get to design more, you're going to want to jump between symmetries. Another thing I want to show you there, let's get rid of that. Let's go to the Rosetta, two things going on here. Now that I'm in design mode, you might have tried this and it didn't work. I can draw a design in the mirrored symmetry, and then I can jump to rotation and it stays. Before it would just get rid of the mirrored half and leave you with this half. I can jump back and forth now between rotation in mirror, in my Rosetta if I have designed mode on. Because maybe I want some of it to be mirrored and maybe I want some of it to just be rotational. That works really well. The other thing that you can do now that we have design mode on is I can take this very simple design from my Mandela and I can take it into my wall papers. If I touch on my Rosetta and my wallpapers jump back up, it shows up inside each fundamental region in my wallpaper. But again, there are some that are blocked out because it just won't work. It'll be too complex and the design won't be able to compute it properly. We could go into save this one and see how it sticks it in the middle, it places it differently depending on the symmetry, so you have to experiment. Perhaps I would like to put in a little detail here, but still working as a Mandela. See how in this symmetry P4, it just placed four of these in and let me do it in rotation. As you go, you're going to learn what symmetry works what. Sometimes it's nice to make several notes beside those printable download sheets that I gave you so that you can decide what it is you really like to work with and which symmetries you can find that in. But by using this design mode which is under your settings again. Now at any point in time, you can't just turn it off while you have a design going. See it already worked in two symmetries, so it can't do that anymore, you have to leave it on for the remainder of your drawing. Decide at the beginning of your drawing are you are going to have it on or if you are going to leave it off? Now one more thing about design mode that you have to know before you decide to turn it on, you can't do color symmetries with it. Going into our second menu, all the color symmetries are gone. The only thing is, and it's really grayed out, is working in one color. As long as you have designed mode on, you can only work in one color, which is okay because you can go through and pick different colors and draw them in yourself, in through the different symmetries. But just know that once you've started working in color symmetry, you can't switch to design mode, it won't let you do that. If I were to get rid of this and I go and start a new one with design mode turned off, and I have color's symmetry on, and let's choose PGG, let me see what happens in that one, and again, we'll draw our very simple paddle, and I've got back going. Now I think I want to move into a different symmetry. If I were just to choose a different symmetry, it changes. Going back to PGG, I would say, I want to turn on design mode, I can't do that. It's just the way that the symmetries work and the way that the program computes it. You have to work in one symmetry when you're using color symmetry. But other than that, this design mode, I use it almost all the time when I'm doing my Mandela's because I always jump between the rotational and the mirrored Mandela's. Go ahead and play around with design mode and see what you can do jumping from different symmetries and making your design a little more detailed. Join me in the next lesson where we'll explore using the local symmetry feature to create more complex and detailed designs. I'll see you there.
16. Local Symmetries: Now we're going to explore a feature called local symmetries. The local symmetries are going to allow you to put little Rosette features within your greater designed wall papers. Let's go and find them and start the exploring. Go into your second menu, which you turn on your light bulb and up your menu comes. You're going to go about halfway down and underneath the shape tool, you're going to find this little grid with four Rosettes. That's your local symmetry tool. When you touch it, it goes blue and it turns it on. What we get over here is a menu and then we get our little Rosette feature, which sometimes goes off the screen. Sometimes it shows up in the middle. If you zoom your screen in and out, you will find it because sometimes it's off screen pretty far. As long as you're in "Edit" mode, you can drag it around. What we will do first is go through this menu and then we'll explore how to draw on this. The first thing we have on our menu is the question mark, so when we touch the question mark, we get all the information about the local symmetry. This is a good little thing to go over, it explains how it's used and the different creative ideas you can use it with. The next thing we have is the edit button. When the "Edit" button is white, it means you're in "Edit" mode. You can drag your little Rosette around by touching it or you can rotate it if you touch outside of it. We have both the mirror and the rotation as we do over here with the Rosette feature as well. We also have the number of sections, which we can take it all the way up to 32. Because it's a smaller feature, it really can't go much bigger than that you won't get the detail. We'll keep it around eight. The last thing we have over here is the magnet. With the magnet on, which means it's white, it will click to a symmetry. Let's go into one that actually has some symmetry going on. Let's choose P4m. I have it zoomed out quite a bit here and I have some stuff going on there. Let's zoom it in. Now we can drag this around and see how it clicks on the lines, that's the magnet function. It allows me to center it. It allows me to center it in the middle of the grid. It allows me to choose a line to center it on. As well, if I rotate it, it clicks. That's kind of handy too, because it gives me equal distance rotations plus it also allows me to center the line. This red line is now centered on this gray line. Or I can move it over to here, rotate it and it clicks straight up and down. That's really handy if you want it in a specific place according to your wallpaper grid. Once we've chosen our location for it, we can then choose the "Edit" and turn it off. It goes gray, and this goes gray. We can now draw on it. I'm going to use the black and I'm going to make my line pretty small because keep in mind the local symmetries are first more detail. You don't want really big thick pens for that and I'll just show you basically how this works. We're in rotation mode, I could just do. What happened here is because I had it in the middle of my wallpaper. The local symmetry works on these rules first and these rules second. It actually was working on this symmetry. Well, let's take it back and drag it. Let's go back to P1 just say you get the concept of how it works. See how it wasn't there and I zoomed in it showed up, and then I draw my canvas. Let's put it in "Edit" mode, drag to the center and turn "Edit" mode back off. I am going to zoom out here. Now I can show you the basics of how it works. I'm just literally doing a spiral. There is a little symmetrical Rosette in the middle of each of my fundamental regions. It allows you to create little Rosettes within your patterns. How would I use this in a bigger design? Well, let's go back and let's go back to that P4m. Let's turn this function off for a moment. You just touch it again and goes gray and just do something with this wallpaper. Let's draw a very simple little flower in the middle of my P4m. Let's say I want to add something else going on here and I want to add another little flower here, so I draw a little flower and I think, no, I want it to be more detailed than that. I want something much more detailed than a Rosette of some kind. What I do is, we'll go back and erase that. We will turn our local symmetries on. Now again, our little Rosette is missing, there it is. We drag it and up there and we turn the "Edit" off. Now I can create a little Rosette there. Again, it's going to work with the symmetries that are in this wallpaper, so keep that in mind when you're centering it on a fundamental region like that. I could go in and check out my symmetry lines. Turn them on and I have not much going on here. But let's just see what happens. Let's draw it. I already have this little square symbol in the center, so that's going to be a part of it. But let's just draw something. I've got some mirroring going on, but still I got a really cool little design in there. When I zoom it out, that little Rosette shows up based on the wallpaper everywhere that little square symbol is as well. But instead of just a simple little flower, I got a little more complex one. I can go back and I can up my rotations to 12 and let's choose mirror. I have a lot going on here. I can change this without having to go into "Edit" mode, but I can't move it without having to go to "Edit" mode. You can't change the number of sections on the fly and the rotation and mirror without having to go back into "Edit" mode. Let's just try drawing something and see what we get. We got a lot happening. But you get another little design going on there. Let's just add a little more to it. There we go. See that really complex little Rosette you have going on in the middle of your simple ones. Where else can I use this? Well, where I love to use it is in the Rosette feature. Let's send that to the trash. Let's just turn your local symmetries off for the moment and go into the Rosette feature. I am going to turn in my Rosette feature, I'm going to turn local symmetries on, the menu comes up. Again, we don't see it yet. Now see, I am zooming in and out and it's not showing up. Zoom it really far, there it is way up there. Sometimes it likes to hide itself. There it is. We drag it back in and now I can zoom up there. Sometimes it's hiding way off of your canvas, so just keep looking for, it's there. Now I'm going to choose the square. Let's turn off temporarily and just draw a very simple little Rosette in the center. Now let's add something to it over here. Turning the local symmetries back on, it's in "Edit" mode. Let's take it up here to one of these lines. We're going to bring it down, I don't need it to be doing that much, but leave it on near and choose the "Edit" button so I can draw on it. Again, I'm going to make my little drawing and add a little bit more to it. In fact, that's too much because it's overlapping, so zoom in, make it a little smaller. Notice, this didn't change at all, because as you zoom in and out, this doesn't change, but it does let you draw with more detail. There we go. We add our little Rosettes. When you zoom out, you end up with these beautiful little rosettes around your design. I can hit "Edit" again and I could drag it over here, moving it up a little, turn the edit off, zoom in and draw another little Rosette. A little bit different, let's say, there we go. When you zoom out, you've got more little Rosettes going on here. This is really cool how you can keep adding more and more designs. That's a fun way to use a local symmetry feature. There's a lot that you can do with it. Play around with it, and see what kind designs you can come up with. Now it's time to put it all together. In the next lesson we're going to work a design from beginning to end, using some of the ideas that we've learned in this class. I'll see you there.
17. Project Demo: Now we're going to work a project from beginning to end using some of the techniques that we've learned in this class. You can be inspired and get the feel for how it is to work from concept all the way through to the end and exporting and design in iOrnament. First we're going to open iOrnament from close so that we get all the default settings already in place. We get our black screen and our menu to the right. What we're going to do, the first thing is change your background to white. We go into our settings, choose the double star and we're going to go white so we can play around with background, as we get to the end of the design, I'll show you how to do that. But to start with, we're going to go white. While we're in here, I'm going to go over to the gear icon and turn on my show group names so I can show you what group I'm going to be using. Then we're going to go back over to the brush and we're going to choose an additional influence. It comes up with our influence of size and our control pressure set at 50. I'm also going to add in brightness, so choose brightness, choose pressure. I'm going to lower it down to about 15. That's all I'm going to do in there. Then we're going to go back over to our menu and I want our fundamental regions up, so I'm going to go into the light ball and choose the honeycomb and the fundamental regions pop up. Now I think I'm going to use P3. I think I like this one with the honeycomb fundamental regions. The only thing left is my colors. I'm going to go in and this design, I think I'm going to use greens and blues so I can swing them all over here if I want because I'm pretty much that's what I'm going to work with. If there were particular ones I knew that I wanted specifically I would go in there, but I think I want a nice big range of them. I'm going to leave that all over on the blue-green side. I'm not going to touch any of this stuff, so let's close down our settings. We have 10 different blues and greens working in here, a white and black. In these sliders, I'm going to take the blurriness down to 0 and leave my opacity 100 and then my brightness, I'm going to leave around 70. The saturation, I'm going to go down to about 60 because I want a softness to my colors. I don't want them to be really bright. Size, this will vary depending on where I'm drawing in the design so let's get going. We're going to zoom in and I'm going to pick one of these junction points here. I'm going to go with one of my blues and I'm just going to draw a nice big spiral. That's a blue and spiral, I think I like that. I'm going to go down into one of the greens and add another spiral inside and I'm going to do one more, but I think I'm going to go deeper into the blues and just add that one in. There we go. There's three spirals together. Gives a nice funky look to it. You can practice with your spirals, go back and forth to take them out until you're happy with them. I'm just going to keep moving forward here. In this section here, I think I'm going to use the local symmetries. Local symmetry turned on. I'm going to choose it because I'm working in a multiple of three, I'm going to go down to six. I think I'll choose the mirror, now I got to find my local symmetry, there it is. I'm going to bring it up to the center so the magnets on and it's centered. If I turn edit off, I can zoom in better. Once I get zoomed in and I'll turn edit back on because I want to rotate it so that it clicks to these lines and once it's done that, I can turn it back off and it's ready to use. Now I'm just going to pick one of these blues. I'm going to go a little deeper than what I've used and just see, that's not bad, but I think it's a little thick, so I'm going to bring my size down to about 20 and try again and then I'm going to try a different blue here. There we go. If you want to a look for it, just zoom it out and see if you like the look, not bad. I might actually take my eraser to it, which is right here and make a little we white flower in the middle. I think I like that. The next thing I'm going to do is turn off my local symmetries for the moment, zoom it out and figure out what I want to do next. I think I am going to put something in here. I might actually do another little spiral in there. Let me see what happens if I do that. I'm going to do the blue again and I'm going to go up and around so it doesn't have a symmetry point here, which I could find if I went in and turned on my symmetries. I could then see the symmetry point is there and because of that, I think that's where I'll do it, so go back. Now that I know my symmetry point is there. Let's put another spiral line here, not too keen on that. There we go. There's another spiral. I'm going to use a different color because the blue is already on the outside of that spiral so let's go down to a green and let's make a green spiral. It may take me a few tries here to get the spiral I'm looking for. Little too big. There, that's how bad. Then I'm going to go with a medium blue and add another part to my spiral and then a deeper blue on the inside. There we go, so that adds another element to the spiral and then what else do we want to do here? I think I'm going to add something over on this red triangle. What shall I do there? A different spiral. This time I'm going to start with a dark blue. We're going big time spirals here and they're overlapping each other, so I'm getting a lot of spiral action going. I'm going to go down a little bit lighter and then down to a greeny blue. There we go. Lots of spirals going on there. I think I'm also going to add little petals into these as well. Let's choose a different green. There we go and put a different colored center in there. There we go and then zooming over to the spiral, we're going to put in a green, a turquoise, I'm going to do blue and turquoise. There we go. That's a little bit better. I'm liking all of the spiral action and the only thing left, I might do some dots so let's see, I'm going to use a green. What I'm going to do with these dots, I'm going to use the shape tool. Going into the shape tool, I'm going to create a dot in green and then I can make it a nice perfect little dot. Lining those two up on the line, bring my dot size up there and that's good. Touch the screen. I'm going to like this, I think so and then blue, I'm going put those and remember I'm working with a lot of different blues and greens on purpose here and we'll make that dot a little smaller. Then we're going to use a deep blue and because there's no symmetry point there, I can put that dot right there and it's even smaller, touch the screen, there we go. I think I like that, so I think we're good. I can go in and tweak some of these spirals, add a few more petals there, but I think I'm pretty good with that. I think that's a good one. Lots of spiral action going there. There's a lot going on my screen. I'm going to turn off my fundamental regions and off my Shape tool. Now I can get an idea by closing the menu and I can see what it looks like overall. I can zoom in and I think I like that. The other thing I can do now is play with the background. Let's go in here to the backgrounds and now I can just drag this background around, so see I can get a nice green background. I can head into the blues. I can go into the purples, pinks, all the way around. I think the green was nice. I'm going to turn off my symmetry so those little symbols aren't showing. That's one option for this. Now how to save it, so we're going to go into the export and I want you to go into your preferences first, here I have no transparent background. That's what you want because you want to see that green come through, so make sure that one is off. I have high risk for images on and the other two off. We're going to go back into the camera and export our image and that will export the whole canvas, save it to our camera roll. Then I'm going to go back in the export the tile, save it to your images that is just the fundamental region and you'll be able to use that going forward in print on demand products or fabric products. As well as saving into my camera roll, I'll save them to Dropbox or an iCloud service that I can use on my laptop and then I can use it in Illustrator or if I want to one here.
18. Bonus - 100 DAY PROJECT Highlights: A few months ago, I was inspired to try my first 100 day project on Instagram. I wanted to challenge myself to get creating pattern designs and wanted to push myself through that self judgment phase by creating at least one pattern a day and posting it no matter how good or bad I judged it to be. I wanted to do the patterns exclusively on the iPad and I had the intention of playing with many different apps. It very quickly became a 100 day project exclusively on iOrnament. The more I use the app, the more I learned about it. I loved how it gave me a painterly hand-drawn style and yet it gave me so many symmetrical options to play within an awesome balance between free form and structure. I love geometric design in symmetry, but also love hand-drawn doodles. I had no idea that this app could fulfill both these passions for me. I also loved how it allowed me to export a perfect tile of my lose style so that I could use it as a seamless repeat. I started uploading my designs to Spinfire and other print on demand sites. I also always wanted to create quotes, one of my many other passions, using my own fabric designs. But of course, in my rebel creative way, I wanted to print these fabrics that I wanted, not what the market was currently producing. This is now a possibility for me. Perhaps that's a 100 day project. I went from not really knowing how to use the iOrnament app when I first opened it to exploring and discovering its many hidden gems, It is a creative process all on its own, just exploring and playing with the many features in this a app. My goal is always to inspire creativity just for the simple joy of the process and I'm always looking for out of the box simple ways to do this, and in the meantime, I've also discovered a great way to create patterns that I can use in home decor accessories and fabric. I've put together a few of my video clips here from my Instagram 100 day project as inspiration and examples of what can be done in this app. If you'd like to see more, I have 100 days of images and videos over my Instagram page at JSP create, pop on over for our look if you'd like. Enjoy and remember, create something, anything that brings you joy every single day.
Jane Snedden Peever, Living the Creative Life
