Transcripts
1. Introduction and Class Description: Hi, I'm really in boiling. I'm a textile and surface
pattern designer. I create prints and
pattern for home decor, apparel, and
stationary companies. Today, I'd like to teach you
how to take your artwork and bring it into Photoshop and create a seamless
repeat pattern. Now to accomplish this
the most efficiently, I've put together an extra
exercise that I would love for us all to follow
along with together. And that is creating original
art that we can learn. This lesson, that is
beginner to intermediate. Then once you've
learned the tools, then I'd like you to take that skill set and apply
it to your own artwork. For this exercise, you don't need to run
out and buy a bunch of fancy watercolor paper
or watercolor paint. I will put what I'm using
in the class resources. But whatever medium
you would like to use, pastel acrylic, colored pencil, even if you have a piece of copy paper and some crayons,
that will do the trick. Because the point is, is we're using Photoshop, which is a raster based program. And we're using a
raster based program because it is pixel-based. There's millions of
different shades of pixels. So it's going to keep that
tonal quality of our artwork. So I'd love for you to
follow along step-by-step. I'm going to teach
you everything you need to know to get your
artwork into repeat. You will not even
believe how much you're learning as you go along. And by the time you're
done with the class, you will have a beautiful
portfolio piece and a repeatable pattern that
you could upload to, let's say, a print
on-demand site like Spoonflower or society six. And then I would love to
see your heart print, but I'd also love to see if you've experimented with some of your own artwork
and that you can share that with
the class as well. So let's go ahead
and get started. I cannot wait to see everything
that you guys create.
2. Lesson 1 Creating Original Tonal Motifs: Okay guys, let's get started
with painting our hearts. And you can see here, I've taken my ruler and drawn a light line
just to give me a guide so that I can keep my
heart somewhat symmetrical, but we want them to
look hand-drawn. So this is just giving us
a little bit of a guide. So I want them to look
a little different. But I like to use little
guidelines from time to time. Now you guys don't have to
do them as symmetrical. You can do them
however you want. Then I'm going to take
some of my paint. I'm using Winsor and
Newton, Winsor red. Now I know I also want
a little more in here. Loading up my brush. When I go in. I really want to focus
on these outlines and I'll show you that when
we get into the class, why the edges are so important. But I want a nice solid
edge if I can get it. But then I'm gonna come
in and fill in the rest. Now the whole idea of this
class is to work with watercolors because
we're gonna be putting this into
repeat in Photoshop. And watercolors are tonal. I've drawn eight hearts and we're going to use
probably five. So out of these eight, I'm hoping to get five
really good ones.
3. Lesson 2 Separating Motifs from Background: Okay, Now it's time
to bring our scan in. So go to file open and look for where
you saved your scan. If you don't have a scanner
hooked up to your computer, you can scan using your phone. And I've put some links in the class resources for you to see how you can do
that pretty easily. So I'm here with my scan and I've got the background
layer that's locked. What I like to do is keep
this background layer locked and go to layer and
duplicate layer. Then I'll turn off the
background layer just because I like to keep
that for safekeeping. It's just something
I've always done. If I make a mistake, I can just go back and
get the background layer. And now I have my
background copy. And I want to remove my heart's, my painted watercolor hearts. And you may have used
a different medium. And that's great. And I'm just using
watercolor as a way to show you how to
handle tonal motifs. So I want to remove these watercolor hearts
from the background. I'm gonna go to my
magic wand tool. I'm going to change
my tolerance to 30, which means it's going to find
the pixel that I pick on, plus a range of pixels that are very close to
that arrange with the 30. So I'm going to click and it's selected the
white background. It's even gone in. And I'm going to Command Plus to zoom in a little bit here. It's even gone in and got
some of my gray lines. So it's done a really good job of selecting the background. Now there are some areas I can see that I might
want to get rid of. Here. The gray line was not
in that 30 pixel tolerance. So what I'm gonna
do is I'm going to go to my last Sue tool. And I'm going to hold
down my Shift key. And I don't know if
you could see that, but there's a plus sign. When I'm holding
down the plus sign, that means I want to add
these pixels to my selection. In this case, the selection is the background that we're
trying to get rid of. Now you don't have to
worry about getting every little edge because I
have a little trick for that. Then I'm going to
show you in a minute. So plus is to add it to the selection and see how I can adapt into
the heart there. And Option on the Mac is how to subtract it
from the selection. So Shift key on the Mac is add to selection,
option is subtract. I also have a MAC key to Windows key conversion chart
in the resources as well. So here's another little
area I could get real quick if I wanted to shift with my last Sue tool and add
those to my selection. I'm going to Command minus
sign to zoom back out. And I'm going to
just look around to see if there's any other areas. And I see here in the heart, I have some white areas within my motif that I do not
want to be cleared out. I don't want those
to be transparent. I want to keep that
white highlight or whatever it is in my motif. I want to keep it
in my mom motif. I'm going to hold down my Option key and
I'm going to take those pixels out of the selection so that
they will not be cleared. And that will maintain those light white
pixels in my motif. And then over here
I'm going to shift to add these on the side to the selection that's
going to be cleared. Okay, Let's zoom back out again. And now I'm ready to
hit the delete key. Now this grid is showing me that that's a
transparent area. So now I have my red hearts
on a transparent background. And Command D will get rid
of these marching ants. So now we have our artwork
on a transparent background. And it looks pretty
good because it's on a light background
so you can't really see the edges of the hearts. And that's why when
I talked about when we're painting the hearts, how if I hadn't gotten a
nice edge to my motif, it would really be getting
chewed up right now because it would be chewing into
all those white pixels. Now, again, you might
have white pixels in your motif or light highlights
that you want to keep. And then you use the, the
tools that I just showed you. But I've got a little
trick that I do to make sure that I don't have any
halos around my motif. And that is two. I'm going to Command
minus sign to zoom out. That is to go to, I'm going to move my tools
over a little bit here. Go to the layer. New Fill Layer, Solid Color. Okay, and then pick
a very dark color, like black is a good
color to use here. And then drag black underneath
the background copy. Now let's zoom back in. And now we can see that we do have this halo of white
pixels around our heart. So the trick to getting
rid of those is to go to your magic wand tool and
select the background first. I have to be on the
background copy. So select the background
and it's going to select the transparency
around the hearts. Then I go to Select,
Modify, Expand. And I'm going to
expand my selection one to two pixels
into the heart. And then I'm gonna say, okay, and you see how that
moved the selection in. Now, I'm going to zoom in a little so you can
see it even better. When I hit the delete key, I just cropped off
those white pixels. I could have even
gone in a little bit more if I wanted to. But this is something
that I do because if I'm going to put this on a
different background, my motifs are gonna go maybe
even a solid background. I want to know that regardless
of my background color, it's always going to look good no matter what
color I put it on, whether it's a lighter
color or a darker color. Then I'm going to come in and maybe fine
tune a little bit. Now, in the interest of time, I'm just going to clean up
these three hearts here. So I'm gonna go ahead
with my last Sue tool and I'm going to pick
my background copy. And I'm going to delete
pick the Delete key. I'm just last suing
the stuff out of here and hitting the delete key. And then Control D to get
rid of your selection. I'm gonna get rid of these two. Let's just get them
out of the way. All right, I'm going
to focus on these three and I'm going to zoom in and I'm going to
use my eraser tool. You can see that I can
change the size of my brush. And I'm doing that by using the left bracket and the right
bracket from my keyboard. And that's located
underneath the f, 11 and F12 keys
on your keyboard. The third row down. So I'm going to erase
and erase does is it knocks out those pixels and replaces them with
the transparency. So now I can just quickly come in and maybe get some things. I don't have to
because I got rid of that white halo in
one fell swoop. I can just quickly
come in and make any necessary changes
now with my eraser tool. And it is a hand painted piece, so I don't need it to be exact. In fact, what makes
it have a lot of character and handmade
qualities is that it does look. It's not perfect. There's different
shades of color and the shapes of the hearts
are a little different. And I think that's what makes a hand painted piece so
interesting and so valuable. It's not just the same motif
copied over and over again. Okay, so that looks good. Now next thing I'm going to
show you is how to get rid of any pencil marks that
you may have in your, your sketch that you want to
just quickly touch those up and get these motifs
ready. So that's net.
4. Lesson 3 Removing Unwanted Marks from Artwork: Okay, Now we want to get rid of any unwanted marks
in our art work, especially before we start
copying any of these motifs. You want to do it once
you don't want to have to copy it and
do it again later. There's two tools that
I'm going to use. One is the Spot
Healing Brush Tool and the other is the
clone, I'm sorry. The clone brush or
the clone stamp tool. The, in this case, the spot healing brush, which looks kinda
like a band-aid over here in the menu bar. And make sure we're on
our background, copy it. It's going to work really well
for this exercise because the surrounding area is so similar to the area
that we're cleaning. So you can literally just
come in paint over it. I'm gonna make my
brush a little smaller with my left bracket key. Now, remember this heart is
on a transparent background. So if I go off the heart, I'm gonna get some unexpected, unexpected results
because I'm trying to spot heal a transparency. So I'm going to edit, undo
the last couple that I did. And I'm going to go in
with my magic wand tool. I'm going to pick my hearts. But it didn't pick all of the red pixels because my
tolerance was only at 30. So this was, I could just hold down my shift
key and keep picking, but that's a long way to do it. So what I'm gonna
do instead is I'm going to Control or
I'm sorry, command D. Control is for the, the PC, command D for the Mac. I'm going to select
my background. And then I'm gonna go to select, and I'm going to say inverse. So that was the quickest
way for me to pick these three hearts that were
on a transparent background. Okay, so now when I'm using
my spot healing brush, if I go off of the
edge like this, it's not going to let me because I have the
heart selected. Software knows that not to
paint or erase or do anything else that's outside
of the selected area. So look at how quick and easy this spot healing
brush is in this case. Now I'm saying in this case
because sometimes what you're trying to paint out is maybe
a little more complicated. And the area around
it isn't as similar. And you might need a little more control than just letting the computer automatically do it with the Spot Healing Brush. So that's why I'm going to
also show you the clone stamp. Using the clone stamp tool, we're going to hold
down Alt or Option key and then we get a
bulls-eye there. And when I click with my mouse, that's the area I'm going
to start painting with. Once I let up on my Option key, then I'm going to move that area over to this line and
start painting over it. And you can see the
plus sign underneath shows me where I'm
painting from. This is used when you need
a little bit more control. Like if I really wanted to
take some of this pink, I could option on the pink and then come painted over here like maybe I wanted to put another
highlight in or something. So whenever you hold
down the option key or picking up a
new starting point. So if I pick up the
starting point right here with this line and
I put it over here. Can you see how it's duplicating that line and it's just going to keep on painting. Okay, so I'm going to, instead of going to edit undo, since I have several
steps I want to undo, I'm going to go over
here to my history tool, which is right here. And I'm going to
go up a few spots until I see where I started
with the clone stamp tool. And I'm going to click
that and that will undo everything up
until that point. So if you've done several steps and you don't
want to go edit undo, edit, undo, edit, undo. You can come over here
and backup that way too. Okay, so back to the
clone stamp tool. I'm going to Option and pickup right underneath
where I want to paint. I like to pick up quite often. Because with the clone tool, you want to be really close
to where your painting. So I'm gonna option left button
and then start painting. Option left button and then
hold and paint option. Okay? But like I said, with this particular example, and especially
with pencil lines, I think you'll have good luck with the spot healing brush. And I'm going to increase my
brush with my right bracket. And I'm just going
to come quickly, very quickly, get
those out of there. And then Command minus sign. I'm going to just zoom in
Command Plus sign and see how I got a little bit right here. I'm going to make my brush
a little smaller with my left bracket because I don't want to necessarily
heal more than I have to. So that looks good. And maybe a little
bit more over here. And then Command D to get
rid of my marching ants. Okay, now we're ready to
move on to the next step, which is to take
these hearts and put them on their own layers. Right now the three hearts are
all on one layer together. And I want to be able to move
them around individually. So that's what we're
going to learn next.
5. Lesson 4 Putting Motifs on Separate Layers: Okay, Now it's time to put our
hearts on separate layers. So let's review what we have
over on our Layer menu. We have that original
background scan. Then we have our color fill, that black color fill
layer that we put to check the edges of our motifs. And then we have our
background copy. If I zoom out, Command minus sign
will see the size of the original file we opened when we first
brought in the scan. So I want to just separate these hearts on
their own layers. I'm going to show
you a couple of different selection options. The easiest being,
because they're already on a transparent or
contrasting background. Make sure you're on
the right layer. And simply put a lasso around the heart and
then go to Layer, New, New Layer via Copy, which is Command J. I use Command J a lot. And if you're gonna be
putting artwork into repeats, you probably will be two. So I'm going to select, I want to show you that you can select it from both areas. And then I'm gonna go
to my selection tool and I'm going to move
that second layer. So it made a copy and notice how it cropped it
right to the edges. It did ignored the transparency. And I'm going to go name
that layer heart one. Okay, now I want to show you
a couple of other options. These are selection tools here. We've got the
rectangular, the circle. I could just put a
rectangle around it, not even worry about the lasso. That'll work as well. Command J. Oops, I was not on
the correct layer. I have to go back to
my background copy. Let's try that again. Command J. Go to my selection tool and
look at how easy that was. Okay, now this third one, I'm going to do a
little differently because I want to show you what contiguous means. I'm going to turn off our two heart layers
that we just created. And I'm gonna go back
to the background copy. And I'm going to use
the magic wand tool with our 30 tolerance. And I'm going to not
check contiguous. And do you see how
it goes and finds those pixels throughout
the whole layer? And then of course
I can shift and keep picking and get all of
the colored pixels in there. Then I'm going to
Command D to get rid of my marching ants
are my selection. And I'm going to turn contiguous on and show you what that does. So if I select my pixels on
my background copy layer, and it will only select the pixels until it finds a barrier
of another color. So as soon as it's surrounded by another color, it will stop. It won't go through
the whole layer. So that's what contiguous means. And you'll turn that on
and off quite a bit. That's another tool
that I use quite often. But in this case, the magic wand tool isn't the
easiest one because we've already got it separated on
a transparent background. So another tool that
sometimes comes in handy, I don't use it as much as
the object selection tool. And I probably don't use it as much because it's
relatively new. But if your object is surrounded by a relatively
contrast color, you can just click on
the object and it'll automatically determine
where that should end. So practice with these
different techniques depending on the colors and the particular image
you're working on. Command J. And I just
did the same thing. So I have three
layers that I did, indifferent selection methods. But I just wanted to go over these selection
methods with you. There's the rectangular
marquee tool and the last sue, and then the object
selection tool. And then there's
options under each one. Okay, so now that we have our three layers
and I'm going to go ahead and name them hurt one, heart to heart, three. And I'm going to turn
off my background copy. And I can even get rid
of the background. One that's locked. This is
the original scan because I still have that scan
saved as a scan. And my background copy is
the cleaned up version. This background here that's locked is that original
scan that's not cleaned. If I really needed to go
all the way back to it, I already have it
saved on my desk. So I'm gonna go ahead and
just get rid of this by right-clicking on the layer
and saying delete layer. Delete the background
layer. Yes. Okay, So now we're
left with our color, fill our background copy, which is our cleaned hearts, but they're all on
one layer and then our three separate Heart Layers. Now, what I'd like to do
before we move on to creating a random toss repeat with these three is I want to go over
the Edit Transform tool. So I wanna make my motifs relatively
the same width and height in this case. So I'm going to, this one's a little narrower
than the other two, so I'm going to select it. And I can go to Layer, I'm sorry, Edit Free Transform. And I'll get these
transform nodes here. Now if I want to scale it, I simply drag my cursor. If I want to scale it
out of proportion, I hold down the Shift key and that will just move
the one side that I'm on. So let's say I want to
make that a little wider. And then when I want to go
back to scaling in proportion, I let up on the shift key and then double-click
to accept your changes. Then let's say I want to
make this one a little bit smaller so I can
either select that with my left button or I come over to my layer
menu and select it. Then if I don't want to go up
to the Edit Free Transform, I can just use my
hotkeys Command T. And command T is something
I use all the time. And then I'm just
going to shrink that just a tad just to make
them a little more even. Okay, so now I have three motifs that are all
on their separate layers. So now next we're going
to learn how to put these into a tile
seamless repeat.
6. Lesson 5 Creating Seamless Repeat: We're getting very
close to creating our tolerable, seamless repeat. And right now we still have the original size of the scan. And we're going to create a five inch by five inch repeat. So now's a good time to
change the canvas size. So to do that, we go
to image canvas size. I'm going to select that
upper left-hand corner for an anchor type in my
repeat size, five-by-five. Okay? It's going to warn me
that clipping will occur. So anything that is larger than five-by-five is
going to get clipped. And currently our motifs are fine because they're
smaller than five-by-five. And it's fine if our
background copy gets cropped, It's fine if our color
fill gets cropped. So I'm going to proceed. Then I'm just going
to move my heart's back where I can see
them on the canvas. Now, I want to fill the
canvas with hearts. And instead of just
using these three, I'm going to create a
copy of each one of them. And to do that, I select on the layer. Then that command J, which is the New Layer via Copy. Then I'm going to command T. And then instead of
rotating just chat, I'm going to write button
and flip horizontal. And I'm going to write
button and flip vertical. And then I double-click
to accept my changes. So now I have the
same two motifs, but they're a little
bit different with the other one
being flipped. Now let's go to the next heart. Command J to copy the layer Command T to transform right button
to get the flip horizontal, right button to get
the flip vertical, double-click to
accept my changes. And then let's do the same
thing to the third heart. So I select it to
select the layer, command J to copy the layer. And then Command T to get
into the transform mode. Right button flip horizontal, right button, flip vertical. Okay, So then double-click
to accept your changes. Now I have six unique motifs. It's absolutely fine
to copy your motifs, but I like to flip them
and scale them a little differently just
to make them all look a little bit unique. I think that really adds to the quality of a handmade,
hand painted piece. Okay, So now the point
we've been waiting for is we go to View
pattern preview. And it's going to tell us
Pattern Preview works best with smart objects,
which is true. But I want to show you
what happens if we don't make our motifs
smart objects. So here we have our
pattern P preview, we have our center repeat, and then we have the copies. So as the center repeat
is the original copy. So as I move that
motif up and down, you see it coming
back up the bottom. And that's why when
we're done with the center Tylenol repeat, after we've moved all
our motifs around, it will be in perfect repeat. This is a relatively new
feature in Photoshop. It used to be a lot
more difficult to get a piece of
artwork into repeat. So now if I go to
Command T transform, because I want to rotate, you see what it does. It, it's splitting
that motif and half because I didn't create
a smart object first, the software doesn't realize
that what I do to the, whatever I do to a copy is what is happening to the
original and vice versa. So let's escape out of there. That's edit, undo
our pattern preview. And now let's go over
to our Layer menu. And let me just close this up so we can see
our Layers better. And I'm going to
click my layer and a right button at
Convert to Smart Object. Click the layer right button, Convert to Smart Object. And I'm going to continue
until I have all of my my layers are converted
to smart objects. I don't need to do
the background copy. I'm not using the background
copy in the repeat. I'm just using my
individual motifs. So now let's go back to
View Pattern Preview. It's giving us the same warning, but we're okay because
we have changed them all to pattern or
smart objects now. Now I'm gonna do the
same thing I did before. Command T to transform. And now look what happens, see how when I
move the original, the copy does the same thing. They're tied to each other. Everything is tied to
that original motif. And then double-click
to accept my changes. And now I'm gonna
just go and command T and start moving and
rotating things around. Double-click to
accept my changes. Command T, rotate. Double-click to
accept your changes. Select your layer Command T. You can see where I'm rotating. I get that little
rotation arrow. Okay, So if some don't, some rotation, definitely not
exactly where I want to be, but one of the things that I
do that sometimes helps is I get everything into an angle
like something like this. Now, I don't necessarily
want my repeat to look like diagonal stripes, but it helps me to
have a starting point. I'll get them on those
diagonal stripes. And then I'll just start
tweaking from there. Making can squint and see where
do you see some tracking? Where do you see where's
your eye being pulled? I see some areas here that maybe something
can be moved over. I just don't want anything to
look too obvious that it's going in one direction.
To lined up. If you have something
that's perfectly vertical, perfectly horizontal,
that could create track tracking and that's
why I rotated something. I rotated them all. Now I'm going to turn
this center blue line off that's indicating
what the center tile is. And if you go to View Show, you can turn that off. Okay. So I still see if
I squint my eyes, I see a little hole here. And I see kind of a line
here and a line here. So I can still kinda
see where my repeat is. So I'm gonna just kinda tweak
things a little bit more. Maybe get things out
of order a little bit. Now this has ended up to be the same motif next
to each other. So maybe I want to move these kinda break
that up a little bit, maybe even control T, flip this one so that it
doesn't look so similar. Okay, so here is our repeat. Now, I'm going to just play
around a little bit more, but just keep tweaking, even just a few pixel tweak
makes a big difference. You just want to close up
any holes that you have. See how I've created a
line that's this diagonal. Maybe I need to tweak this a
little bit, rotate a little, and close that up so that it doesn't there's not
like a big alleyway going through there that you
want it to flow through. And sometimes you'll have to
offset things a little bit, maybe put things a
little closer to one and farther away
from the other. Now this is a pretty
simple repeat, so it's not like we can't tell, but we just wanted to
have some nice flow. I can still see something
over here, so alright, well I'm gonna rotate the
motifs around and I will meet you back here to learn
how to recolor these. But first, let's save
this as a Photoshop file. File Save As. And I'm going to save it in my creating a repeat in
Photoshop folder. I want it to be a
Photoshop file. And I'm going to
call it hearts four, which means full repeat. Five by 5300 DPI. Now that just will help
me remember when I'm looking at this
file in a list of files that this is a full repeat and the
size of the tile, and what resolution
that was saved at. Now when I save it
as a Photoshop file, it remembers everything we did. It remembers the resolution. It remembers all the
separate layers. It remembers the smart objects. It remembers everything we
did to the smart objects. So that's why we want to
save it as a Photoshop file. And then go ahead and hit Save. Okay, I'll meet you
back here and we will learn how to recolor our motifs.
7. Lesson 6 Recoloring Tonal Artwork: Okay. I spent a few more minutes rotating and moving my
heart's around until I was happy with the
arrangement and I know I'm happy with it when
I can just glance over it. Maybe squint my eyes a
little bit and I don't see anything really sticking
out like a sore thumb. This is only a five-by-five
repeat with six motifs. And I think it's got some
great movement in it. I love how the different color of the watercolor and the toll known as kinda just bounces. And it's, I think it's
really well-balanced. And when you see
something like this on a black background,
Nothing's really glaring. I mean, this is this is
putting it under a microscope. So I'm happy with the results. Thus far. I'm gonna go ahead and turn
off my center blue line, the pattern preview tile bones. And then I'm going
to Command Plus to zoom in a little bit. And now I'm ready to start
having some fun with colors. So I'm going to pick up
a layer, a heart layer. Now remember we, this little icon down
here that looks like a page that tells us that this was a smart
object and we did that before we
started our repeat. But now when I'm going
to start re-coloring it, that's because it's
a smart object. It's going to remember
the original color. So that's just another
advantage of smart object. And then we're gonna go to Image Adjustments,
Hue, Saturation. And I'm simply going
to move my this arrow along the hue bar and
find a color that I like. We're just experimenting
and having fun right now. So let's not worry too much about getting the
colors just perfect. But I think I'm gonna go for maybe a collection of
tones of pinks and reds. I've got that layer
where I want it. And then if you notice over
here underneath the layer, it gives me a smart,
smart filter. So if I wanted to go back
and make some changes, I could double-click on that hue saturation and I'll get right back
to where I was. Let's say I wanted to
lower the saturation, which will move it
towards a gray. I'm more of a muted tone. And then if I up the saturation and it'll
get really bright. And if I lower the lightness, it'll go too dark. And if I up the lightness, it will go all the way to white. And actually this is a
way if you wanted to just make it a flat
color, you can do that. Okay, so I'm pretty
happy with it in here. Then I'm gonna go
to the next layer and image adjustments,
hue saturation. I'm going to play around
with some colors. They're made me
making this one just a tad bit more purple. Get a little multicolor
thing going on. Go to the next layer, Image Adjustments,
Hue, Saturation. And let's leave that one out. Maybe. Let's go the
pink range two. Now I can pick my layer right
off the screen if I'd like, if I know I want to
change this one. Next. Adjustments, hue saturation. Image adjustments. Hue saturation. Now you are welcome
to play around more with other things underneath
Image Adjustments. Go ahead and have fun playing around with
some of these things. You'll never know what
you'll end up with. Another one that
I like to use for color is color balance. And that's when you
want to add more blue, more red, more pink. So I'm working on
this one right here. And if I take the yellow,
I'll put more yellow. This is for when
you want to just kinda take the color and
just up at a little bit. Now when I do a color balance, do you see how it added
a new Smart Filter? So I could turn that
color balance off. I didn't really do much. Or I could take
the color balance and put it in the trash can
if I didn't really want it. Now let's go for our last one here and go to
image adjustments, hue, saturation and value. And get a nice pink. Okay, I think that's
looking good. I've got a pink and
purple thing going on. Again, if I want to go
back and change anything, if I think this one's too pink, I just select it and
double-click on hue, saturation and value over here underneath the smart layer. And I can play around with it. Okay? So now that we have
our hearts recolored, and you can do multicolor, whatever color you want to do. Just let your creative
activity run wild. Now I'm going to go to my color fill layer and see what background color would
look nice with these. I'm going to try
picking a color. We'll write out right
out of the hearts. And then I can always
lower the saturation. Maybe go with a light pink. I can pick out on
my color picker. Or I can go up to my screen. For some reason. I'm crazy about blues. I always think
everything looks good on Navy or light blue. Okay, so let's say I
like this color way. I'm going to go to File, Save. That will save over my
existing Photoshop file, but we're not losing anything. I'm just updating
the file with all of my new smart filter
information because I can turn the eyeball off of the smart filter on every layer and get
back to the original. So that is the
beauty of Photoshop. You can save all
this information in one file and we can keep coming back and
changing it and getting more versions out of it. So I've saved this version. I'm liking the navy background
with the pink hearts. I going to say I want to fill a page with it or
fill a mock-up with it. I want to save that
center Tyler bowl. Repeat. So let's turn those blue
lines on the tile bounds. So this is our
repeat right here. And this is definitely a
bright, vibrant repeat. I'm going to save this center pattern in
my pattern library. So I go to edit, define pattern. And it's gonna put hearts
full five-by-five, 300 DPI. And then here's my
bright pink parts on the navy background. Okay, So I've got
something I like. I want to show you one other
little trick I like to do. Let's say I want to
do another version. I want to just
soften the colors. I still wanna do pinks, but let's say I just want
to soften the pinks. And instead of going back and doing each one individually, I'm going to show you how
to combine the layer. So I'm going to select my layers by holding
down my shift key. And I can pick the bottom
layer, the top layer. And if I'm holding
down the Shift key, it will select all the
layers in-between. And then I'm going to write
button duplicate layers. Okay? So now I have copies and while those copies are all selected, I'm going to write button
and look for Merge Layers, and that's going to emerge
the selected layers. So now I have one file here up at the top or one layer that has all of my heart's
merged together. And they're on transparency
because the Navy or this dark teal that's showing through is just our color fill. So that's a separate layer. And I'm going to turn
off all of the layers underneath the individual
hearts. They're still there. I'm still going to
have access to them. I'm probably I can do however
many colorways I want to. My heart's content. No pun intended. I go to heart one copy. And this is the pink
cards all on one layer. And then I'm gonna go to image adjustments, hue, saturation and value. And this time we're changing the color on all
the hearts at once. Because we're working with that layer where we
merge them all together. All the other layers
are hidden temporarily. So maybe I want them
to be a little redder, little more gold or so. You can see how the
options are endless here. Okay, so I've got, let's say I want a little
bit more red in there. And then, okay. And then I'm gonna put it
on a lighter background. So I'm gonna go to my Color
Fill and I'm going to pick like a white or
maybe a creamy color, light pink or
something like that. See here, something like Okay, and then here's a trick I
like to do if I think, okay, I just did a bright
color way and now I want to do
more subtle color away or just want
to kind of knock down the color a little bit. I'll put it on a background that's gonna be complimentary, like this light background. It's not going to
compete with the colors. And then I'll go to the opacity. So I'm picking on my heart copy. This is the one with all the
hearts on the same layer. Then go to opacity and
lower the opacity and see how we get a nice soft look. Totally different,
look same print. These prints could go on
totally different products. And I just change the
opacity the same color way. Really. I like
this softer color. And I want to be able to fill square or a sheet or a
mock-up with this colorway. So I'll go to File. I'm sorry, Edit, Define Pattern. And I'm going to put this
one in my pattern library. Now I don't need to specify
the color because it's going to be able to see the color
in the pattern library. Okay, So that is
playing with color. And I've shown you
some tools that you can really go wild with and
have a lot of fun with. The next thing we're
gonna do is we're going to get our class project ready to share with each
other and show the world.
8. Lesson 7 Saving Repeat for Print on Demand: Okay, Let's talk a minute about what kind of
file do you save to upload your seamless repeat
to a print on demand shop. They can't upload
your Photoshop file, so we need to save it as a JPEG or tiff and just
the center tile. So to do that, go to File, Save As, I'm sorry, save a copy. And save a copy will
save the metadata. The resolution that the
file is at currently, which is 300 DPI. And it's going to give
me some choices here, and I want to save it as a JPEG. And then just hit put it in the same folder that I
have my Photoshop file in. A high-quality is good for me. And then okay, so now if I go to open that file
that I just saved, you'll see I have
my Photoshop file and I'll have my JPEG. I'm going to open up my JPEG. And here I have, if I go to image, image size, a 300 DPI jpeg of just
my tolerable repeat. So this is the file that
I would upload to a print on-demand site if I wanted to change the
resolution to one-fifth, which is usually what
I do for Spoonflower, is I would go to Image, image Size, type in 150. Okay? And then I would
say File, Save a Copy. And this is my 150
version of a JPEG. So either of those files, those JPEG files can be
uploaded to print on-demand. Now if you go to File Export, you'll have some options here to export a JPEG or tiff
or some other choices. But if I save that JPEG here, and I wanted very good quality, It doesn't take the, it takes the quality of
the file is the same, but it does not save the metadata information of what the current resolution is. So I'm going to call
this Export Copy. When I file open that one. And I go to Image, image size. Even though for all
intensive purposes, it's still the same quality, but it didn't it didn't take the information
that it was at 300 DPI. So it brought it back up as a 72 screen resolution
because it didn't know. It looks the same right now, but you could
accidentally save over a 300 DPI file with a 72 DPI
file if you're not careful. So if you want to
print your file, do save a copy. As a JPEG. If you're only going to
put your file on the web, like maybe an Instagram
post or Something banner. Then go ahead and
export as a JPEG. Because we don't need to
take up any more space. It will be a much smaller
file than the other way. And for viewing on
screen and the web, the quality will be fine. It's when we want to print it. We want to make sure we're
printing it at 300 DPI. So there's some tips for you on saving your file
for print on demand. And the difference between the saving and exporting methods.
9. Lesson 8 Creating the Class Project: Okay, Now we want to save our class project to
share with the class, and we will go to File New. And let's create a
ten by eight file. So that would be, make sure
it's in landscape mode. So 10 " wide by 8 " high. And then we go to Layer, New Fill Layer Pattern. Okay? And remember, we saved our two-color ways
in lesson six. I'm going to select
my softer colorway. And here is my repeat, doing its thing,
repeating seamlessly. I can change the scale. Let's go a little
smaller, like maybe 50. Okay, so this is just a ten
by eight sheet that I'm using to potentially put in my portfolio or a printout
on my home printer. And let's say I want to put
my artist's signature on, which I encourage you
all to do for sharing your class projects so
we know whose is whose. So I'm gonna go
to the Font tool. But I want to, there's probably a plenty of fonts that I can
use already loaded. But if you have Creative Cloud, which most people
will at this point. If you have the latest
version of Creative Cloud, you can go to type and
say more from Adobe. And you have all of
these choices of license free fonts to use courtesy of Adobe
Creative Cloud. So let's say I want
something that has a brush pen look to it. Like let's say Air
Royale or gelato Lux. I'm going to select that style. And I'm going to
say activate font. And it's going to tell me that
activation was successful. Licensing simplified. You don't have to worry
about installation licensing or the limits. All personal and
commercial use is covered. Thank you, Adobe. Okay, so now I can go
back into my my file, my ten by eight file here. And I'm gonna go look for that file that I
just downloaded. And well, here's the gelato lux. And I'm going to just click
anywhere on the screen, but I'm going to just
put a little tab down here in the lower
right-hand corner. You guys can put yours
wherever you'd like. Type in my name. And I can select the
type while I'm in the type tool over here. And I can make it bigger. And I'm going to move
it over to the side. Then I'm going to pick
my selection tool just to get off
of the Type Tool. And then I'm gonna go select
my layer where my name is. And I'm going to just bump it up a little bit with a drop shadow. So pick on this FX. Once I have my name in place, I'm going to select the
name from the Layer menu. And I'm gonna go down
below to this fx. And I'm going to add
a little drop shadow, and that'll just help my signature stand
out a little bit. Now you can play around
with the opacity, the distance, the angle. You can even change the color. But I'll just stick
with black for now. And maybe lower the opacity
a little bit and say, Okay, Then if you'd like, you might even want to
put a contrast and color behind your, your
artist's signature. I'm gonna go over here
to the rectangle tool, and I'm going to
create a rectangle. Now, if I hold down
the option key, let me delete that. If I hold down the
option key here, it would put the rectangle
right where I want it. Now, it's on top of my name. So I'm going to go
over to the Layer menu and I'm going to drag
it underneath my name. It now has. If I go to the selection tool and I can move my name around, I can move the rectangle
around wherever I want them. Now, the rectangle
right now has a I'm a border. So let's go to, let's click on that rectangle. Actually, I'm going
to try to get my when you
double-click on a font, it takes you into the text mode. I want to take that stroke
off of my rectangles. So I go over to
here to appearance, pick on that layer. And then I can change the
color of that rectangle. I can also change the stroke. I could take, say no stroke, or I could make the
stroke thicker. And maybe, maybe I want to leave a border on it and then change
the color of the stroke. So there's just a few options there for you to create
your artist's signature. You can use the rectangle. You can use the put
a border around it. You can put a drop
shadow on your name. You could put a drop
shadow on the rectangle. And then you have all
of those fonts to use. If you go to more from Adobe
fonts station will show up. When you use the text tool. They'll show up in
your list of fonts. So now I want, this is my class
project that I want to post and share
with the class. I'm gonna go to File. Now if I want, if I want to print this on my
home printer to, I'm gonna do a Save a Copy. And if I want to
print it anywhere, even if I'm uploading it. So I'm going to save that in my creating repeat
in Photoshop file. And I'm going to call
this my pink hearts. Ten by eight. And I want to save it as a JPEG. And then save. And high-quality is
more than enough. Now, if you were
not going to print this anywhere and you
just want to save it, just to post in the
class projects. Then you could have
done in export, export as a JPEG. And I always use very good pink hertz ten by eight. And it's going to
replace the old one. Okay, So there you have it. There's your class project. Now, also, while you have all of your layers over
on the right here, you can double-click on this pattern bill and get
back to the pattern library. So all of those
patterns you save, those colorways
you saved will be here along with any other
pattern that you've saved. Here's a preview
of the next class that I'm working on right now is doing stripes and
plants and textures. So that's coming up. Now if you'd like
to play around with your own motifs and share
that with the class. That would be wonderful as well. Here I'm gonna get
maybe one of my. Now this one, this is
a watercolor that I did of obviously some lemons. And you notice how I have it
in many different colors. I've got the navy
background and where, where my lemon prints at. Okay, here's a blue. Even have the linen. So with the tools that
I've taught you today, I used those exact same tools
to do all of these prints. Some of them are still works
in progress like that. One needs a little
repeat work because it was something old I did and I didn't say I lost
the full repeat, so I've got to redo that. So here's just an example of other things that
you can do with your original artwork using the exact same tools
we learned today. So I'd love for you
to share your heart, colorways and anything else you'd like to share in
the class projects. Have fun and I can't wait
to see what you create.
Raelene Boylan, Textile & Surface Designer
