Transcripts
1. Photoshop Textures and Texture Halftones Introduction: Hello and welcome to this class, textures and halftones seamless repeats in
Adobe Photoshop. My name is Helen Bradley and I'm a Skillshare
top teacher. I have over 270 courses
here on Skillshare and over 168,000
student enrollments. Now, if you've ever struggled with patterns that
are just too perfect and which needs some
visual interest, then this class is for you. I'll show you how to create subtle yet really useful
textures and textured halftones that are seamless repeat
all using Photoshop. You can use these patterns inside other patterns
and illustrations for additional visual interests and they're well-suited for sale and distribution
as digital assets. In this course, I'll
take you through creating each of these
designs step-by-step, so that by the end of the class, you'll have made
these patterns and be ready to package them for
sale or to use yourself. It wouldn't be a graphic
design for lunch class if you didn't also learn
lots of handy Photoshop tips and techniques along the way. Without further ado, let's
get started making patterns with textures and halftones
in Adobe Photoshop.
2. Pt 1 Texture background: One of the most useful but
often overlooked types of patterns that you can create in Photoshop are texture patterns. Now these can be used with
other objects to make a pattern that has a
texture background. But you could also for
example sell them as textures that people
can use in their art. We're going to see how
to create those here. We're going to start
with a new file. Now because we're going to
be using this clouds filter, it's really important the
starting size of your document. I'm going to start with something
that is 1,024 by 1,024. The reason for this is that the clouds filter that
we're going to apply to this document will be a
seamless repeat if you make it in a document that
is a multiple of two. If you multiply two by itself, often enough, you
will get 1,024. That's one of those
magic numbers, so I'm just creating
mine at 1,024. Over here I'm going to
click on this icon, or I could press the letter D to get what are called the default
colors, black and white. Then we're going to Filter and then Render, and then Clouds. Now if you don't like
your first set of clouds, you can go back and
choose Filter and then Clouds and you'll
get a different version, and you can keep
doing that until you get a set of clouds
that you like. But right now we don't
really know what we're aiming for so clouds
or clouds or clouds. I'm going to click here on the unlock icon in
the last pallete, so make sure you have your
layers palette visible. You can get to it, of course, by choosing Window and then Layers, or you can press the
F7 function key. Now we need three copies of
this layer and you can choose New layer via copy or you
can learn the keystroke. In this case, I'm on a PC, it's Control and J on
a Mac, it's Command J. You're just going to make
three additional copies, so you have four in total. Now we're going to
enlarge our canvas. You're going to Image
and then Canvas size. It's really important to check that you've got canvas size. The other options don't
work the same way, so it canvas size. We're going to make
this double the size. If we multiply 1,024 by 2, it's gonna be 2,048 by 2,048. Then we're going to
click down here to put all this artwork in
the bottom corner. We just want it lined up
neatly, so I'll click "Okay". Now over here in
the Layers palette, I'm going to target
this topmost layer, doesn't matter which one
I targeted at this point. I'm going to the Move tool and up here with these
three little icons, I'm going to set a
Line 2 to canvas. Then I'm going to move
this up to this corner. I'm going to click on this one to make sure it's left-aligned, and then click on the top one to make sure it's top-aligned. Let's go to this one.
Let's send it over here. We want to send it to the right and we want
to send it to the top. Then this one here is
going to the bottom right. Let's send it to the right
and let's double-check to make sure it's in the bottom
by clicking the bottom line. Now at this point, when
you look at your document, if you've done this correctly, you should not see it same. The place where you're
going to see it same as in the middle
because that's where all of these line up
and so as I'm zooming in, I'm not saying any
seams in this document, so that's a visual check that everything is working perfectly. We're going to make
a single layer out of these four layers. You can just select
over all four of these. Click on the first one shift, click on the last one,
right-click and just merge them. That just merges them
into a single layer. We've got everything all
together on one layer. Now, for a texture pattern, this has got way too
much detail in it. The first thing I'm
going to do is blur it. I'm going to filter blur and
I'm going to Gaussian blur. With Gaussian blur, you can blur things to make
them less visible, less intense if you like. That's what we're doing here. You can take your blow
wherever you like. I'm thinking that I
want a fairly big blur, so I'm going up into maybe around the 80s
here on this document. You can start to see the
repeating pattern here. You can see this element here
is a repeat of this element here is a repeat of this element here is that repeat
this element here. That's the way it should be. Just select a blur that is blurring your stuff
pretty intensely, so I'll click "Okay". Now the other thing
that we want to do here is we want to make it flat up. The colors here are
way too intense. If we make this as a pattern, that's going to
be really obvious that there's a pattern
going on here. I'm going to choose Image
and then adjustments, and I'm going to use
a levels adjustment, so just click on levels. Typically when you use
a levels adjustment, you're going to be
using these indicators here underneath the histogram, so you'll be using these three. But in this case,
we're going to be using output levels
because what we want to do is reduce the darkness
in these dark areas. I'm going to leave
mine a little bit more intense than
you're going to, because it's going
to be a bit easier for you to see what's going on. But just believe me, you want to take this
quite a ways across. It's almost all white but not quite so you can just see
some texture through it, just a little bit of texture. But as I said, I'm going to
make mine a little bit more intense because I want you to be able to see what's
happening here. This little bit of variation
of color is going to be key to making a texture image that's
going to be texture, but it's not going
to be intense. It's not going to be really
obvious what's going on, but it's going to be subtle
and really attractive, so I'll click, "Okay". This is a potential
seamless repeating pattern. We're going to add a
rectangle to the documents. I'll go to the
shapes collection, click on Rectangle, make sure you have
shape selected up here. Make sure that you have
the stroke set to none, at all and fill you can just make whatever
color you like. You're going to click once in the document and
you're going to make a rectangle of 1,024 by 1,024. In other words, they
start in documents size, it's the document that we created first off
and click "Okay". Then over here in
the last palette, I like to drop down the opacity of this layer, so
it's transparent. Want to be able to half-set. I'm going to turn
off its visibility. At this point, I'm going to Control or Command click
on this rectangle here, and that is a seamless pattern. We'll go to "Edit" and we'll
go to "Define pattern". I'm going to call this texture. We're going to test it because
we want to make sure that everything's working before we go and do too much with it. I'm going to create
a document that is about three and a
bit times the size of this starting document. 3,600 by 3,600, three of my patterns
are going to fit in across the top
and three down, nine in total virtually. Let's unlock this
background layer and let's go to Window and then Patterns because I wanted
to see our patterns, last pattern here is the
one we just created, and I'm going to just click
to add it to the document. Then I'm going to zoom in to around about this one
or two four marks. I'm just going to look in
this area and make sure that it's not obvious
where these designs, where these pattern pieces all line up and it's
not obvious at all. You can say this is a
pretty intense pattern. I would not make mine anywhere
near as dark as this, just wanted you to
be able to see it. But this is a subtle
texture that you can use, and of course, once
you've created it, you can come back in here. Let me just turn off my
selection with select de-select, could come in here and I
could add some color to it. I'm going to choose Layer,
New adjustment layer, and I'll choose Hue
Saturation and click "Okay". Let's find our hue
saturation adjustment, which has just
disappeared on me. I'm going to click
on "Colorize", and I'm going to start
walking my colors around. You could create a texture that actually had
some color in it. For example, if we wanted
to make something with some blue dots later on
like a polka dot pattern, then I might go for
something that's a turquoise blue
that I could use. You can also kill some of the color at this point by
increasing the lightness. That will reduce
the contrast here, and with saturation down, you're going to get more of a grayscale look with a bit of color rather than a
really intense color. But again, it's entirely up
to you what you want to do. I like this, so let's just go with something
that we can see. Again, I'm going to control-click
on the layer thumbnail here because this is just
marking out our pattern paste. Just keep that
rectangle in there, you're going to use it
over and over again. Edit, Define pattern.
I'll just click "Okay". For now, let's go back in here. Let's go to Patterns which I lost window and then Patterns, and then click to add
it to the document. Again, this is another
seamless repeating pattern. These are textures
that you can use. In the next video, we're
going to have a look and see how we could actually use this within a
design so that it's a background rather than
being the entire effect.
3. Pt 2 Texture background in use in a pattern: So having created
our basic texture, let's have a look and see how
we could use this texture as a background to a design. I'm going to start a brand
new document with File New and I'm going back to that
starting document size. Again, this is really
critical stuff. I'm making it a 1,024 by 1,024. Then I'm going to fill
it with my pattern. You can do this any one
of a number of ways. I'm just going to unlock
the background here and I'm just going to
click on my pattern to add it to the document. Now the important
thing at this stage is that you don't change
the size of the pattern. If I double-click here, you'll see that's
scaled at 100 percent. It has to be scaled
at 100 percent. Or you could scale
it at 50 percent. Whatever it is, you need to have a fixed number of your pattern
pieces in your document. But seriously, just
doing it at 100 percent in a document the same size as your starting size
is the best idea. Now let's have a look and
see how we might use this. I'm going to make this
a polka dot pattern. I'm going to the Ellipse tool. I've got my fill as just a
similar turquoise color. I'm just going to drag out
holding the Shift key. A shape that has a
fill and no stroke and that is the shape so that's made
life a bit easier. I'm going to place it in
the middle of the document. If I have trouble with that, I'm just going here, make sure that says canvas. I'm just going to align this to the center of the document. I'm going to make a
duplicate of this, drag it onto the plus symbol, make a copy, doesn't really
matter which option you use. In this case, I'm going
to change the color, so I'm going back to
one of my shape tools, doesn't matter which. Let's go and choose
a pink color. Now, this one, I need to throw to the corners of the documents. I'm going to use a
filter to do this. Filter, Other, and we'll
use the offset filter. I'm going to convert
this to a smart object or I could rasterize it,
doesn't really matter too much. In this case, we want to set the horizontal and
vertical offsets because our document is square, they're going to be
the exact same value, but we want to set them to half of the document
width and height. The document is a 1,024. Half of 1,024 is 512. We'll just type in
here 512 and 512. That throws a quarter
of the circle into each of the corners
of this document. I'll click Okay. This is a seamless
repeating pattern and it's got texture behind it. Let's choose Edit and
then Define Pattern. Let's go and test it. As you can see, our texture
is, as I said before, it's really obvious, way more obvious than
I would want it to be, but I want you to be able to
see what the effect is like. You've got a polka dot
pattern, but in this case, it's got a little bit
of texture behind it. Something that is a bit
more interesting perhaps than a static background that is the same across
the entire document. Combining these textures
with a regular pattern, you can get a more interesting
look to your document. But of course, it
doesn't finish there. Let's go back to our
original pattern. Let's turn off our selection and let's have a look and
see what we can do in terms of, for example,
making this a half tone and we're going to do
that in the next video.
4. Pt 3 Texture to halftone pattern: Right now we've got
our color layer here, and we've got our
original pattern. I'm going to select
both of these. I'm going to put
them in a group, so I'm just going to click
here on the Group icon. That's going to make things a little bit easier because we're about to apply some
filters to this. With the group selected, I'm going to choose
Filter, and then convert for smart filters
and click ''Okay''. This is now a smart object. This will mean that the filters that we apply can be edited, removed, or that sort of thing. Just going to make development of this a whole lot easier. The first one I'm going to
choose is a color halftone. I'll go to Filter and we'll go to Pixelate and Color Halftone. Now, the way that
I've found that this works particularly well
or reasonably well, is to make sure
that the radius of your shape that you're going to create is going to
be a multiple of two. In this case I'm using eight because that's going
to be giving me a nice small dot and
eight is a factor of two. Multiply two by
itself three times, two by two by two
and you get eight. Now with the channels, if you want the colors to
be on top of each other, which you do, you want to make
sure that these are all the exact same value. I've found that a good rotation
for this is 45 degrees. Let's make them all 45 degrees. All the dots are going
to be on top of each other and the
arrangement is going to be a really pretty diamond shape instead of for
example a grid shape. I think it's a nicer look, so I'll just click "Okay''. Let's have a look in here. We've got these
little shapes here, these eight pixel shapes
that we've created. They are arranged
in a diamond shape rather than a grid shape. It's a prettier sort
of arrangement, I think, and I've
got texture in them. You can see the texture
coming through here. This, again, can be made into a seamless
repeating pattern. What we've got
here is a seamless repeating halftone
texture pattern. Control click on
the rectangle here, we're going to choose Edit and obviously Define
Pattern, click ''Okay'', and then we're going
to test it because in a minute things
are not going to work correctly and we need
to test things so that we know when they don't work
and so that we can fix them. Let's go back to this document,
double-click on this, and go to the very last pattern, which is going to be the
halftone that we just created. We're going to zoom in here because we need to make
sure that there are no vertical lines in
this design at all. You can see that they're not. That's why that pixel
halftone pattern works particularly well. I haven't had any difficulty
with this working. It's worked every single time. The halftone itself,
although these dots when you're getting close, they all look
the same, they're not. They are different
levels of colors, so they're bringing in
the texture with them. There's another way that
you can use the halftone. Let's go back to this, and let's turn off this selection
with select, deselect. Let's go back into the color halftone and we're actually going
to delete that. We're going to this time
use a different filter. We'll go to Filter and
then Filter Gallery, because there is a
halftone here in the filter gallery that has
a different look to it. Here we are in the halftone. It's in the sketch group here. You'll open up the sketch
group and go to Halftone. Now, you can get dot
or line or circle, it's dot that you want and size, try it with different
sizes and it's failing. It's not as easy to create as a pattern as
the other one was, but it still works really well. Just need to work out
how to make it work. I'm just going to adjust
the contrast here. If you adjust the
contrast really high, you get a really sharp pattern. I like to sharpen it later on, so I actually think
it looks better at a lower contrast and we'll
sharpen it by hand later on. So let's just click ''Okay''. Now at this stage
you'll notice that our color halftone
is black and white. The reason it's black and
white is this color over here. Now we can re-color it if
we want to later on by putting a color adjustment
layer on top of it. Don't worry about
that at this stage. However, had you done the halftone effect with
a color instead of black, let me just show you what
that's going to look like. Let's turn off our
filter gallery and let's go back and do
it again, Filter Gallery. This time when I go into
halftone because I set my colors to that
turquoise and white, that's the color I'm
getting for my halftone, so I could just click ''Okay'', so I've got a couple
of options here. I could do a black one or I
can do the turquoise one. Just be aware that
those are your options. In fact, I think I'm going
to opt for the turquoise. Let's control click on this. This is our selection. I don't think it's
going to work. We might be lucky, let's choose
Edit and Define Pattern. We'll go and test it.
It's not working. For some reason, we lose the size
of the pattern at this point and we end
up with something that's a little
bit intense here. You can see that these are
not lining up at this point. What we're going to do
is ask ourselves by how much are they not lined up? It looks like it's not far
off but just a little off. Let's go back to here. Let's deselect our selection with Select and then Deselect. Now I'm going to add
another rectangle. So I'm going to the
rectangle shape tool. Let's choose a different
color this time, a sort of pink color. I don't want it to
have any stroke. I'm going to click
in the document. It's going to be 1,024 by 1,024. I think that this
is the wrong size. That's fine because
we're going to experiment with making
it the right size. I'm just going to drag
down on the opacity here. I'm going to zoom in
and I'm going to place this in a known location. What I'm thinking of is the middle of this
white box so that the middle corner of this shape is in the middle
of the white box. That's pretty good here. I'm going to re-select the shape and I'm going to the
properties panel because ultimately this shape has to
be a whole number of pixels. I'm going to take it
down to 1,022 by 1,022. My guess is that it needs
to be a square because the pattern when we had it here was out on both dimensions. I think a square is still
going to be a good value, but it needs to be smaller. I'm going to start
with 1,020 and 1,022. To make this a pattern, I'm going to control
click on this shape here, although I need to turn
it off at this stage, I'll choose Edit and then Define Pattern and
click ''Okay'', and then we'll test it. Double-click on
the pattern here, and click the last most pattern. It seems like this has
worked really well. Let's just drag it around. I only needed to drop that
down to pixels in dimensions. In the past, I've had to drop
others down by four pixels. It is a little bit
hit or miss here. You won't be able to necessarily get it right the first time. But it's going to be
a really small value that you're going to
adjust by and you'll just drop your rectangle's size or your square size down by
one or two or three pixels at a time until you get that sweet value that is giving you that seamless
repeating pattern. Here I'm going to call
this pattern for halftone. Whatever I do with this
halftone, provided, I select this one, there's a really
good chance it's going to be the right size. This one's going to be a
pattern for not halftone. This one is the one that's
set at the correct value, which should work in most cases. The halftone one is
an adjustment because somehow that halftone filter that we use in the
filter gallery throws off the
dimensions and 1,024 and 1,024 is no longer something that gives us a
seamless repeating pattern, but alter it a little bit, you should be able to
find the sweet spot. I haven't missed
a sweet spot yet, but it does tend to differ
from design to design.
5. Pt 4 Sharpen the halftone texture: Now I mentioned to
you when we actually applied this halftone
to this shape, that we would not
sharpen it up using that contrast setting
in the filters. Instead, what we're
going to do is we're going to apply a
sharpening effect. I've just de-select the
selection because otherwise, that would only sharpen
part of the image. I'm going to the group
that we're working with and I'll choose filter
and then sharpen. I'm going to use Unsharp Mask. Now, Unsharp Mask sounds
counterintuitive. It sounds like it's
not going to sharpen, but in actual fact,
it does sharpen. Your going to crank the amount
up to a really high value. Experiment with it, but I like it taken up all away. Radius what I'm looking for is something in this box
that is interesting. I don't want it to be too dark, although you can lighten it, of course later on. But I did want this
second color to come in. You might be able to see it
here in that we're getting aqua or turquoise and then we're getting a
darker turquoise in there. By applying this sharpening, we can get a really
interesting effect in here. That's what I'm looking for. Then you'll just adjust
threshold to suit, which will give you a
result that you like, or just adjust it
to something else. I'm actually liking this effect. All you're looking for is something in here that you like. Of course, you can
always dial this down by applying an
adjustment layer to it. So we'll go to layer, new adjustment layer and
we'll go back to levels. Because we know that with the levels adjustment if
I can find it here it is. If we drag in on this slide, here we're going to
lighten the effect. We're going to reduce the effect to practically not very much, but here's a really nice little somewhat sharpened
color halftone here. There's the before and
after on the color and let's have a look at the before and after
on the sharpening. You can say this
is the before and this is the more
sharpened version. My guess is that because we haven't changed the
halftone pattern, we've just changed
it by sharpening it and applying a different
lightning effect to it. But we haven't actually
changed the placement of it, that this pattern for halftone is going to be the
right rectangle to use. I'm going to Control-click on its thumbnail and go to
Edit Define Pattern. Well, I can't do that right now. Let me just see what's
happening here. Let's select, de-select.
Let's control. Click on that, that's better. I've got the actual
group selected here. I think that's going to work
better. Of course, it does. I'll click " Okay" go
back to our design, double-click on this and go
and get the last pattern, which is this lighter version and sharper version
of our halftone. Again, we're going to
look at any here very closely to make sure we
can't see any lines. But that was the value in keeping that rectangle
that was sized slightly differently because
it is actually the correct size for
this halftone pattern. There's another pattern to
make and sell or give away, and it's got some
texture behind it. Very subtle, but enough to be more than just a very
strict halftone pattern. There's some lightness and darkness in there that
somebody could use for adding a background
to a design of some sort. Of course, once you've
got this design, you can start working with it. You can change its colors, you can do all things with it. I would also
encourage you to play around in the filter gallery. Just go into the
filter gallery and experiment with things
that you can use in the filter gallery to
add effect to your artwork. Not all of these
are going to work. Some of these will add some lightning effects to your image that
aren't going to work. But some of them might give
you an interesting effect. You might just want to
play around with them. Let me cancel out of here. Also, be aware that the
starting colors that you use are going to affect
some of the filters. Some of the filters use the
foreground and background color as elements when they're actually
applying the filter. If you choose different colors, you might get different
effects there too.
6. Pt 5 Another halftone sharpened example: Now, I went back and
did some editing to the original document
that we were working with. What we were working
with earlier was this filter gallery
and this unsharp mask. What I did was I chose
pink and yellow. I turned off the filter
gallery options, and I went back in and I
applied the halftone filter, this time using pink and yellow. You can see that the effect is to get pink and
yellow background rather than that aqua and white. Then because I still had the unsharp mask that I
had applied previously, I applied it, but it didn't give me really
the effect that I wanted, so I applied it a second time. This is my second unsharp mask. You can see that it's actually ended up with a
dot in the middle, so I really like
this design a lot. It looks like a
regular halftone, but when you get right into it, it's got some really
interesting dimension in it. Of course, it's still got
that texture behind it. There are some darker areas
and some lighter areas here. I saved that also as a pattern, and here it is at work again. It's got that slightly, I'm not perfect look about it. It's hard to pick out because it's only
just a subtle texture through that clouds filter, but it's enough to give it something that feels a
little bit more grunge, a little bit more retro perhaps, a little bit more textured, a little less perfect, so it's a really nice pattern. Personally, I'm really
pleased with this one. I like it a lot. Of course, that was
the combination of the pink and yellow, just trying to not give it
such a light background. Let's have a look at
the previous version, which was that
turquoise version, that's what we had there, and here is the pink
and yellow version. Just another interesting
variety here in these halftone patterns
all derived, of course, from this Cloud's filter, which allows us to create seamless repeating
patterns from them.
7. Pt 6 Halftone texture in use in a pattern: Now that we've got these
lovely halftone patterns, let's have a look and see
how we might use them. I'm going to create a
new document this time. Let's just create something
that's 1000 by 1000 because this is not going to be a seamless repeating pattern. It's just an example
as to how you might use one of these seamless
repeating patterns. I'm going to my
Custom Shape Tool and I have added back into Photoshop the
shapes that were in Photoshop for many years and are now no longer in Photoshop. If you need to get
those go to Window and then Shapes to open
up the Shapes panel, go to the Flyout menu here and choose Legacy
Shapes and More, that will give you
the legacy shapes. Now, I've popped them
all in one group, which took me a
little while to do. Let's just go and say, I've got this shape
that I'm using here, this floral shape, which is from the Legacy Default Shape
and here it is here. All I did was select that. I'm going to add
it to my document. I'm just going to hold the Shift key as I drag down to fill it. At the moment, the fill color is
a solid pink fill, but if I select one of
the Shape tools and go up to fill and click
here on patterns, I'll get access to my
patterns, and of course, the last pattern here is the pattern that we created earlier this halftone pattern and I can scale
it at this point, so I'm going to bring it down to about 30 percent
in terms of size. Now, in the background, I like to use this yellow color, so I'm just going to
flip these around and go to the background and just drop this color in this yellow color. At this point, you can
say that the pattern is being lost a little bit so this is what I'm going to
do a couple of things. Firstly, I'm going
to drag to make a duplicate of this
floral ornaments. That's not working,
let's just see if I can get it where
it's supposed to be. What I'm going to do with
this one is I'm going to flip it so it doesn't have
any fill at all, and so its stroke is the pink color
we've been working with. But I don't want it to
have a very wide stroke, so let's take it down
to about four pixels. Then I'm going to move it. I'm going to just grab it with the move tool and just shift it so it is slightly
away from the original. There is an offset, if you like, between the outline and
the actual pattern fill. Let me go to the other pattern fill layer and I'm going to choose New Adjustment
Layer Levels and click, "Okay" because levels is a nice easy adjustment to use here and what we're going to do is move this along, and take it so that it's darkening everything up. But at the moment, I'm just concentrating
on the pink and not on the fact that it's affecting the yellow as well. If we want to limit
it so it only affects the pink layer
and not the yellow layer, we're going to click
here on this option, which is a clipping mask. This levels adjustment, which is darkening the pattern that we created is actually only impacting the layer
directly below, which is the one that actually contains the filled shapes. Let's say here it's
only affecting that layer and not
the yellow layer. This is an interesting effect, you could even change
the color here. You may want to go
for a blue color, for example, on your stroke, which would be
perfectly possible. Let's go and get a
not really blue, but almost blue color here and let me just click away. These halftone effects
can be used to fill shapes in Photoshop and effects like this
are cute to make. Now, of course, this
could be made into a seamless repeating
pattern because we're not actually using the halftone filter to
fill the entire document. The fact that it's not a repeat size is not
going to matter. Let me just take all of these three pieces
that are together making up this shape, and let me just size them
down a little bit. I'm going to hold the Alt+K, but that's all just to size them so that they're a bit
smaller in the document. At this point, I would make a smart object out
of these three, so I select all three layers and Convert to Smart Objects. We've got the offset
lines, the halftone fill, and also that levels
adjustment are all inside this
one Smart Objects, so I'm going to make
a duplicate of it, and then I'm just going
to send the duplicate to the corners Filter,
Other, Offset. This document was
1000 by 1000 pixels. I'm going to make the
offset 500 and 500. Just don't get caught
up with the fact that it looks almost okay. It's about to be a disaster if you don't get the
right values here. I've just thrown it,
to each corner using 500 and 500 and
I'll click, "Okay." This is a seamless
repeating pattern. Let's go back to our document that has
our patterns in it. Let's go and get this new pattern and here
is a seamless repeat that inside these shapes has got our little halftone
pattern inside it. Again, so much that you can do with these textures once you've created them. Lots of creative possibilities.
8. Pt 7 Halftone and Dots Layered Pattern: For this pattern,
we're going to make the half tone itself, the hero, and we're going to soften it with some polka dots. Now, this is going to
be a layered pattern. Again, dimensions are going to be really
important here, but we're going to start
with a smaller file than we've been using, going to new file and
it's going to be 512 by 512 pixels in size. That's one of those magic multiplied by two numbers. I have the black and
white color set here. If they're not, just click
there to select them. Then we'll go to Filter and then Render and Clouds. This is our starting point. Here I'm going to unlock the background layer so that we can do something with it. We need another three copies of this so I'm just pressing Control J on a PC, Command J on the Mac. Now, we're going to adjust the canvas size using image and then canvas size. We're taking this
to double the size, which is 1024 by 1024. Just make sure to place your content in one
of the corners, just makes life a
little bit easier. I'm going to the
Move tool here go and make sure it's
set to Canvas. I'm going to move these around. This one's going
to the top-left. This one here is going
to the top right. Then this one here can come down to the bottom-right, making sure that it
all looks fine and there are no visible seams. Select everything, right-click, and
choose Merge Layers. I'm going to make
this a smart object. Right-click and choose
Convert to Smart Object. That's going to let
me make edits to it later on a little
bit more easily. I'm going to apply a
Gaussian blur filter to this with filter and then
blur and Gaussian blur. This time, the blue is not going to be nearly so high. I want it to be a
much smaller blue. I want to actually be able to see the
cloud detail here. I'll click, "Okay." Then we're going to apply
our half tone filter with filter and then Pixelate
Color Halftone. I'm using eight as
my value here again, and 45 for every single
one of the channels. Because I'm working with a black and white image, I end up with a black halftone. I want it to be gray
though, less than black. What I'm going to do is go into this Smart Object layer and just double-click on it. Because here, I can
adjust the initial clouds filter and I'm going to do
this by adding a layer. I'm going to layer
new adjustment layer, and I'm going to use levels. Levels is an adjustment layer that allows us to flatten color, to lighten things, if you like. Now, I'm not going to use these sliders immediately under the histogram because that's not going to achieve
what we want to do. We're going to take
this slider down here. This is typically not
a slider you'll use. I'm just going to drag in from the left-hand side
because I want grays rather than blacks. Now, I'm finished
with this image. It is a PSB file that tells you that it is an embedded
smart object. You're just going to close it and you're going to say, "Yes, I do want to save it." That's going to tone down the impact of your halftone. It's going to make sure that the dots are a little bit more like dots and
less jammed together. Just I think gives
it a better look. Now, I also want this pattern to be a
little more gray scale, so I'm going to
come in here and do a new adjustment layer this time in the document itself. It's also going to be
a levels adjustment, exactly the same thing. I'm going to walk
in on this slider here to make it more
gray than black. I want the halftone
to be the hero here, but I don't want it to be black, I want it to be gray. Now, this can be made into a seamless repeating pattern. We just have to do as we've
been doing all along, create a new shape, so I'm on the Shape tool here. Let's go and choose a
color to use for this. We can say click once
in the document. In this case we're
making our rectangle 512 by 512, which was
as you will recall, the starting size of our document before we doubled it. I'm just dragging down
with the opacity. We can have a quick
look at this and see if it looks like it's going to be a perfect repeat. I'm really confident
with this one. I can move this
around if I want to, but I'm confident that it's going to work just fine. Control click on the
layer thumbnail, make sure to turn that color off because we don't
want the color in our pattern and then choose Edit and Define Pattern. This is going to
be big halftone. Now, in checking this
particular pattern, we're going to create a document that is a multiple
of the pattern size. The reason for this is twofold. First, we need to check
that the pattern works, but also because I want
to add some dots to it, I want the actual final pattern piece to be much, much bigger, but I want the dots
to be bigger as well. By creating this at a
small size, this halftone, and then using multiples of it in the actual pattern, I'm going to get a really
interesting results. I'm going to choose File New, and I'm going to use a value that is some multiple of 512. So 512 by 10 would be 5,120. I don't think I'll
go quite so big. I also don't have to go
square at this point. What I'm going to do is create a rectangular document. As I said at this point it doesn't have to be squared, but it does have to be on each side a multiple of 512. I'm choosing for
the width 2,048, which is 512 multiplied by 4. If I multiply 512
by 3, I get 1,536. I'll click, "Create." I need to fill this
with my pattern and it absolutely has to be
in at 100 percent. I'm just choosing Edit Fill. I've got this set to pattern. I'm going to select the last pattern in my
pattern collection, which should be the pattern that we just created. I'll click, "Okay," and there, it's looking really good. Now we can zoom in and just double-check to make sure that the pattern's
perfect and it is. Now, because of the
size of this document, this too is a seamless
repeating pattern, so this will repeat. When I save, I'm going to save the whole document and
it's going to be a repeat. But to make the pattern
that I'm going to use, I'm actually going to use the new pattern
preview in Photoshop. I'm going to View, and I'm going to choose
Pattern Preview. I'll be warned
that it works best with smart objects. That's just fine. Not really interested
in that right now. I'll click to add a new layer. Then I'm going to
the Paintbrush tool. With the paintbrush tool, I'm going to select
a hard round brush, just any hard round brush. I'm going to size it down. I'm using the open and closed square brackets. But you could also go up here in the brush panel and just increase or decrease
the size of it. I just find the open and closed square brackets
a little bit easier. Going to the Swatches
panel because I want to use some of these
light swatches. I'm just going to
choose orange here, and I'm going to add a
couple of orange dots. As soon as I go over the border here you'll
say that it's repeating and that's the feature of this particular
tool in Photoshop. This new pattern
preview means that it's creating the pattern for us as we progress. I'm just going to
put in a few dots of different colors here
and different sizes. I think the sizing is
also important that we use some different
sized dots too. I'm going to call this good. When you're in this new pattern view to
create a pattern, you're going to open up
your pattern's panel. Of course, you can get
to that by choosing window and then patterns. In the pattern's panel
down the bottom here, you'll see a plus sign. You're going to click on that. That will be this new pattern. I'm going to click, "Okay," and that is one pattern. But I'd also like to get something a little bit
more subtle than this. Let me just close down these panels and let's
go to this layer here. We can still see
the layers panel. We can have it
visible when we're working in this pattern view. What I'm going to do is
blend these dots in. I'm going to choose a
different blend mode to use. I'm just running
down the blend modes here to see if anything is
going to give me what I want. Typically, color might work, but that's actually coloring these dots and that's
not what I want. I'm just going to
choose an option here. I'm going to choose
dark and I'm going to dial down the opacity of these dots at the same time. I want something
a little bit more subtle as well as a pattern. Let's just go for
that opacity change. Now the opacity change here is only affecting this set of dots. It's not affecting the
pattern underneath. The pattern underneath the half tone is not changing, just the dots are changing. I think that's a really
nice pattern there. Let's go back to our
pattern's panel and let's add this as
another pattern. Now, let's test the pattern. To do this, we need a
new document and it needs to be considerably bigger than the one
we're working in. Remember, the one I'm
working in 2048 by 1536, so a document that is
for example 3600 by 3600 is going to take 1
plus times this pattern. This is going to give
us a good test for it. Let's unlock this. Let's try the lighter one. Here is our seamless repeating pattern
in our document. You'll see that there
are no seam lines here. But we do have a very
interesting design here. Here is the one that has the dots that are fully opaque, not transparent as these are because of the blend
mode that we used.
9. Photoshop Textures and Texture Halftones project and wrap up: We've now completed the video training
portion of this course, so it's over to you. Your project for this
class is to create one or more of these textured
patterns in Adobe Photoshop. Post an image of your
completed pattern as your class project. Now you can show
the pattern itself or the pattern in use in another
pattern or illustration. I'm so looking forward to
seeing your class projects and I also hope that
you've enjoyed this course and that you've
learned lots about creating seamless
textures in Photoshop. If you did enjoy this course and when you see a prompt that asks you to recommend
this class to others, would you please do
two things for me? Firstly, answer yes, that
you do recommend the class, and secondly, write even
in just a few words why you enjoyed it. Your recommendations
will help other students to say that this is a course
that they might like to take. If you see the "Follow"
link on the screen, click it and you'll be alerted when a new class is released. If you'd like to leave me
a comment or a question, please do so. I read and respond to all of
your questions and comments, and I look at and review
all of your class projects. My name's Helen Bradley. Thank you so much for joining me for this episode of
Graphic Design for Lunch, and I'll look forward to
seeing you in another class here on Skillshare very soon.
Helen Bradley, Graphic Design for Lunch™
