Procreate Intermediate: More Merch, Marketing Projects & Patterns

1. Introduction to this Course: In this course, you'll learn how to turn your ideas into powerful visuals for your business, clients personal brand, or hobby, whether you're crafting your first logo or refining a full design system. Here's what we'll create graphics for merchandise, apparel and products you sell, patterns for wallpaper, textiles and products, and plenty plenty more. Everything step by step in easy bite size videos. Hi. I'm Tim. I live and work on a beautiful barge traveling the canals around London with my wife, Allie and our cat, Fuji. I've spent over 30 years working with design software and have trained some of the world's top companies like BBC, Disney, the Times newspaper, and many, many more. This course will help you bring your ideas to life through visuals that inform, inspire, and express your unique vision. What are you waiting for? Start right now, and let's get creating together. 2. Graphic Design Principles - Intro: In this section, we're going to be looking at graphic design principles. Now, those of you who are graphic designers will know all of this, but those of you who aren't, some of this might be new to you. There are things like balance and magic surds that well, graphic designers just take for granted, but they might be new to you and they'll help you to design beautiful and balanced work. 3. Graphic Design Principles: Let's have a look at some design principles to help you get ready, ready professional looking work. I've got a number of different slides here that I'm going to go through. So let's start off by looking at one of the things which looks so good on graphics, and that's repetition. Now, repetition can be all sorts of things repeating. It doesn't just have to be a pattern and we will be doing patterns later. But it could be that you've got a document and you've got lots of pictures in rows like that, and they just repeat, the whole thing could be filled up with images or bits of text or shapes. You could have different lines and different colors of it. As long as it repeats, it looks very pleasing to the eye. Now, moving on from that, sometimes when you've got repetition or a number of things, you want to emphasize one of them, and it could be that you've got lots of photographs there in a post, but you want to just draw the person's attention to one of them, and you can do that by maybe making a different color, making a contrasting color, maybe just making it darker and everything else lighter. You can see I've kind of put that almost on the third position in there. It's not quite, but it's close. Now, the other thing is balance, and I've done this sometimes in the examples that I've shown you so far. You'll notice that sometimes, if I do a big shape on one side, I'll do a small one on the other. There's always got to be some kind of balance. Let's get rid of that for a second, between the different objects. So if you've got a large object like that, you might want a smaller object on the other side. But maybe it's a brighter color, and that's a duller color over there. Or, if this is lighter, maybe that's darker, something to help with the balance of the document. If that was on that side, there, the whole thing would kind of want to fall over like that all the time. So watch out for balance. The other thing is negative space. Not filling your post up with too much stuff. Yes, you know, you've got lots of things you want to show people. And sometimes, if it's a pattern, that looks great. But if you've got, for example, a photograph and some text and maybe another photograph like that, if you had too many things, it honestly, it just looks cheap. So give yourself lots of room when you're designing. If you look at some of the really good brands, and, for example, Apple is a perfect example. They don't fill their whole webpage with lots and lots of stuff. They leave room for the design to breathe. It says that it's a premium product that it's just very special because you can leave you can afford to leave all the space around it. So once again, watch that on your designs. Even something like this one that we were doing over here, we've got space. There's sort of space around here, this space around there to try and not fill everything with too many bits. As I said, we've got these bright colors over here and balanced on that side over there. So the bigger one here balances the smaller one, which is further up. We've got complimentary or contrasting colors. We've got these colors here, which complement or contrast those. And, of course, we've got our main subject being on the third going back to this once again, let's move on to another slide. So over here, we've got contrasts which I've just been talking about, and it could be colors which are contrasting like yellows versus blues. Anything which is opposite the other one or almost opposite on that color wheel is a contrasting color. Now, that's a whole another world in itself, and we're not going to be going into that, but there's a lot to do with color that you can really get into if you want to. Blacks and Whites, once again, they're contrasting, big and small, they're contrasting. So just find things that are contrasting to help your design. The other thing is alignment. If you want something to look really professional, it's important that you align things properly, and I have actually misaligned these ones deliberately so that you can see. This one here is out of alignment from there. That one is out of alignment from there. If I were to just go along and use, say, for example, a rectangle, put a little rectangle around that over there, and then just move it into position over here. It's almost there. And the same I could do with this one. Up here, we could just select that one. And once again, I'm looking at aligning it left and right and up and down, as well, based on the top. In there. It just looks so much more professional. When you've got things lined up, you've also and I haven't done it here, but you've also got distances which are the same all the way through. Let's move on a little bit once again. Now, the other thing is something called hierarchy. This is a big part of design where you want to make certain things be seen in a certain order. Now, with this little design that I've got here, what is the hierarchy? Well, we've got two big blue squares and two little black ones over there. Honestly, they're all pretty much the same sort of thing. Maybe those are photographs over there, but it doesn't shout out. This one's more important than that one or that one than this one. But with hierarchy, we can actually read things as one being more important than the other. You see, if I do that now, now all of a sudden, I know that this one is bigger, so it's more important than that one there. So we can read this and we can say, big photograph, small photograph, read through the text, top one, and then the bottom one. So there's kind of a flow to it as opposed to this. There's no real flow there. Do we go right, left, we go up and down in there. So once again, watch that flow or the hierarchy in things that you're creating. It's always a good idea to just step back from your work. Once you've created something, go and have a cup of coffee, come back again and look at it, or get somebody else to look at it and get them to do it with a critical eye. Hope that helps you with your design principles, and you can incorporate that into the coming examples that we're doing. 4. Put Your Designs on Merch - Intro: In order to sell your work on a website like Etsy, what you want to do is to put it onto a product, and you want to make it look as realistic as possible because you don't want to have to print all these things out in all the variations and photograph them again yourself. So what we're going to do is we're going to take one of your designs and put it onto the product, and we're going to use a tote bag. And I want to show you how you can actually make it look realistic and then put it into another graphic to show off the product and maybe some of the variations of that. Let's get started. 5. Add Image to Fabric: Now, I want to bring in a person onto this background I've created, and the background is really simply a new layer. And then I use my pencil. Over there, I used a hard brush, and I've taken the streamlining right up so I could just go and do some lines like that on it. It really is as simple as that. This light blue, dark blue, and the gold. Once again, thinking in terms of colors, we have got a large area here, and, of course, it's balanced by the small and the lighter area up the top. And then this bit over here, this is a complimentary color to the blues. Now, I'm going to bring in a picture, and I've cut this picture out, and I did it in the pixelcut.ai. So you can see if we just go to compare, that's it with the background, and it's actually done a really good job of cutting that out. Very, very nice. And what I want to do is I want to put something on this tote bag. So let's go back into here again. I'm going to bring my person in, so I'm going to go over to the usual ad, and I've brought in as a photo. If you're not sure how to do this, just go back to some of the earlier lessons. There she is in there, we just make her a little bit bigger. Over there. Right. And then I can put the details about the designs over here. So I want to bring in the design onto here. So I'm going to go back to the gallery, and we're going to use one of these ones in here. I'm going to use this speed up your workflow as the design for my tote bag. So I'm going to go to the top and copy it, and I'm just going to say copy canvas, which copies all the layers, and then I can go back into that one and I can choose paste in there, and we can take that down a little bit to the right sort of size for that. Let's move this across a little bit, and I'm going to put it roughly where I think it should go. Like that. Now, this looks like it's stuck on the top. So first of all, I want to actually make it look like it's actually got the same folds as the tote bag. The tote bag doesn't have many folds, but it is folded slightly. Let's zoom in a little bit over here and you can see if I hide this. There's some sort of folds. Like that. Now, I can pick up those folds really easily by going up here and just choosing a different blend mode. So when I go to darken, what happens is the darker areas of the tote bag get darker, the lighter areas stay as they are. If you find that by darkening it down, it goes too dark, you can always go along to adjustments, hue saturation, and brightness, and we could lighten this up a little bit in there. If that doesn't look so good, you can always try the curves. Remember with your curves, we can just grab this middle section and lighten things up or darken them down. I'm just going to lighten it up just a little bit like that. Now, of course, you can see the arm through, we'll deal with that shortly. It's still not fitting quite correctly. So let's have a look at what we can do if we go to this tool. And the move tool I'm going to go over here to freeform. Let's try that again. Sorry, distort, not freeform. That one over to there, that one up to there, and the same with those. Once again, when you're putting something on fabric, it's still not quite right because that's a perfect straight line on that fabric. So we can do something else that we've done before. We can go into liquefy. And using liquefy, I'm going to make my brush just a little bit smaller. Maybe I can push this in over here to make it look almost like it's going over those edges. Just push that in a little bit there, maybe this one here so it's not as perfect. As it could be. There we go. It's just looking like it's actually going over those areas now. Lastly, I'm going to go in and I'm going to just erase this. We'll be looking at using some more masks later on. But for now, I'm going to do this in a very destructive way with the erase tool. I'm going to click on my hard brush and take the streamlining stabilization off and then I'm going to just erase those bits out over there. Now, of course, I'd probably zoom in and do this a lot more carefully if I wasn't trying to record at the same time. So let's just try and get those bits in there and that bit over there. We've got one more problem over here, and that is that we need some sort of shadows because they'd probably be a slightly darker area just underneath that section. So we'll come and deal with that in a moment. But have a little bit of a go with that. Play with that, use that background and bring in an image that you want to use on the tote bag. 6. Add Shadows: Let's just do this manually for the moment. I'm going to put a new layer on here. I'm just going to go up over there, get my paint brush, soft brush, use black, and just paint with a very small brush where I think there should be a slightly darker shadow under there. Now, of course, if I've gone too far over there, I can just zoom in over here, use my rays and erase out the bits that I didn't mean to paint on. So, of course, all we have to do then is to change the opacity of that. I've realized that I actually made a mistake over here and didn't go far enough. Unfortunately, because we're not working with a mask, there's nothing I can do about that at the moment. But when we have a mask, later on, you'll find out that I can very easily sort out problems like that. Now, we've got one shadow there. Let's have another shadow underneath her. So I'm going to do this in a slightly different way. I'm going to make a copy of her layer. I'm going to go to the bottom one. I'll just hide all these layers above it so you can just see this one under here. I want to make it black. So remember, one of the ways we can do that is to go to hue and saturation and just take the brightness all the way down. And then I'm going to add a bit of a blur to that. So up to my adjustments down to blurs, and I'm going to be using the Gaussian blow and just click and drag to blur it out a bit. Now let's switch on the other layers. You can see there's sort of a dark area around her. But if I move that layer now, we've got a shadow behind her, and then the usual, we go and we make that multiply and we adjust the opacity on there. Look at the difference without and width, it just slightly separates it from the background. Now, if I thought that that bit of the front didn't look quite right, well, just use an erase tool. Honestly, you can just erase out the bits. That you don't want. So now I've got the shadow just behind her. Have a bit go with playing with some shadows in there. 7. Add Variations: I've just brought in two more copies of the speed up your workflow yellow one. One of them, and I'm going to do this top one over here. I'm going to adjust the colors of that, so I'm going to go up to the top to hue and saturation and just adjust the color on there so we can give the clients some variations to work from. So what about a bit of a shadow behind those? Will you do it exactly the same way that we did the shadow over here? What about a shape? Well, that's actually quite easy because all we have to do is we have to make a new layer, go and get a rectangle over there, and I can just draw the rectangle in to the right size. And fill that with a color. You see, over here, we've got a color fill. If I click on that, it just fills it with whatever color you've chosen in there. Let me do that again. So on this one, over there, once again, I'll want a new layer for that, so I'm just going to add new layer, use the same tool to another little shape. Over there, and you can see it's automatically filled with that color. Now, where on Earth has that one gone? Well, it's underneath, if I just pull that up. There we go. Bit of text, maybe over there saying, pick your design for your tote bag. Have a little bit of a play with that and put some other designs in there as well. 8. Drawing for a Pattern - Intro: I love this project. We're going to be taking a drawing, and I'm going to get you to draw something. Now, as you can see, I've got a forest scene in here, and I want to show you how to draw these individual items. Now, don't worry. If you can't draw, it's not a problem. I'm going to show you how you can actually do a rough trace of them and use the colors from the original photograph and then repaint it from there. But it won't just be a copy of the photograph. I want to show you how you can make it your own. Of course, if you're an experienced artist, you don't need to go through that part of the program. You can just do your own thing. Now, once we've created this, we're going to do a few little things, as I've got a forest theme going on in mind, and I'd suggest something similar to yours. And then we're going to take those, and we're going to put them together and make a pattern. So if you want to go down the route of selling patterns, and there are some websites that will sell patterns, you can sell them for wallpapers, you can sell them for wrapping paper, you could sell them for fabrics. Anyway, I'll show you how you can set those up so you can put them onto those sites to sell them. And we're going to then take that pattern that we've created, and we're going to then move it into a Behance project. I want to show you how to set up a Behans project. This is the type of things that you could then present to a client or you could just use it as part of your portfolio. Behance is absolutely brilliant for projects and getting other people to appreciate and comment on your work if you want them to. Or you can just send a link to a client and say, what do you think of this project so far? Now, once we've done that, I want to show you how you can then take it out as a PDF so you can put the whole thing into a multi page PDF once again to send to a potential client or just to save as part of your own personal portfolio. There's so many things to do in this, and I hope you enjoy it as much as I do because I love this one a lot. 9. Get Project Ideas from Chat: I. For this project, we want to create something for autumn, and it's got to have patterns. It's got to be able to put the individual items onto T shirts. So what I've done is I've gone to Chat GPT to ask for ideas. And the prompt that I've given it's really simple. It's just said, I'm creating an image to use on sites like Etsy on t shirts, bags, and also on sites that will allow me to create patterns or accept patterns for wallpaper and fabric. And I've put in there, I'd like to do something autumn, and also I've asked for ten different ideas. So HAGBT or any of the large language models are great for getting ideas for projects because there's things in here that I hadn't thought of, for example, acorns and berries, I didn't think of those at all, hot drinks like steaming mugs of cocoa, candles and lanterns. Those are brilliant ideas that I can use. So having done that now, I've got a number of different ideas to work from, and I'm going to go and find photographs of those particular items. Now, if you are an artist, and you are confident to just draw those sort of things in your style. That's absolutely fine. You don't have to work through this. But if you're not, I'll show you how one can do it using a photograph. We're not going to just take the photograph and use the photograph. We're going to redraw from a photograph. So it's kind of like reference material. If you can't draw, don't worry, you'll still be able to create something which looks amazing, I promise. Anyway, have a little bit of a go. Try with Chat GBT, and just put in a bit of a prompt like that. If you want to do exactly what I'm doing, by all means, just move on to the next movie. If there's something else you want to try out, by all means, have a bit of a go and get some ideas. So, let's get started. 10. Find Reference Material: What we're going to do now is we're going to find some reference material. Now, if you are an artist and you can draw these things in your sleep, that's absolutely fine. If you're an artist and you need reference material, that's great. If you can't actually or believe that you can't draw, you'll notice I say believe because I think that most people can with a little bit practice, draw very well, then what we're going to do is we're going to find some reference, and we're going to trace those items, but we're going to make them our own. So if you believe you can't draw, don't worry. I've searched for some acorns over here or acorn, and I'm just going to download this picture. And then I'm just going with the smallest size, they don't need to be that big. So let's just go and get that small one there and download it. Now, rather than you watching me find all of the different items, I've gone along and I've found the other ones already. So I've got some acorns. I've got a pumpkin, I've got toadstools, some leaves, all the things that I think might make up autumn based on what Chat GPT said over here. I haven't done all of I might just actually add in a moth, as well, that might look quite interesting or a butterfly. But anyway, um, if you want to work on the ones that I'm working on, I will include this file with these pictures in it in the course, as well. So, have a look and find some images that you wish to use. 11. Trace Reference Material: We're going to make a new document here, and it's going to be a square document because whatever we create in here, we're going to be using a pattern in the end. So I'm just going to click on little plus over there. And I want something which is a reasonable size when it gets printed. Now, we haven't really talked about CMYK and RGB in detail at the moment. But for now, I'm going to choose RGB, and then we can look at what it'll look like in CMYK at a later stage. Anyway, I'm going to go in and I'm going to choose the color that I want, so I'll click in there, and I'm going to go with 4,000 pixels by 4,000 pixels here. Now, do be careful because if you're using a larger file like that, you are limited in layers, and you can see it says the maximum number of layers is 61 at the moment. The larger you make your document, the less layers you can work in in Procreate. So just be aware of that. And it also depends on different machines as well. If you are not on the pro version, you might find that there's less RAM on machine and you get less maximum layers, even for the same size that I'm working on there. Going to click on Create over there and here's my document. I want to bring in those photos that I can work from. So I'm going up to the missed it. Do you find that when you go to click on one of these, you always miss it, or is it just because I'm sitting at a funny angle trying to because I've got the camera above the screen. Anyway, I'm going to go over to the little actions over there and as we've done before, add and I'm going to go and insert the files and start to bring them in. Now I'm not going to bring in all of them. At the moment, I'll just bring in one, show you what I'm going to do, and then you can do all of yours. So I've just brought in this pumpkin picture here. It's pretty low res, and that really doesn't matter because I'm just using this as a reference. So I've got the pumpkin there. What I want to do is just draw that shape in and maybe get some colors from it, as well. Now, this is all pretty rough. So as I said, if you are an artist and you want to redraw that yourself, that's fine. If you're not, you can just go along here and make a new layer and trace it. So I'm going to just trace it over here. I'm going to just choose a pencil. I'll go along to my sketchings and I've got a six B pencil in there. Let's just zoom in a bit. I am on a new layer, and I'll choose a black. It's my color. And then I'm just going to trace this roughly, and it doesn't have to be perfect. You can see it's not exactly as it is on there. Let's just go round to there. Round, round round. Another one there. And this just give Whoops. Miss that a bit. Gives us a rough of that shape. And if you make a mistake, just go over it again, use your razor, erase out the bit that you didn't intend there. Now, let's sample some colors and put some colors next to this as well. So we've got those colors as if we need them. I'm going to do is just go along over here, tap on the little square there or you can hold it down, move it over, sample that color, and I will use a slightly larger brush for this. So it really doesn't matter which one I use, but I'm going to go to the air brushes and just use this solid one, so I can just put in a bit of color over there. Let's sample another color over there, and we'll have that one and then maybe a color from the stem as well and the highlight from that. B. That is it. Now, we can just hide that if we don't want, but we've got the rough of our pumpkin ready to go. I won't get rid of this because when I paint it, I might need it as a reference so I can go back in and see exactly what I'm going to be lightening and darkening. Anyway, try that with your other items. So I will just very, very quickly bring in the next one. I won't do the whole thing, but I'm just going to go and insert a file. I'm going to find the toadstool that I want. Let's just scale it up a bit. But there I think something like that. Don't forget, add a new layer and redraw it. I'll use black again over here. Now, if you find that you're struggling to see what you're doing because the pictures very dark, just go to the photo and reduce the opacity like so. So very quickly, I could just go around that. Over there. Let's do this down to there, up to there, and just that I can see them a few little shapes on the toadstool, like that. It's pretty rough, and that's absolutely fine. Unfortunately, I've done that with the wrong brush, but it's fine. I'm not going to be using this in the final piece. We're going to be recoloring it. Don't forget when you want to sample the colour, take the opacity up to 100%, and then you can see exactly what colors you're going to be sampling. Be careful, though, when you sample colors like this underneath here on a toadstool that would normally be sort of mushroom brown or white, but it's green because of the reflection from the grass. So if I sample that now and I painted it somewhere, on that layer, you'll see it's actually green. We don't want that. So you're going to have to use some artistic license in choosing some of the colors, but we'll get to that just now. Have a bit of a go and bring in all of your different pieces that you want there. And I'd say have at least probably about five different items in your illustration. If you're not sure quite what to do, start watching the next video because I will have done it on all of the ones that I want to use. In fact, I'm going to redo this toadstool with a pencil rather than that thick line as well. 12. Sample Colors: I brought in a second toadstool picture, and you can see the difference in color. This one's very orange and that one's very pink. Now, for simplicity's sake, I'd like to keep them both the same colour, even though I'm having two different types of toadstool. But what I do like about this is you can see the stalk is actually white, slightly yellow, whereas that's very, very green. So with this one, I'm going to sample the color from the stalk. So let's use that, but there put in some color and some of this light. It actually looks like white almost, really, and maybe a little bit of that color underneath there. So when it comes to doing my tote stools, I'm going to use this color over here for the tops and that for the bottoms in there. Still got a few to go, if you carry on with yours. 13. More Sample Colors: Now, I'm working on this ladybird. And because it's also reds and blacks, what I'm going to do is I'm actually going to use the reds from the toadstool, so we don't have too many different shades of the same color in there. So I'm going to not pick up those colors. I'll just use a slightly darker version of that red there. Doesn't look like ladybird when you look at it like that, but the moment that you put in the lack the red with black dots, it looks absolutely fine. 14. Customize Your Sketches: I'm going to go along to my mushrooms, because, remember, we've basically copied or traced a photograph, and I want to make this my own. So I'm going to go to this mushroom over here and I'm going to adjust it a little bit, so I can go along to the adjustments. I'm going to use liquefy. And then I would just use the liquefy brush. I'll make it a little bit bigger and tweak this a bit and maybe just pull this over a little bit like that to get an interesting base on that. Maybe I can pull this down a little bit like that. Maybe that can come up a little bit in there. It's exactly the same if I go along to my pumpkin that I started with. Onto the pumpkin here, same again, liquefy, and I'm just going to adjust that top a little bit in there. Maybe pull this up a little bit. So if you put this over the photograph, the original photograph, it wouldn't look like it. We've actually made it our own. And I'll just work my way through all of these items, just using the liquefied tool to tweak them a bit so they don't look too so in our hearts, we know that we haven't actually directly copied them from the photograph. Try it out. 15. Start Painting: Let's start putting some paint on these. I'm going to start with the leaves down here. So go along to my leaves, move them to the side. Here we go. So I can sort of see that. Now, sometimes you find that there's things in the way. You don't need everything on this layer, so just take an eraser. I'll use a large chunky eraser there. I don't want that, so I'll just erase out those bits there, and you can get rid of anything that's distracting you from your goal. And doesn't have to be perfect. This is just a reference. There we go. So I want to start painting these leaves now, and we're going to do them on a new layer. So I'm going to make a new layer over here. And I've put my layer underneath the drawing over there. So I'll be able to see it when I'm painting. Starting on this layer here, I want to then sample a color. So let's do this leaf over here. So we're going to sort of give it an orangy color and then we're going to use some dark to create the veins. So once again, I will just sample the color over here. Remember, I use this color let's try that once more. I use that color over there. I'm going to go and choose a brush that I want to work with. Now, it's up to you what brush you like, really. It's a personal preference. I'm really into these inking brushes. I really like them, but you don't have to use them. You can use whatever brush works for you. And I'm just going to start to paint these areas in here. Now, this doesn't have to be perfect. Remember, this is supposed to look like a painting, not like a photographic rendition. So I'll just go around here. By the way, you're not going to have to watch me do this whole illustration with these. I'm just going to do one or two of them. And I like this brush because as you press down, you can get really heavy brushes like that, but you can also do fine detail with it, too. Let's do those around here. Then I want a darker color to do these details in there. Once again, I will just sample the colors. I've got my main colors there, but I'm also going to sample a darkish brown off of that leaf. Let's just sample again that dark brown in there. Same again, I'm just going to go in here, drawing that and it's drawing some details over here. As I keep saying, it doesn't have to be perfect. And don't forget to just twist your canvas around as you're drawing if your hand needs to go in a certain direction. I tend to draw with these arcs all the time, so I keep changing the angle so I can draw arcs in over there. We'll just speed this up a little bit, add in a few more bits. Let's switch that off so we can see if it looks acceptable. We just switch that drawing off. There we go. That's not too bad a leaf. If you find that some of the things are not quite right, this is where your artistic license comes in and you can just go in and put in any little bits that you need. In there. I'll do the other one. And once again, I'll switch this on. I'm going to sample the color. So I'm going to start with the yellow, I think there. This is not a painting lesson, so if you prefer to start working from dark colors up to light, that's absolutely fine. Get my paint brush and paint it in. Over there. Just check that you're on the right layer all the time because it's so easy to do this on the wrong one and then you've got to do it again, and that is very annoying to have to do. Here we go. That's looking good. Now, new technique. I also want to have some orange bits on the leaf as well. So I'm going to go and sample the orange over there. But I don't want to actually paint, have to paint it in perfectly. So I'm going to go to my layers, and I'm going to click on there and I'm going to say, use the alpha lock. Cause remember the alpha lock when I'm painting only paints on the existing pixels. So it won't take me long now to just put in a few little details in here. In orange. And I can do those with a hard brush in there, or if I wanted more of a sort of a gradient on them, I can go along, make sure I'm on the right layer all the time. Go along to my airbrush, using the soft brush and maybe just sort of put in some orange. Areas in there. I'm happy with that. I just now need to go and put in all of the veins onto that, and I'm going to do it in exactly the same way that I did that, so I won't force you to watch me doing that. But have a bit of a go with something really simple like your leaves if you've got some. When it comes to putting in the stem over here, remember that what you've done is you've gone in and you've alpha locked it, so it won't allow you to paint on anywhere that's not on that area. So to put in the stem, you'll have to switch off the Alpha lock, and then you can actually go in and you'll be able to paint anywhere on there. Totally the wrong brush, but you get the idea. 16. Painting & Blending: Once you've got your leaves in or whatever you've painted, you can actually get rid of this layer over here, and I can just delete that layer. And the photograph, well, you could get rid of that if you like. It doesn't have to be there. We've got our final piece in there. But lastly, I'm also going to click on there. I'm going to go and lock it. So in order to lock it, you won't find lock in there because that's an Alpha lock that locks the transparent pixels. But if you drag this over to the left, you'll see you've got a lock option in there, and that will just, if you lock it, stop you from working on it by mistake and clicking on the wrong layer and ruining your image. So have a go with the same technique with something else. I'm now going to do one of the mushrooms or the toadstools, which are a little bit more detailed, so I'm going to show you what I'm going to do. And I'm going to pick, I think, this one over here. As I said, if you are illustrator or an artist, just go ahead and do your own. So I'm looking for that one there, and I'm going to zoom right into it. I just want to be able to see that pink up the top over here. I'm going to start that on a new layer. So paint brush there, sample the color, and I'm going to just start off with the darkest color over here, and I'm going to paint this area in over there. So I'm just really painting this sort of stem, I suppose, I think they're called. I'm not very good with plants, but I do know what a toaster looks like. So I'm going to do that one there. Remember, you can always erase later on. I'm also going to just move that layer below the other one so I can actually see my details. Let me go in and do another color here because that's the darker area. Now, when it comes to the lighting of this particular scene, the light's going to be coming from this direction over here. So we're going to have the darker areas on the left hand side of the objects and the lighter areas on the right hand side. But you'll notice that I've done this little stem bit over here. Now, when it comes to using my other colors in here to lighten it up, I can just use my Alpha lock to lock it, get my paintbrush, choose my next color, and then I can just paint. I don't have to be too careful because I've already done that area there, so I'm just going to paint and leave maybe a little bit of the darker area on that side over there. And then whilst that's still there, I'm going to use the very lightest color over here and put some lightning on like so. Now, if you wish to blend those together, kind of like to get that sort of effect that we had, we can do it in one or two ways. One way is to actually use, and this is the way that I like, is to use this finger tool. It's the smudge tool. And with a brush, you can just go in and kind of smudge those colors together, and you can see how with a bit of smudging, we can just blend them together in a really pleasing way to get the lighter area coming down in the darker area over there. The other way to do it is if you've got an alpha lock on, you can go up to the top over here and you can just use Gaussian blur and you can just blow those together. You can see how it can actually blow those colors together. But that does give you a very airbrushed type of look. And I don't want that. I want the brush stroke type of look. Now, for this little thing over here, I'm going to pretty much do the same thing, but I'm going to have to switch off my alpha lock so I can paint on there. Let's choose the darker color. I must make sure I'm on the right tool on the paint brush or samp that darker color, I'm just going to draw in the darker color. Under there, I'll get some lighter. Let's go over the top and the very light color right at the top over there. I can still, if I want use my smudging tool, make the brush a bit smaller over there and just smudge some of these colors around like so. Oh let's do the top. Once again, I'm going to go and sample the colors. I'll sample the red that I want to use, and I can go in here and darken it down. Now, when you're darkening colors or lightning up colors, I like to go along to the values over here. So we've got these different views of our colors, and I like values because I can just go along to this darkness slider and just darken things down really easily like that. So I can just take that color and just darken that red down a bit like so. Anyway, I'm going to paint this in, so with my paint brush very quickly. Get it in roughly like so. Now, let's have a lighter bit at the top. Remember, go in there, switch on your alpha lock. I'm going to choose this lighter red up here. Sometimes I do get a bit annoyed with this little color picker over here, particularly because I've set it up. So when I double click on the pencil, it brings it up, but it can go in the wrong position. Anyway, I've sampled that red and I can then you see? Let's just double click and move that across to there. I've got that red now back to my paint brush and I can just paint in some lighter areas. Oh, remember the lights coming from this direction down there, so this bit will be lighter over here like that, but is lighter. And then maybe even a little bit near the top of pink. So once again, I will just double click on my pencil, move it up to there. Of course, you can use that button, as well. That gives you the pink, and I'll just put in a little bit of pink over there. Same thing. Use the smudge tool and just go in and smudge these around a bit. If your brush is too small, make it a bit larger. And if you want to darken it down, by all means, do so. Just sample a color again. You can darken it down. Remember, we have still got the Alpha lock switched on on there. So if I were to paint down here, it doesn't matter if I'm missing it a bit. I'd be fine. And then use my smudge tool to smudge that around. Be careful, though, I've smudged unfortunately onto the stem itself, so I'm just going to have to undo that and watch where I'm going. Lastly, we've got these little I don't know what you'd call them really, the things that go on top of a toadstool. I'm going to do those in that very light color as well. I'm going to use two colors for that. Once again, onto the pencil, sample my color, which is going to be that one there. I'm just going to start putting in some little shapes over here. As you can see from the photograph, they don't have to be perfect. I always think of toadstools as having these perfect circles that you see in children's books, but obviously they don't some of them do, but not these ones anyway. So I've gone in with a lightish color but not pure white. And then I'm going to go in and I'm going to sample the white or almost white and just go and put some highlights on them as well. Now, if I just turn that overlayer off for a moment, close that down for a second. You can see where I'm going with this. Over there. We need quite a few of them. Up the top. They don't have to be perfect. Remember, this is an illustration. It's not a perfect scientific rendering of a toadstool. But once you've done that, if you think, Oh, my goodness, you know what? Look at those edges on that toadstool. I want to round them off a little bit more. What you can do is you can go in, switch off your Alpha lock. Use the same brush for your eraser. So if you just go to erase tool and hold it for a few seconds, that will give you the same brush that you were working on, and you can use that brush to just do some erasing out here. So I'm just going to round off this edge a little bit. Maybe that bit there can round off. Whoops. That's a bit too much. Round that off. I think that can probably rounded off. Once again, two fingers to undo. Like so. And I've now got my little toadstool not quite ready to go, but almost. Do have a bit of a go painting something. If you've got toadstools, try it out. If you want to go through this little lesson again, by all means, have a look again. But just use those tools that I've mentioned and don't forget your alpha whips, your Alpha lock over there if you want to then start with a base color and then build it up from that point onwards. If yours don't look great, don't worry. We've got a number of other things to draw, as well. If you want to keep the colors more flat without having the details in like I've done, that's fine, too. You know, make a shape over there with one or two colors in absolutely perfect. No one's actually going to see this in the final result in the same detail that we're looking here because it's going to be a pattern on a wall or a piece of fabric. Try it out. 17. More Painting & Blending: Now, that toadstool was pretty heavy going if you've never done this before. So I hope you did okay with it. If not, don't worry about it. These things just take a bit of time and a bit of practice. Now, let's go over to the pumpkin, and I'm going to do the pumpkin. As always, if you're confident with these things, you just get on and paint. But for those of you who are not quite so confident, I'm going to go and switch on this pumpkin here and I'm going to move it across. So if you'd like to watch this video, if you're not that confident, by all means, ago. And I've got my pumpkin there. I'm going to go along to the layer where the pumpkin is on. That's the drawn layer. I'm going to put a new layer on there, and I'm going to move this layer below the other one. And then we're going to do pretty much the same thing that we did on the last one. Get my paint brush, sample the color that I want to work from. So I'm going to start off by doing this big round area of the pumpkin, and I might do it with a sort of a darkish color and then work with lighter light colors as I go. So I'm going to sample the dark orange in there. Paint that area in, and you can see exactly the same as the last one. I'm not being that careful, just getting these colors down. And it doesn't really matter that I'm going over that because I'm going to put the stem in finally, so that will be right. But once I've got this color in, then I'll do as I did before, I'll switch on the lock transparency. We go, Let's just get that one in like that. We wanted to have that painted look. So I'm going to go over here. I'm going to lock the transparency on that layer. Alpha lock on there. And then I'm going to bring in some lighter colors onto that. So once again, I'll sample this orange over here and do some lighter bits. So what I'm looking at here is sort of having these areas being lighter and then a shine on them. So I can just go over here and paint in this bit. Not too worried about going over the edge because the Alpha lock is on over there and it's just paint this area over here. Now, we do have a bit of a problem because these ones here, the light's coming from the top right hand corner. On the pumpkin, it's coming from the top left hand corner down. So once we've done it, we might flip it around so all the light goes in the same direction. So I'm just looking at the light coming from there. It there, and let's have this one quite light. Like so. Same again. Let's make this lighter still. So I'm going to sample the color, go up here, go over to my values, and I can then just lighten things up a little bit in there. If you find that you get to the end, you go, Oh, my goods, I can't lighten that anymore. You can then start to drag these color sliders around, but be very careful because you might be adjusting the color. You could also go along to your disc again over there and just pull this over that way to lighten them up. Or, of course, you could straight sample the color directly off of the photograph. Come on, you. Let's try double clicking. I don't know where my sample has gone. It does get a bit, a bit annoying sometimes. Oh, there it is down there. So let's just sample a light color from that and I'll just paint in a bit of lightness over there. Same over here. I'm just kind of looking where it is, so it's kind of on that side in there. We've got a little bit more going on in here and I'm going to take a bit of creative license and do a little bit over there as well, maybe some on the top. And then we can use our smudging tool to smudge some of those colors around a bit. You can see I'm kind of going up and down in the direction that the brush is going. You can still, if you think, it'll work, just go in and add a few more. Little bits to that a little bit more highlights and the same with the darker color. You go back to your darker color over there. You can darken it down even more, and you could add a bit more detail in the darker areas over there. But remember, if you're adding in dark, I put in made that very dark. You might need to smudge it in a bit to get it to blend with the other colors as well. Make my brush a little bit smaller, and just smudge that in. So let's have a look without the lines along the top to see if it looks vaguely like a pumpkin. Well, it's got that feeling of it. Let's put it that way. And then, of course, remember, I can always round it off using the arrase tool over here and just go in and arrase the bits that I don't want. Like so. We just round it off there and maybe down here as well. Now, what will make it look like a pumpkin really is to have this bit done at the top. So I'll switch that on again, and this is where I'll need to get the other colors in. So I'm going to start off with a dark color over there. Let's sample that one. Paint brush and just paint this in. Now, why can't I paint up there? Well, I'm sure you've guessed it. It's because we've got the alpha lock switched on, so just switch that alpha lock off and you can then carry on painting. But there. And let's have a lighter version of that on this side. Maybe something along that line, and maybe even a sort of a medium light version further down, so I'll just darken that off a little bit. In there. You might find at this stage, you think, well, actually, there should be some darkening down there. By all means, go for it. Just sample your colour and paint in a bit more. Around there. Right, let's switch off the top. There we go. We've got something more pumpkin like there. It does need to be tweaked a little bit because we've got some funny lines in there, so I will use my rays tool to just round some of these off a little bit like that cause the thing about pumpkins is they are pretty round. So we want some sort of rounded area. Like that. If you find, you think, Oh, you know what? I wish I could push this out somehow. Go along to your liquefied tool and use your liquefied tool. I'll use a slightly smaller brush in there. And I can then actually go in and I can just push these things around and move the pixels around if I need. And this is great for round things I've found because I can just pull them out to the shape that I want them to be in. In fact that could be just moved out a little bit like that. I really should use my finger smudge tool to just smudge that in a little bit, like that. Now we want everything to have light coming from the other side, not the left hand side, but from the right hand side. So I will select that and just use flip horizontal, so it's the other way around as well. Anyway, have a bit of a go with that and try it out and see what you can do. Once you've done that one, we'll go on to the next one. In my case, it's going to be the ladybird. You might have something entirely different to do. 18. The Ladybird: I'm going to get rid of the pumpkin photograph because I don't need that. I also don't need the lines over the top, so we'll get rid of that as well. And I'm then onto the ladybird over here. So I need to find it. There it is, and find the photograph, as well. Now, the photograph is in the way, so I'm going to switch it on, move it across and so I don't have all this other stuff around it. I'm just going to get rid of everything which is not on the ladybird. Now, we can do that by using a selection tool and just selecting around the ladybird. So I'll just use free hand in there, do a selection around the ladybird like that. I'm going to invert this selection. So over here, we've got an invert option, so the ladybird is now protected and everything else can be just very quickly deleted out. One way to do it takes a little while, but you can do it that way. The other way that we can do it is if we make a selection, I'll just use an ellipse this time. I'll select the ladybird like that, copy and paste, and there we go, I can get rid of the other photograph, and I'm just left with that part there. Whichever way you want to work, it's absolutely fine. We're just using that as a little reference in here. Now, I want to start painting the ladybird, so I'm going to add a new layer over there underneath the drawing. You can, if you prefer, go to your drawing and actually reduce the opacity so it looks a lot lighter when you're painting. Now I'm going to be using the reds from here because we want to keep all the colors very, very similar. So I'm going to be sampling colors from this and make sure I'm on the correct layer. I'm just going to paint in the back of the ladybird over there. So paint brush and just start painting that in. So once again, pretty rough. We want that nice painterly look to this. The head is going to be black. So let's just go in and do a very dark. Black looks so heavy and hard on an image like this. I'm actually going to go to a dark red rather than pure black, and we're just painting that little section over there, and finally the last little head bit over there. And I'm going to make my brush a bit smaller and just do some legs. Sticking out over there. And the same with these shapes over here, we just paint them in with that very, very deep red. We've got and there is a line that goes down the back between the two wings. Alright, let's hide the top layer. That's not bad at all. The thing is, though, when you're painting and you're doing lots of details like this, it's very difficult to then go and lighten those areas up or darken them down. So I'm going to use two fingers to undo the dots that I've done on the back over there. I'm going to put in a Alpha lock, and then I want to lighten and darken these areas. So I'm going to just sample that red that I've got, and I'm going to use a slightly darker version. Remember, our light is coming from this direction here, so I'm going to just darken down this area a little bit over here, maybe round to the head, a little bit round. I'm going round to sort of show that this thing is actually rounded, just a little bit by the head there. And then let's do a lighter red up the top over here. And finally, a much lighter red. Oops, that doesn't look like a lighter red, does it? Let's try that again. A bit more saturation over there. And you can actually then go in to a pure white and put a highlight on there if you like. But don't forget use your finger tool to just smudge those colors around if you want to blend them together a little bit. Like that. Now that I've done that, I can go in and just do the dots on the back. So paintbrush. I'm just going to sample this dark color here, painting that little shape. Those ones there. And let's have a little look at that without this. Get rid of that one, get rid of that one, and there's our little ladybird up the top. Once again, have a go with the ladybird if you like. 19. Add Background: A few more bits and pieces. I've done some other mushrooms in there. I finished this toadstool over here. I decided I didn't like the branches, so I've left them out. And I was going to do some acorns, but I think the colors that I've got in here are absolutely perfect. Now, I want a color which is going to help in the background. So rather than just being some white, I want something which is more of a greenish brown color. And I'm going to do that by putting it onto a new layer. By the way, I've got a lot of layers here that I don't actually need still like that. So I'm just going to remove and then you don't have to, I'm just doing it so it's simple and you can see what's going on. I'm going to go and put in another layer at the top here. So let's add in a new layer and I'm going to fill that layer with a color. I'm going to move it right to the back. So I'm going to choose a color to go in there. Now, most of our colors have been in this sort of range over here, so around the reds and oranges. So if we go for a color which is complimentary, it's going to be these colors over here. So I can then start thinking, Well, what about something along this line? Not too blue because this is going to be autumn. We want warm colors, but maybe a sort of a warmish green up there. You can see we've got these greens from vivid green through to a nice, dark, foresty green over there, maybe even something a bit lighter. Now, remember, I made a layer over there, so I'm just going to drag this and drop it straight onto that layer. I don't actually like that color, to be honest. I think it's a bit too much. So I'm going to go and try and find something which has got a little bit less green in it and just keep dragging it. That's more what I'm after. Once you put your color in, I find that I like to go up here to the hue and saturation and just adjust it with the hue and saturation and go, Oh, actually, oh, that looks so much better with that gray color. And I can either saturate it or desaturate it over there. So the first thing is, get rid of things that you don't want, and then we can add in a background, so add in a new layer, put in your color, and you can adjust it with your hue saturation and brightness. Once you've done that, come back, and I want to show you how nice little trick I make some of these things really jump out and have some really awesome color on them. 20. Add Glow : Let's take this toadstool in the middle over here. So I'm going to go along and find it. What I want to do is I want to get some light coming in from this direction. You can see it's slightly lit underneath there. That bit's lighter than that bit. But I want some more light coming in over here. So I'm going to add a layer on top of it, and I'm going to go and get my paint brush over there. I'm going to be using an airbrush for this technique, and I'm going to use a very soft brush. I want an orange and I want a very bright orange. Now, bear with me on this because it does work. And I'm going to go and take my airbrush, I'm just going to paint over the area that I want to really lighten up. I want to get some more interesting color in there and maybe a little bit over there. Now, the first thing is that I want to actually clip that to that shape. If I click on this layer here and choose clipping mask, what it will do is it'll clip it to the layer below, and it will remove anything which is transparent on this layer. You see if I do that clipping mask, it's just clipped it to the layer below. If you want to undo it, you can just undo clipping mask in there. This is a really nice technique. So how do we get this to look interesting? Well, go along, this is really easy. Go along to the N and choose a different blend mode, and I tend to use for this technique, either add or color dodge. So what happens when I go to color dodge or add, it just gets that glowing effect on there. Let's try color dodge in there. That's not bad. I think that's actually better. And you can always reduce the opacity of that. If you don't like the color, just go up to your hue and saturation, and you can adjust the color in here and go, Oh, actually, you know, we want something a little bit less. Alright, so and just adjust it. Let me do that again. I'm going to do it on this pumpkin, so I'm going to get some light coming in on the pumpkin. And once again, I'll go to the pumpkin layer. I'll add a new layer above it, get my paint brush with a soft brush. Orange is the color, and I'm going to paint it in on my new layer. Now, I think I've gone a bit too far on there. So I'm going to hold the eraser down, and that will then pick up the eraser with that particular brush. I can then just erase maybe some of these bits over there. Remember, click on the layer, go to clipping mask, and then change where it says, normal, change that to add or color dodge. I'm going to go with Add and just take the opacity down over there. And look at the difference over here. If I switch that on and off on the pumpkin, you'll see the it just gives it life. I'm going to go through all the rest of these items and just add some life to them in the same way. I'll do one more with you, and then I'll do the rest on my own. So let's add another layer to that. Find the orange that I want. Re bright orange over there, and I'm going to use my paint brush, nice big brush, paint over the area that I want to brighten up. On the layer, go to clipping mask and then change the mode to add or color dodge in there, and then take down the opacity to just get that interesting look. Now, as I said, I use this technique a lot, and I just like to show you some examples where I've used it on images which are completely different to that. So for example, here, I created some guitars, pictures of guitars, and I've used this technique on most of them. Let's go into this one over here. You can see how the guitar is lighter at the top and the amplifier at the back has got this sort of orange glow to it, and that's done in exactly the same way. There's a layer over here. The layer is set to add cities down. If I switch it off, you can see how it just brings life to that particular image in there. I I switch it off, it's like, Okay, but that just gives it that lovely, lovely highlight color. And it's not just images like that. I do it on most things when I want a little bit more interesting color on them. I'll just take you through into another of my images over here. This one over here, I wanted a glow from the fire coming onto the dancer. And if I go back here, there's a layer there with add on it, and that just adds the glow to that image. As I said, I add it to most of my images in one way or the other. Do try that out on yours and get a little bit of life going on in them, and then we'll come back and add some more. 21. Variation on Leaves: Now, I've got a few bits and pieces going on in here, before I go any further, what I want to do is to just save this as a separate item. So I'm going to go back to my gallery. I'm going to choose Select. I'm going to select that item, and I'm just going to duplicate it. So I've now got two of them. We can just click on the X to get rid of that. And now I can carry on working on this one. Over here, knowing that I can always go back to the originals, should I need. Now, what I'd like to do is, I like to get some of these things on the same layer. So we can just go and pinch them together. So, say, for example, this image here and layer eight. So I'm just going to pinch together the highlight and the layer. Same with the ladybird, pinch that, pinch those, pinch that, and those ones as well. Didn't do the leaves. I'm going to just leave them separate because I'm going to be spinning them around and making some other versions. So let me start with the leaf over here. Now, my leaf is locked. So I'm going to unlock it, and I'm going to make a duplicate of that. This duplicate, I will move somewhere else. Oh, let's just put it there for the moment. And I'm then going to go over to my adjustments, and I'm going to use my hue to just change the color on that leaf. Probably not too much, just a little bit. You can go completely wild, if you like. Just adjust a little bit like that, maybe take the saturation up or down to get a slightly different variation on that leaf. We brought in just a little bit of green now, so that's absolutely fine because it is autumn and some of the leaves are still slightly green. Have a go with that and clean up your layers, make sure that you make a copy of that just in case, and then we'll move on. 22. Darken Areas: Now, that same technique that I've shown you to do highlights, you can use something similar to do shadows. So if I want to darken down this side of the pumpkin here, what I might do is add another blank layer. I'm going to go and choose a dark color over here, so I'll just use the sample tool to sample something quite dark. Doesn't have to be very dark but quite dark. Using a soft brush, I'm just going to paint in the area that I want to make darker over there, so maybe that a little bit. In there to give it a more rounded kind of feel. Then as we did before, go to the layer, use the clipping mask to clip it to that layer, and then change the blend mode. But this time we're going to use multiply. So it will multiply the two colors together, and then you can change your opacities to bring that down a little bit. Now, have a look at before and after, so that's before, and that's after where it just darkens it down slightly. You can still at this stage, take your paint brush and go, well, actually, let's just darken this bit down and paint on there and maybe darken that. As well. When you're happy with that, as before, you can just twist them together, so it's all in one. I'll just do that again with maybe this end of the toadstool, so it's that one over there, I think. Yes, I'm going to add another layer onto that. I'm going to choose a very dark red. So I'm going to sample that red there. There it is. I want a darker version of that. I'm going to go to my values and just push that down quite a lot. And then taking the paint brush, I'm just going to paint, making sure I'm on this layer here, paint an area over there, which is going to be sort of reddish. Or darker. As before, go in, use your clipping mask, change the blend mode to multiply and take down the opacity. Once again, just switch it on and off to see if it works for you and you've done the right thing. Now, I've done that, but there's some darkening coming in there. If I didn't want that, I could use an erased tool to just erase that out from that layer. Of course, if I'm happy with that, I can just twist those together to get them to come in. Have a go with darkening things down using a blend mode. A 23. Add Image to Clothing: Now, should you wish to sell one of these on somewhere like Etsy, what we need to do is to just put it onto a bit of clothing. So I'm going to click on the plus over there. I'm just going to use the screen size over there. This doesn't have to be huge, but it does need to be a reasonable resolution. Now, I clicked on that button very, very quickly because I want to show you this. You see, if you use something like the screen size in there, what sort of color mode are we in? Is this in SRGB? Is this CMYK? Is it something entirely different? And if I just go back again, in here, you'll see when I click on the Plus, with screen size next to it, it says P three. P three is great if you're only going to keep it on the iPad. But as soon as you go onto another platform, whether it's a phone or a different tablet or a laptop or something, the colors will go a little bit weird. So even though I've want to use screen size in there, it's best if I just go up to the top and change this and put it in manually. Now, I'm going to choose 2000 pixels wide. By 1,000 pixel or sorry, 1,300 pixels high. And I'm going to make sure that my color profile is not on P three, but it's on SRGB over there. Let's click Create. So next thing is to bring a picture in. Now, I've got a picture, which I will put in the options for you to download. You can find your own if you wish. I'm going to go along to my actions, and I'm going to go and find that picture, so I'm going to insert a file. Here it is over here, and we're just going to make that the same size as the document. I want to bring in the toadstool onto her T shirt. I'm going to go across here to gallery. I'm going to open up my toadstools and I'm going to find the toadstool I want. I want to use this one over here, I'm going to go up to the actions and I'm going to copy that. Just copy the layer, not the entire canvas back again to this image, and I can then paste that one in. We just choose paste over there. The move it into the right position. It's going to be smaller on the final design, and maybe it's twisted over there a little bit like that. Now, the problem with this is that it's actually not real because it'll never print out like that because it's print on the fabric. The lightest part of the image will be the white of the fabric. So we're going to go in here and we're going to change the blend mode from normal into multiply. And that way, the whitest part of the image is the white of her shirt in there. It doesn't look quite so bright and vivid, but it's more realistic to the result that people will get. Of course, if you want to, you can then have the bright version, which you could save out onto a white background on the side to show this is the design. That's it. It's as easy as that to put something onto a t shirt, but just make sure that when you're doing it, you're using the blend mode of multiply. There's a number of other ones in here that you could try out, but multiply seems to give us the best result for that. Anyway, have a go. Put it on some clothes. 24. Add Image to Cap: I want to show off some of my products on Instagram, so I'm going to click on the little plus over there. I'm going to do a square. Now, once again, if I look down here, I can probably find 1080 by 1080 pixels in here somewhere, but you do need to make sure that it's set to RGB when you're doing it. There we go 1080 by 1080 sRGB, and I'm now going to go and get my image. You know, once again, I've provided this for you if you want to use it. It's just this cap over there. So let's take that up. Make it a square in there. So it's pretty much going to be the same thing. I'm going to find the image that I want to use, and this time, I'll use the same thing again, but we can try different things later. Make sure I'm on the right layer, copy it, go back into there again and paste. But this time, we need to tweak this a little bit. I can move it across and I can rotate it round, but it's still at a really funny angle because we've got perspective going on in here. I'm going to go to distort. With distort, I could then start to bring this around like that. I'm thinking that on the cap, it would probably be angled around like that, maybe a little bit shorter because we're looking at it from the side. But Do be careful when you're putting it onto something like this that you're kind of getting the perspective correct in there. If you want to go stage further, you can actually go to warp, and then we can warp things around because if you were thinking that this was on a curve, you could then go and you could pull these things out and just warp it to the size that you want that to actually be. I'll just pull that around a little bit there, like so. Same as before, go in there and change into multiply over there. I want to show you a quick little trick here. If you want to put a line around the outside of something like that, say, for example, we wanted to show that it was going to be a transfer on something. What you can do is you can duplicate the item, go to the underneath one, and fill it with well, this is going to be white. So I'm just going to go up to the top hue saturation and pull the brightness up to 100%, which gives me a white object. Now, this is a bit strange, I know, but bear with me. What you do is you take this layer and you duplicate it, and you just keep duplicating it. A number of times and then squish those, and then keep duplicating it again. Yes, there is a bit of method in this weirdness I know. We'll just keep squishing those together and duplicating those as well. And what this will do, it'll actually end up giving us a little white line around the outside. Look at that. If I zoom into that, you'll see that there's a subtle white line around the outside. If I just hide that, that gives us the line around the outside, so it could be something like that where it's been sewn on over there. You can just keep going with this and it will get bigger and bigger if you keep going on for long enough. Duplicate that again and you can see how it's enlarging and I can hide that if I don't want it. The other thing is, be very careful if you're putting something on this and some things are out of focus, that is out of focus in the background over there. You might need to adjust it slightly so it's a little bit blurry on that side. Anyway, do have a bit of a go with that and put something on an angle that you wouldn't normally put it on like that cap. 25. Pattern Prep: Now let's get on and do the pattern. What I'm going to do is I'm going to go over to the pattern, but I'm going to duplicate it first. So I'll choose Select, click on it, duplicate it, and then stop selecting. This is the one that I'm going to be working on. Now, what I'd like to do is, I'd like to move these around into some sort of order. So I'm going to be using my move tool. I will just get my layers up over here, and I want to start by moving this little one up a bit. Now, I've gone to move to try and move it, and you can see it's pulling it around like that. And that's because I'm actually on warp at the moment. So let's undo that. Over there. We'll try this again. Go to the move tool. I'll just make sure I'm on uniform in there. And that way, if I do move around, it's absolutely fine. So I'm going to just move that up a little bit in there. I'm going to spread some of these things out. Let's go along to these leaves. Once again, just move them along into an interesting position. I'm going to keep going. I think the pumpkin could move as well. A place that over there. And well, you get the idea. We'll just move them around until we like the look of them. In here, I'll go to those green leaves and move them about as well. Actually, those are too close to those ones now. They'd better go up there, and maybe my ladybird needs to come down. Over to here. Um, I kind of like that, but I think this one actually needs to be a little bit bigger. Now, normally, it's not a good idea to scale things up too much when you're working with pixels. But because this is going to be repeated and will be a lot smaller, we can get away with it. So I will scale it up a little bit like that. And I'm going to stop at that point there. So make a copy, go along and move all your items so that you can see them in there. We'll be able to try. Once you understand how it works, you can then move them around and try them and get an interesting pattern after that. 26. Create Pattern: Obviously I don't want to wreck that because that's ready to go for repetition. But I am going to make a copy of it, so I'll just select. I'm going to go to duplicate, and let's open up the copy. Now, all of those are on one layer. So let's make four of them. I'll go up here and I'm going to pull this down. And because of Snap, you can see it just snaps into that corner. Let's duplicate that. This is where the patterns actually happening, and I'll pull that one up to that side. Let's duplicate it again. That one goes in there. This is where this is the part I love because the magic just happens now. And we duplicate that one, and there it is. There is your pattern. All done and ready to use. Of course, you could do that again, take that smaller and go down as well. Uh, occasionally, you might find that there's little lines that appear in there. What I tend to do is to group all those together. If there's still a bit of a line in there, you might need to go and paint it out. It's only about a pixel in size. Sometimes it's not even that. You can see it's only over there. So what I tend to do is to put another layer in there, fill the layer with the background color, the same color that I've got over there. So I will sample that color. Fill that layer over there and move that one behind the other layer. And then you can see, there it is, and there it's gone in there. Anyway, try that out, have lots of fun with it, and then try some other things as well. The main technique here is just about taking the pattern and making half go that way, half go that way, putting them together, and then same half up, half down, and then put the whole thing together and create something absolutely awesome. I'm going to take all of these items here and I'm going to pull them down onto a single layer like that. Now, the reason I've done that is that when I start to make the copies over here, it'll all work a whole lot better. The other thing I'm going to do, and I know this is a bit weird, but it will help me with my selections and my movements is I'm going to put some marks on the four corners here. So I'm just going to hide that layer. By the way, I will sample the color of that background layer first. I'm just going to go over here and hide that background layer, and then just take a brush, small brush, not too large and just paint right into this corner here. Just make sure that I'm on the correct layer and that I don't have Alpha lock switched on. One there, one there, one there, and one there. So why did I do that? Well, when I select this now, you see with the select tool, it selects the entire area over there. If I didn't have those, I'll just undo them. When I actually selected that layer, it kind of puts this selection over here, so I can't get it exactly right when we make copies. So where could we sell these patterns? Well, there's a number of online places that will sell, and I've just gone to one of them over here. It's called spoon flower. It seems to be quite a popular one, and you can upload your work and then sell as wallpaper or fabric through that site. Hope it goes really well for you and that you enjoy creating patterns. There's so many variations that you can work on. We've done something which is very warm home. But think about things like children's toys, robots, cars, those type of things for children's rooms or for offices where something is a lot more subtle rather than mushrooms. Anyway, I hope you enjoyed this. 27. Prepare to Show Your Work - Intro: Now that you've got your pattern created and you've got all the original items, let's prepare this to show to other people. As I mentioned in the previous intro, we're going to be doing something for Be hunts and we're also going to be doing something as a PDF. Let's get started. 28. First Behance Screen: Now, we're going to make our new document at a reasonably high quality because when people view this on the website, if they're not viewing it on a phone and maybe they're viewing it on a large screen as some of your potential clients might do, we want them to see it in the best quality. Now, we don't want to go over the top and way too big, otherwise it just slows everything down on the web, but we do need a decent size. So when I go in here, I'm going to do a new document, and I'm going to go 2000 by 1,300 or 13 50. It doesn't really matter the height over there, but the 2000 will give us a reasonable quality across the website. I'm going to click on Create not forgetting to go to the color profile and make sure that I'm on SRGB in RGB mode in there. Now, I'm going to go and get one of those patterns that we made earlier, and I'm going to go along to one that I've already created over here, and you can see I've that's the one up there. Now, if you haven't got one of these multiple patterns, go back to the last project that we were doing where we were setting this up and just recreate it again with a number of different ones. If you haven't got things quite in the right position, so there might be tiny little lines in there. There's a number of things that you can do to get around that now. One of them is you can actually make the background the same color as your background there, so you won't actually see the white lines on the dark background if you've got a dark background. The other way would be on this layer to just take a paint brush and just very carefully paint in the colors on those areas which are not quite right that you might have missed out when moving things around. Anyway, once you've got this, we're going to copy it. I'm going to go over here up and I'm just going to say copy canvas. And we'll just say Copy Canvas over there. Now I've done copy canvas, so it also copies any backgrounds that I've got which are hiding any little marks on there. We'll go back to my document that I created and I'm going to paste that in. Exactly as we've done before, just paste onto there. You can see we've got a reasonable image in here. Now, this is the first page of our set. I could either take this, move it across because I want this to be full full screen. Then I can go over here, make a copy of it, so duplicate that and then move this copy across over there, making sure that you've got snapping switched on. I like to have quite a reasonable distance in there, so it snaps with quite a big snap. Otherwise, if you've just got one in there, you don't feel the snap terribly well. As I said before, if you get a funny little white line in there, I've got a tiny touch of a line, maybe one pixel in there where it's not quite perfect. What I can do is I can just go along to the background. Now I'm going to use my sample tool to sample that green and then I can go to my background and that's the color green that I've got over there. That hasn't actually changed the background color, but I've just clicked on it so you can see it goes into the history. Now if I go to my background, I'll just find it in the history there and that's changed the background color over there. You'll never really see that little line in there. Once I've done that, this one's very, very straightforward. That's all we're going to do apart from putting some text into the middle. I'm going to just go and flick those together, so we've got one shape. Now for the text in the middle, I want to keep this really nice and simple over here. I'm just going to make a little rectangle in there and then put some text on that. I'll use a selection tool on a new layer. We'll go and add the new layer. Go to my selection tool. I'm going to use a rectangle over here and we've got the fill color in there as well. If that's switched on, when I make a rectangle like that, what it'll do is automatically fill it with whatever color happens to be in your chosen color palette. So that's absolutely fine. I'm reasonably happy with that. It's on a separate layer. So if I do want to change it, yes, you can see it doesn't really work as well as I was hoping. But if you want to change it, just go along to your hue hue saturation and brightness, and you can just change it in here for something else. Don't go too wild with your colors. Remember, these colors need to work together. So instead of changing the color, maybe you might want to just change the brightness. I think that's going to Better still if I lighten that up and then my text is going to go on top of that. Once again, over to the add option, add some text in and this is going to say, I'm going to call this design pattern, New forest. Now, don't forget when you are creating text like that. I can't really see it. There we go. Make sure that you choose a typeface which is sympathetic to your whole design. I know a lot of you will know this, um, but I'm going to mention it anyway. So go along, have a look through your fonts. If you can't find any, go and have a look and download your own fonts. There are various sites where you can download them from. I use one called Defont do check on the individual font in its details, what it says about copyright. A lot of them will just let you do anything. Some of them if you're doing it commercially will require payment. Just be careful of that. Also, be careful of certain and I'm not going to mention any of them because there's so many of them around. Of certain font sites where you download things and they might end up actually putting a virus onto your machine, do be careful with those ones. Defont usually, I'm not guaranteeing it, but usually seems to be absolutely okay. Anyway, you download it and then you just click on Import font and you can bring it straight in. Anyway, I'm looking for something which is going to be sympathetic to this. I'm probably rather than something too modern, I'm going with something which is traditional maybe along the lines of times New Roman, that sort of thing. That type of font in there. Now, when you are choosing fonts, I'm going to suggest, especially for something like this where you might have an interesting font for the name, keep everything else really simple. I like to say with design that you treat your fonts like a double comedy act. So you have two comedians together. And when you have two comedians, if you have one who is really funny and really a bit odd, maybe a bit quirky, and then you have the other one who is very, very serious, they just work off each other so beautifully. Bring in a third or a fourth comedian into that mix, and the whole thing just falls apart. And the same with fonts. Have something which doesn't have to be wild, wacky off the wall, but something which is just a little bit more interesting like that, and then you can have another font in there, which is a bit more of a serious font. If you add a third one, you might just about be okay, but always think about comedians over here. Anyway, I'm just going to choose done for now, and I think what I really should do is just make that white or a color that I can see clearly. You've done text before. I'm not going to do this while you watch. I'll put in my text, and then you can have a go with yours. 29. Design Principles: I've incorporated a few things that I've talked about from design into here, and I don't know whether you can spot them. The first one is balance. Although I've got the text in the middle and I've got my name just above the word forest, I've balanced it out by having the wallpaper series on the left hand side over there. So those two are balancing each other out. The other thing that I've done is that this text and the square are not quite in the middle of this page. They are slightly above it in the optical area. So where we have the optical center, which is just above the middle, it's just where the eye rests, and it just seems to be a little bit easier on the eye. The other thing is also because this might be on a desktop machine and people are scrolling, the bottom might be cut off anyway. So you want something slightly higher over there. Now the next thing we're going to do is another page, and this is going to be our second one. So let's go in and straight into the document. You'll see if you go down to the bottom, it remembers your last document, so that's the one I'm going to be working on over here. If you'd like to get that ready and then we'll build this one together. 30. Telling a story: With this website, we want to tell a little bit of a story or this portfolio, we want to tell a little bit of a story. So the first thing is we introduce people to the finished product and we give it a name at the top. Then when they scroll up, the first one we want to show them is some of the original artwork. So maybe some of the drawings, the fact that we've taken them from real life photographs, something along that line. Now, I don't have any of my original drawings that I did, so I'm going to have to redraw them again. If you've got them, you can still use them. But I want to show you how quick this will actually be to do. We're going to make it look as if they've been drawn in pencil on a little sketchbook, the type of thing that you might take into the forest and sit down. So we are going with the idea that this is all very manual, that we've gone into the forest. We've taken our sketchbook. We've sat there, the sun's streaming through. We've looked at the plants. And we're selling the story, as well as selling the actual pattern. So I'm going to go in and I'm going to bring in a photograph, first of all, on this one side, and I'm going to have another photograph which is going to be the sketchbook. Couldn't remember the word for a second there. So let me go over to here, and I'll bring in. So I'm going to insert a file over there, and that's going to be the file of my original tot stool. So here's my totstool. I'm going to bring it in. I will just resize it slightly. If the quality is not that good, go and download it again, so you've got something of a slightly higher quality in here. I think I'll just move that along to the edge over there. And then on this side, we're going to have our book. Now, I've done something which you might be looking at thinking, Tim, just, you know, go to your own design principles. That's not center. It's not on the third, either. It will be on the third when I actually put in the background over there. So just in case you were wondering that I wasn't actually doing what I said. I'm going to bring in the picture now, and so I'm going to go and find one. Now, I've done a search on Unsplash, and I just came up with this image of a journal or a sketchbook. So I'm going to bring that in now. You can find your own, or I will, with all the other bits and pieces, leave a copy of this in the items for you to download. Go over to my insert a file, bind the picture of the book which I've provided for you or you can find your own on Unsplash. And I'm going to just scale it up and maybe rotate around a little bit like that. So I kind of want something along that line over there. We just want to see a little bit of that in there. Now, I'm happy with that, but I want to get rid of the white. So what we're going to do is we're going to go over to the selection tool, make sure you're on automatic and also make sure that your color fill is not switched on. That needs to be switched off in there. I'm now going to try and select the white area, and you do that by clicking and then just dragging. And you can see how we've got this threshold over there, so I can kind of drag the threshold up and down to select more or less. Let me do that again. So starting over here, I click and I can just drag that threshold. That's it. That's selected. Now, all I've got to do is go back to my erase tool and I can actually erase those bits out if I don't want them. The white, by the way, is the white from the background. If I hid that layer, there we go. You can see I can do that. Now for the pencil over there, oh, we're missing a little bit in there. So let's go back again. So back along to the selection tool, I'm just going to click on that tiny little piece there and drag until it's selected over there, and then we can just erase it like so. If you find that there are other bits, so you finished with your selection, you go, Oh, hang on a second. There's some other lines around here. First of all, make sure your background is switched off so you can see what you're doing. Then just use your arrays tool to just erase those without any selection on like that. That's it. My book is now ready to go. Let's just show the other bits over here. Have a bit of a go with that and get to this stage so you've got your book open and you've got a picture, maybe a toadstool or something which is appropriate to the ones that we've done so far or your pattern over there. Once you've done all of that, there's just a little bit extra I want to add in. Let's go along and let's make a new layer. We're going to go over here and we're going to make a selection and we're going to fill that layer with a selection. Now, you know already if you want to fill something with a selection, the best thing to do is to choose that color first. I'll pick that color because it's in the history. Use your selection tool, go and get your rectangle, make sure that color fill is switched on, and then you can do something like that. And it will fill it automatically for you. And here we go. We've now got the thirds in there as well. So that's going to just sit on top of that one. If you need, you can always go to your bottom image and move it across. If you feel it could do with it. Mind certainly could like so. Try it out. 31. Add a shadow: Let's make this a little bit more interesting because at the moment, my book looks like it's just sitting, well, in space. I want to give it a bit of a shadow. To make a shadow, we make a copy of the layer. I'll just duplicate that layer. Go to the underneath one, go over to Hue saturation brightness, darken it down, which should make it black. You can see it's black in there. And then all I've got to do is to go along to the adjustments over to gausian blur and just blur it out a bit like that. Let's move that over a bit because it's on a separate layer. You can see there just a little bit and reduce the opacity. We don't want such a heavy shadow that people notice the shadow. They should just think that the book really was there. Once again, have a go, try that out. And do 32. Add Images to Sketchbook: Let's bring in some images so they look like they were actually part of that sketchbook. I'm going to go to my gallery, and I'm going to go and find the images that I had over here. Now, I've still got these as separate layers. If you don't have them on yours, you could just try painting another one. I know that's a lot of work, or you could actually erase out the extra bits around it, so you could just copy it using this little tool here. You could just use the free hand. You could just go around something like that, and then use copy and then paste it into the other document and erase the bits that you didn't want. But let's get rid of that for a moment. Mine are still on separate layers. So what I'm going to do is I'm just going to select one of them. I'm going to start with this ladybird, and I'm going to go along up to the spanner and copy just that layer, go back into here again, and I'm going to paste this in so I want to move the ladybird along and just rotate it until I've gotten the position that I think maybe it was drawn in something like that. Now, the first thing is that we need to go in here and we need to change normal into multiply. So the highlights, because the sketchbook is slightly yellow, the highlights are not pure white. Maybe somebody used a pastel with white, but we're going to go with the color of the paper. Now the next thing I want to do is I want to give it a sort of a smudge look. So somebody's done it with pastils and they've kind of smudged it a little bit. So I'm going to go over to the smudging tool and just use a brush over here to just put a few smudges on that. Is if somebody's hand has sort of gone on there, so we don't have too many details around it. Okay, let me do another one. So once again, I'm going to go back to my gallery. I'm going to go and find the pumpkin. I'll bring the pumpkin over, so I'm going to copy it again. Back into here and I'm going to paste this in. Remember, all of these individual pages that we're doing, you could use those as separate posts as well. Now, I want to rotate this around. Have a look what happens. You know the little green line over there. If you're struggling to rotate something, you just sort of grabbing it over there, and it's like, this rotates really fast. Pull this up, and you've got more of a lever to slowly rotate something into the right position over there. I'm just going to pull that up a little bit like that. Once again, exactly the same thing. Go in, use multiply in there, darkens it down slightly, get your smudge tool and just smudge away a little bit, where maybe some of the colors have actually run. Like so. We'll give it a little bit more of a interesting look in a moment. Let's have one more. Maybe this one has been done in pencil. So, same again, I'm just going to go and find the one that I want to use. So up to here, I'm going to use a mushroom this time. I'll use that little mushroom. So I'm going to find it, copy it back into this one, paste it in. And let's just place that in the right position, it's going to be over there. Now, we're not going to be using this one. I mean, it would look great if we did, and if you want to, by all means do so, you could go along and change your normal into multiply and then smudge it out a little bit. But that's beside the point. We're not going to use it. I'm going to make a new layer. I'm going to use my pencil or the sketching tool and the six B pencil in there. Find a color. I'll go with black, and I'm just going to sketch this very quickly on a new layer. So it doesn't have to be perfect. We want that sketchy type of look over there, let's have a few lines down here. And we'll go around the top here cause I want this to look like it's a very fast sketch of that mushroom on the side. Now, while we're here, let's go across to some of these ones as well and say, well, let's put in a few little lines over here. It looks like this was actually sketched at the same time and there's maybe a sketch under there before we put the color on it. Same with this, I could just go in there and add a few little lines to give it at sketched of look. At this stage, if you want to go and write anything in there with your own handwriting, you know, maybe notes on it that you were making to yourself while you're sitting sketching, just go in and write them straight in over there. But I am going to now get rid of that mushroom, and we've got that really interesting look. Now, we're going to use multiply on that and also because the artist might have used something like a six B and smudged it, let's just go and smudge out a little bit of that to give that smudged in there as well. Right, there is our second page all done. If you want to do anything else on that, put in any more images. By all means do so. Add a bit of writing, you know, so it looks like a sketchbook. If you find that these are too dark, just go into them. Maybe reduce the opacity slightly if you want something a little bit lighter so it doesn't look quite so bright. It's up to you have a play until you get something that you like the look of. Don't forget your background. You could change the color if you want it to be something else, as well. Have fun with it. 33. Display the Items: Now our next page is going to be really easy. We're just going to show the elements that we've got. So once again, I'm going to go in and make a new document. I'll go down to the bottom, choose the last one that I had in there, and I'm going to copy them from this page over here, or any page where you can actually see the individual items over there. So I'll just start over here and I'm going to do them one to time so I can move them around individually. Let's start off with this one here. Once again, copy it. Up to the gallery over there, paste it in. And this is going to have a little bit more structure to it. So we're going to move these across, and I'm going to have all of my items over two rows and a bit of text at the top. I'm not going to ask you to watch me do all six of them. I will just do one more, and then you can try it out yourself. So once again back into the gallery, find the next one that I want to bring in. I think I think it should be another mushroom. Once again, copy. You get the idea. Paste. And that goes gonna go somewhere over there. Anyway, have a bit of a go with that. I'll do all of mine, and then we'll put some text along the top, as well. 34. Display the Pattern: That's it. It's just as simple as that. We've just got the elements in here. So look at our story so far. We've got the overall starting story, which shows the whole thing. We've then got where the story starts where we went into the forest, we drew them in our sketchbook and up to here, this shows all the elements that we've drawn in our sketchbook, supposedly. You'll notice, by the way, that I'm in the gallery here, and we can just flick with these items to show them very quickly. Doesn't actually take us into Procreate. It just shows the whole thing as a full frame. And I like doing that, just a quick little flick over there and then flick to go back again. Our next slide is going to show the original pattern and what it looks like as a repeat. Once again, I'm going to just go in to a new document over there, find the one that I want to copy. I'm going to be using this one here, which is the basic one. I'm going to copy that. That's the pattern itself before it's been repeated. Go back into here and paste that in I'm just going to drag this down until I see the halfway line. I know that this is half the size of that document. We can move it around now into the right position. I'll put pop it over there on the left. Let's go and get the final piece, which shows the pattern. Once again, I'll just check that I'm copying it directly, so I'm just going to copy the canvas. I've got everything in there, back into here again, paste this in and once again, this one needs to come down to about the halfway mark, so it should be the same size as that one. We can then move that around into the right position over there. I want to move them both down a bit so I can get some text in at the top there. I'm going to select one, drag over on the one underneath, drag over to the right. They're both selected and then use my move tool to just move those down. Lastly, we need some text in there. This is really simple. Add some text and this will say patterns. So or pattern over there, that's going to go above that one and I want the other one over here to say repeat. Now, I've actually got the wrong typeface on there, so I'm just going to edit that text very quickly, go and find the font that I want to use. I was using Times New Roman in there, and I did that before I do that, so I can actually just take a copy of that, duplicate this one, move it across, pop that in the middle as well. And that one is going to say repeat. All right. And we've got another slide done. Have we go. 35. Add Pattern to a Room Wall: Let's go onto the next slide. This one we're going to show the picture in situ in a bedroom. I'm going to once again, do a new slide here and I'm going to go and find the image. I found a picture which once again I will give you to use, but if you want to find your own, that's cool too. I'm going to go over here and I'm going to go and insert a file and it looks like that. So I've tried not to be too, too harsh with this, as in, I've tried not to make it too difficult to put the wall in. So I'm just gonna fill this little wall in the background over here. Now, I'm going to take that down and pop that in like so. So we've kind of got the picture in the middle, so it's almost framed. And then I want to go and bring in my pattern to go in there. So I'm going to go once again over to the pattern. Certainly the repeat, should I say. But, if you've got other ones as well, you might find that you've got more than you've actually repeated. By the way, I've just done that and I've got two of these together in what's called a stack. If you want to make a stack yourself, if you haven't done this in Procreate before, it's really easy. You just drag one of the documents that you want like that, and I can just drag that and drop it onto that one, and it makes a stack of them, so there's two of them together. And the order that these are in are where they'll show on that stack. So I'll just take this one here, drag it around to there. So you'll see when I go back to my stack now she's at the front rather than the hat. A nice way of just putting your things into orders. You'll notice from my own work if I go down here, a lot of it is in stacks. If I go to that one there, I've just got three little items in that stack. If I go down to this one, I've got tons of them in that stack in there. So it's just a way of working or keeping your documents together. Anyway, back onto this one over here. Now, I can either use this one and then repeat it again, or I could go along to the first one that I did, that first slide. Because remember, I've actually got that whole thing over there. I'm going to copy that one. So up to the top, copy that layer. So I've just taken the pattern from that one back into here. We'll paste that in and it's huge at the moment, but I'm just going to scale it down a little bit. Now, what I'm doing is I'm looking to scale it so it fits in this area over here. So up to that corner, and I like to zoom right in to see what I'm actually doing, making sure I'm getting it in the right position, like so over there. And this one is not anywhere near the right position, so I'm just going to go to this corner and pull it out. And by putting that corner to start off with, what it does is kind almost when you scale it, it scales towards that one that you've got in the right position. So I'll pop that over there. I need to get rid of some of this, and I want to see what I'm doing. So I'm going to reduce the opacity on that layer so I can see exactly what I'm doing. And this is also quite useful because you can see sometimes if you haven't got things in the right position, you can always move them around. And if you need, sometimes you might need to rotate things around a little bit as well because that picture might not be perfect. I just noticed that I'm slightly out on that, so I'll just push it in a little bit. Like so. Oh, I'm still not quite there. Let's move that across. There we go. That looks a bit better now. And now the top is out. I'll have to check the rest of it as well. But I then want to get rid of this bottom section over here. I'm going to go along to the selection tool. I'm going to select with a rectangle, make sure color fill is not switched on. I'm just going to drag a rectangle over that area up to the bed. Or no, it's not the bed. It's the top of something weather over there. Let me do that again. So we'll just clear that selection and try it again. So over here, up to there. So this bit can now be deleted. I'll just use an erase tool really quickly. I love using erased tools to delete. They just It's so satisfying just getting rid of things like that. Right. So let's take the opacity on this right up again, but it's flat on there. So we're also going to choose and multiply. So with multiply, the darker areas of the wall will actually darken down on the pattern. Sometimes you might find that the pattern itself darkens down a little bit too much because this is not pure white in there. You can put other things underneath it, or you can go in to something like your curves, and you can just lighten the pattern up. I drag in the middle over here, you can see how I can just lighten it up a bit. Over there with those curves, and that's on the pattern layer. If you've gone too far, two fingers, try it again. Once again, over to curves and just a little bit of lightning in the middle. Like so. Anyway, have a go. If you use two fingers to undo, three fingers to redo, have a bit of a go and get that next part of your story in there. 36. Make a Color Palette: Let's look at our stories so far before we go any further. So I'm just going to out pinch. I'm sure there's another word for pinching the wrong way, so we'll pinch outwards. So I'm starting with the title screen, the hero screen. And then we're showing the story where we are going into the forest. We're doing the drawing. The next thing, we're showing the elements from that drawing that we've created. Then we're showing how it's been put together in a pattern and then the pattern, what it will look like on a wall. Now that we've got all of those, the next thing we're going to do is we're going to show the technical side, bringing in the colors that we've used in our pattern and maybe even putting in some numbers because certainly designers and people who are working with print, they love to have the numbers of the colors in there. Now you can put in the numbers in CMYK, you can put them in RGB or you can put them in as hex numbers as well. Or all three of them, it's entirely up to you. That's going to be our next slide. We click on the plus over there, go down and make a new slide. Over here and we need to find those numbers. Now, to do that, I'm actually going to go over here back to the existing one. Let's use this one over here. I'm going to use this little sample tool to go and sample the red color over here. Now, we don't have to get every single color in here. We just need the main colors that have been used. Once again, over there, sample the red and I'm going to click on the red over there. Now, to see the numbers, we're going to go to value over here, and this shows the values. Yeah. So we've got our values in RGB in there. We've got the values as x in here as well. Now, we're not in CMYK, so we're not seeing those CMYK numbers at all, but those will give us a good starting point and there's plenty of sites where you can put in RGB value to get the nearest CMYK value as well. Anyway, I'm going to write those down because I'm really bad at remembering these things. And now I'm going to do the same with the other colors as well, so I can see the other color that I used over there. So once again, I can see the hex number over there, and I will write that one down. So it's 66d 624d. Anyway, I'm going to stop there so you can go and do that on your own. Don't do every single number, maybe about four of the main colors that you've used in there. So for me, it's going to be a little bit of green and maybe some of the yellow orange or this light color over here. It's up to you what you want to add in. 37. Create a Palette on the Page: I've got four colors, and I just need to decide how I want to put them in. I can do them either in nice little neat boxes, or I could do them so they look like they were little splashes of paint, something like that. I'm going to go and do the box method. As before, I will go over here to my selection tool. I'm going to use a rectangle and the color fill. Now I'm going to be filling with the color, so I'd better actually put in the color that I want to use and fortunately, if you're doing this method, once you've sampled those colors, they come in your history there. That was the first color that I chose FF 1632, which I'm checking on my written down one. That's it. So if I now do a little rectangle like that, That should fill it with that color if I use the color fill in there. Now, you don't need to do that for every single one because what you could then do is you could say, Okay, well, we've got that size right. Let's make a copy of that layer, duplicate that. We'll just move that along a little bit like so. And on this one, I can then go in and use this color over here and just paint it. Oh. Now, I did two stupid things there. Firstly, I didn't check which brush I was in. So I'm going to go back again and do that. And the second thing was that I forgot to actually go in here and change that to a different alpha lock. There's one more way that we can do this, and I prefer this way of all those ways. And that is to just take the color and drag and drop it straight on there. Um let's do another one. So we'll duplicate that again, move this one along. And find my next color, which I think was this one here. Onto there. One more. Well, we need to make a copy first, don't we? So we copy that. Move it along Make sure I'm on the right color. Dragon drop that across. There we go. So now I've got those in there. I can then just select all of them and move them across to the top. And I'm not going to get you to watch this whole thing. I'm going to go in and I'm going to put in some text, and I'm just going to have the hex number text below it. You've seen me do text so many times. You can do that on your own. 38. Another Picture: As you can see, I've put in a few extra bits and pieces in here. I've just done another copy of the um, pattern. I've also done another picture as well, which I've brought it in. You can see I've got this picture over here. Once again, I will provide you with the image if you want to use it and we've just got that as a layer sitting on there and I've used the multiply over there to get it to look like it's actually in the right position. Have a bit of a go and put that one together, another picture in there and a pattern. If you don't want to do the other picture, well, it's fine. You can just do more colors or just make another version of that pattern to go in there. 39. Color Variation: I'm going to do three variations of the pattern in colors. If you want to go and make the pattern with different things in different positions, absolutely, go for it and have fun. But I'm just going to do mine as color variations. So what I'm going to do is to go along here. I'm going to find the pattern, first of all, and it was where was it? I lost it. There it is. Over there. I'm going to copy that and paste that one in. Let's make that a little bit smaller. We're going to have three versions of that. So the original and two other subtle variations in color. So I will duplicate that. Move that one across. And I'm going to go up to my hue saturation and just change the hue on that so we have a pink one like so. And doing it again, I'm going to make a copy of that, so duplicate that, move the copy across. We can move these around, by the way in a moment. And exactly the same, go in there and do another color variation on there. Let's have a sort of a blue version of that. Or if you prefer black and white, you can just take the saturation down like so. Yeah, let's go with black and white. Anyway, I just select those three, use my move to move them around into the middle. And then I want some text up the top, which says variations. You know how to do that. So have a go and do some variations. If you're really getting into this and you want to make some totally different variations, feel free to go back over here and go to your original pattern. If you've still got the original pattern with all the different things on different layers, just move them around into a different sequence, put the pattern together or remove some, make some bigger, and do yourself some different patterns in there. Clients love to see variations on themes. 40. Check Files & Export as JPGs: Now the final one, and that's going to be exactly the same as the first one, but we're just going to say thank you on them for having looked all the way through. So I'm going to go to select. I'm going to select this one that we created before, and I'm going to duplicate it. And then I can go along to that. Oops. Make sure we deselect it first. Go along to this one here, and it's just a matter of changing the text to say thank you as simple as that. One last thing. We want to have a look at this and just make sure everything works correctly. Now, I've made these into a stack, as I showed you before. So I'm going to just pinch out with that. So this is the first one. Then we go into this one here, and then we start to go to these ones to tell the story. Unfortunately, I'm finding that this one's great, but this one here doesn't seem to fit in with the rest of them, which are white backgrounds and fairly simple. So I'm going to go to this one, and I'm just going to change the background to white. Always check your story to make sure that it flows correctly. To change this one to white, I've just opened in Procreate and I've got this layer here. Remember, I can just go pick white from there and I can just drag and drop it onto that background and change it really quickly. I'm hoping that that will look a little bit better now. When we go back to the gallery, yeah, you get in the idea that this is full and then it moves over to the next one where the background starts to get white and you've got the white background with all the other bits on there until we get the full picture in there. If you need to make any changes to yours, now's the time to do it. Once you've got everything correct, you can then go through these individually and you can then save them out. Or you can go along to the gallery, choose Select, and then just select them in here. I'm just going to select all of these over there. Then I can say share. I'm going to share them as a JPEG and save them to my file somewhere with some names. I just click on save in there. I was quick and easy that Have a go, get them saved. 41. Make a Behance Project or Portfolio: Now there are numerous websites around where you can put your portfolio. BehanS is one of the big ones, and there is a free account that you can use. What you have to do though, you have to get an Adobe ID. It doesn't cost you anything. Just go to adobe.com and sign up for a free Adobe ID. Now, once you've done that, you can go to Bhansdt net and you can just choose signN and then put in your sign in details into here and it's signed in. Now, once you get here, what you want to do is you want to create a new project. So we're going to go along, and I'm going to say, share your work. And I'm going to go down to project in here, and then it opens up this little window, and we can start building our project really, really easily. All I need to do is click on Image to add an image in there. I'll choose image from these files, and we can go in and just add in all those images that we created earlier. So I've got to my downloads folder. Here all the images are. I'm going to start with this one. Over here, click on Open and drop it in. Now that's the wrong one. That was a bit silly of me really. So to get rid of it, there's just a little pencil at the top. You can click on that and I can delete that image in there. Let me do it again. Once again, choose files. I'll get the correct one this time. And there's my new forest first page. All we now need to do is go and add more down here. We could do that on the side, so I'm just going to add content, add another image. I'm not going to run through every single one of these. You can see how they work from one or two of them in there. I'll just keep going over here. Let's get another one in there. You can then see how this project is actually going to look because people are going to come in over here and they can scroll up. They can see your entire story going all the way down. Now, I'll stop there and add the rest in very quickly. 42. Publish a Behance Project or Portfolio: Now, I've added all those images in. I'm just going to go to the bottom, and I'm just going to click on Continue in here. And this is where I can put in all the details about my project. And hopefully, it'll be found by well, customers really. I won't put in anything at the moment, apart from Forest in there, you could do all the rest yourself. Now, once you've published your document, have a look. This is how other people will see it and they're going to see this as a story exactly as we've created. This is the finished result. It shows us going to the forest, doing some drawings, showing the elements that we've created. We've made it into a pattern, a repeat pattern. We're giving all the details about the color schemes that we're using and showing it in situ to help people envisage what that pattern is going to look like. Your own areas. And over here, we've got the variations. And obviously, as I said, you can do different variations in there, and finally, just showing the pattern again, but thanking them for looking, and they can then just click on the little thumbs up to appreciate your work. You can send that directly to a client. You've got a website. Sorry, you've got a URL in there to just email around. 43. Share as a PDF: Now, I'm not going to go through this example. We've done it all before, bring in the pictures, bring in a bit of the pattern, but this is the type of thing one could just email to a potential client as just a one page document to say, Hey, what do you think of this pattern? Or is this the type of thing that you were after? I've renamed my documents over here. I just call them NF New Forest 12345678 so that I remember which one's which. I'm going to put them into an order that I want them to appear in the PDF that I'm going to create. So I'll just start dragging them around over there, so that's one. That one's. This is why I renamed them. Oops. That one goes there, three goes here. And to rename them, just click on the little name, and you can name them over there. One, two, three, let's see, four. Five. Hadn't named these, I would be completely lost here, and that one goes over there. So they're all in the correct order, starting from the top. Now, I'm going to click on Select and just select all of these items. And then I'm going to go along to share. I'm going to choose PDF in there. Now, when it comes to the quality, I'm always going to go with best in there, and I'm going to find some way to put them. So I'm saving them to my files. I'm going to call this Forest brochure. Over there. I'm going to click on Save. Now, let's have a little look over here. This is my Downloads folder. There is my Frost brochure. I'll click on that. So this is the PDF file, and you can see the PDF has now created with all of those in there ready to be sent out or emailed around to people, and I can then just flick through those pages in the really nice and easy to do. Anyway, have a bit of a go, create a PDF because very often people will ask for a PDF document of something. 44. Creating for Print: CMYK, DPI & Bleeds: Now we're going to use some of these or a card, so an actual printed bit of artwork. And there's a few things that we need to do when we create the card. First of all, I'm going to click on the little plus over here and I'm going to do a new document, and I want this to be a five size. So I've got my width and height in there, but I'm going to go across to millimeters over there, and I'm going to choose the size that I want in millimeters. So this is going to be 210 by 148. Now, by creating something that size, that's a five, actually I want it the other way around, but we'll come to that in a moment. But what about things like bleed? Because when you go along to a printer, they'll say, Could you put a bleed on that or have you put a bleed on that? What does that actually mean? Well, it means that you make the document slightly bigger than the size that it's going to be printed at. And this extra bit the printers will print off, but then their glotins will cut that away. And it means that if you've got a color that goes right to the edge, the giltin will cut through that color, making sure that you have an absolutely perfect print right the way to the edge of your document. There is no auto bleed in Procreate, but we can create one ourselves. So what we do is instead of actually using the size for a five, we're going to add another 6 millimeters to that. That's going to be 3 millimeters all the way around. So let me do this again. So in my width, my width would actually be 148. So that'll be 154. Wide by the height, which would normally be 210, that's going to be 216 high. So it's the size plus 6 millimeters, 3 millimeters on each side. The second thing we need to do is we need to go to the color profile. And in the color profile, we're going to choose CMYK. CMYK are the colors that the printers print with sine, magenta, yellow and black. K for black doesn't really make sense, does it? But if you think that that used to be the key color. And down here, we have got a number of different profiles. Now, these are less important than the SRGB type of profile. I'm just going to choose the generic CMYK profile in here. You could actually ask your printer what profile they would prefer. In the States, people tend to use the swap. Over in Europe, we tend to use Fogra so FOGR 39, but I'm going to ignore those and go straight to generic CMYK profile and click on Create. And there is my document. It's done. Now, what will happen is that if I put something in here, let's say, for example, I'm not going to use a photograph, but let's say for example, that I had a photograph that I popped into my document. Over there, let's just go and find something over there. The 3 millimeters along the edge over there will be cut off all the way around the document. So don't put anything 3 millimeters away from the edge. I mean, one shouldn't anyway. And that makes sure that when the giltine cuts, it cuts into this printed area and you get a perfect edge. If the glatine was to cut here instead because you made the document the correct size without any bleed, if the Giltin was slightly over to this side here, there wouldn't be any ink and you'd end up with a little white line down the edge of your printed page. Do watch that and always put a bleed on. The industry standard is 3 millimeters. Occasionally, if you're doing something very large, the printer might say, could you make it bigger than three mill? Have a go and make that document in there. If you're unsure of your document and what size you've made it and how big it is, by the way, I'm just actually going to delete that picture because I don't need it, so you can go along up to the little spanner again, go to Canvas and in Canvas size, if you go to your dimensions, you can see exactly how large that document was. Now the second thing that I hadn't talked about, then I just left it on the default, but I want to mention now is the DPI. That stands for dots per inch. It's also known as pixels per inch or PPI. They're both the same thing when it comes to the final printed documents. Those of you who come from a technical printing background will contradict me here and say, well, actually, DPI is to do with dots from the final printing stage. Well, yes, you are correct, but for our purposes, DPI and PPI are exactly the same thing, and 300 gives us a really good high resolution file. Make sure it's set to 300 in there. We've never bothered about that up until now because DPI or PPI does not affect actual pixel sizes when you're doing something for screen use. It's only about physical sizes, which is the printed size in there. I'm just going to choose Done over there. So if you'd like to set yourself up an A four document and just make sure that it's CMY K 300 DPI, and also don't forget whatever size you choose, add another 6 millimeters to it, height and width. 45. Why Colors Can Look Dull When Printed: I'm going to bring a picture into here, so I'm going to go along to my images there, and I want to bring this little thing in, um, whatever it's called toadstool in there. So I've selected that. But I want to do something else to show you how colors change. I'm going to go and choose this very vivid green color, and I'm just going to paint on there with vivid green. So it's really bright. Let's actually go with a bigger brush in there and make some really bright green over there. I'm also going to go with some really bright blue. I think so a really bright vivid blue like that and paint that in as well. Now, I'm going to copy that. So I'm going to go along to copy over here. And just before I change documents, look at the colors that I've got. I've got vivid blue and I've got vivid green, and the colors in here are pretty bright. When we go over to this print document, and I paste, can you see how dull those colors have become in there? Now, that's not a problem from the copying. It's because of RGB and CMYK. You see RGB has got much brighter colors. It's made up of red, green, and blue light. CMYK is made up of inks. If you are working CMYK and you go to your colors in here, see the colors just don't look as bright. If I go to green, I want a bright green. That is as bright as I can actually get it. I can never get that bright green over there because it just doesn't work. If I choose it, you can see it just goes to that slightly off color green in there. So do be aware of that. If you are going from RGB to CMYK and you've got a really vivid color in there, you might find it changes in a CMYK document. Now, let's have a look at the differences between RGB and CYK. So RGB is all about light, and this is how devices work phones, watches, digital cameras, anything which is a device works with red, green, and blue light. If you don't have any light, then the device is black. So on my iPad here, you can see that this area here is black, and that's because the iPad is not showing any light in that area. And if we have a combination of those, we get pure white. So that's what we use for anything which goes on screen. And the great thing about this is you get these very vivid colors, the bright greens, the bright blues. All the colors that we've been working through so far are in there. When it comes to printing though, print with the printers print on white paper, almost all the time they work on white. Even if you look at a document and it's got a blue background or a green background, something like that, it's usually ink that's printed onto white paper. Then they work with four different color inks, Cyan, which is the blue color, magenta pink, yellow, CMY and K, which is the key color, which is black in there. If there's no ink on the paper, the paper is white. And with a combination of sine magenta and yellow, you have black. Those three they create black. But because you don't want to always have to use Cinemagenta and yellow ink to create black because most written type is black, we also use black ink in there. You can combine the black ink with Cinemagena yellow to make something called a rich black as well. But we're going down a rabbit hole, very rapidly, so I'm going to stop. That's the way that these two work. These are all about inks, so anything for print is about ink, anything for screen is about light. And you can notice here straightaway, that the colors here that we see on screen are much more vivid than something that's been printed out using cimagenta and yellow ink. It's just not possible with those three colors to create something as bright and vivid as that green or as really deep and vivid as that blue. And that's why when you've done something and you've printed it out, it very often looks a little bit duller than what you see on your screen. Now, does that mean that everything that you print out is going to look awful? Well, no, it doesn't there's a number of reasons for that. When you go into a shop and you look at all the magazines that are on display, you don't look at them and go, Oh, my goodness, look at the colors of those. They look so dull. They look really bright and vivid. And two reasons for that. The first is that you've actually got nothing to compare it to except the other magazines who all have the same CMYKRGB printing issue. So that's the first thing. If you took some of those magazines home and you had the original file, you might look at it and go, actually, the blue on the sky doesn't look as good as it looks on screen. The second reason is some of them also, to get a very vivid color, use an extra ink with CMYK, as well. These are called spot colors, and they enable you to have very vivid and bright extra colors as well. That's more expensive though when it comes to printing and not really within the scope of what we're doing. Moment. So I just wanted you to understand the differences between those colors, and that is why when we go and we paste something into this CMYK document, the colors might not look as bright as they did before. Anyway, I'm going to go and paste something in, so I'm going to go in here and just paste my um my little uh I always forget the name of this thing. Toadstool in over there. We'll just make it a little bit bigger. Remember, you can't go too large in here because as you're scaling things up, the quality is kind of not looking quite so great. But I don't want to. I want to keep it sort of at a reasonable size in there, and I'm going to bring in another toadstool and pumpkin in here for this particular example. I will go along to my erased tool and just erase out that color that I put in there because we really don't need that. So going to have one over there. If it does look a little bit on the dull side, go into your curves, and you can use a little curve called an S curve. Now, that means that you click in the middle and you click over here and you click over there, and you make this into an S shape. And what that'll do is it'll increase the contrast. Have a look, if I pull this one up slightly, and this one down, it makes that a lot more contrastie. So sometimes if things come in from RGB into CMYK, you can increase the contrast to get them to look a little bit better. If I do two fingers, you can see a before and three fingers to see an after, it's very subtle, but it's just increasing the contrast. Now, I'm going to go and find two or three more items to bring into here, put in some text, and then we will save this out. If you'd like to do the same thing, make your document, put in your bleed, make sure it's CMYK and add some content. 46. Share as CMYK Tiff File for the Printers: I've just put an interesting little background in there. As you can see, it's just that little shape, which I did with a brush. Using a straight line, I used my I used my hard brush in there and just dragged a line across like that. Now, this is ready to go to the printers. So what I'm going to do is I'm going to save it out in a file that I know that the printers will be happy with. And I'm going to go up to the top. I'm going to go to share, and I'm going to choose one of these share image files as opposed to the share layers down there. Procreate, the printers probably won't be able to open up a procreate file. Some of them will have Photoshop and might be happy with a PSD, but printers tend to like TIF files in there. So I'm going to choose a TIF file, and I'm going to just save that out into my file over there. I should give it a proper name, but there we go, and it's done. And that's it. That's already for the printers. They shouldn't have any issues with that at all. I hope you enjoyed that last little example. Try out some different graphics for printing. Whether you're going to be sending them to printing or not, you can take this and you can save that out as a JPEG for screen use as well. However, it's much better if you're going to do something for screen to do it in RGB. 47. Well Done & Thank You: Congratulations. You've reached the end of this advanced course. I hope you're creating amazing work. I'm sure you are. Now, please don't forget to leave us a review. It really helps us to make more content for you. Don't forget to follow me. Also, have a look at my profile and you'll see all the other courses that I do. In Adobe, I've got Photoshop Illustrator in design, after effects and Express, and in Affinity I've got photo, affinity designer and affinity publisher. And I also do a course in Canva. I do hope to see you in another video very, very soon.