Repeat Patterns in Adobe Fresco with Pixel and Live Brushes

1. Class Introduction: Do you love patterns? Have you ever noticed that patterns are everywhere you look? From the clothes that you wear to your home decor, your wallpaper, and your stationary. Patterns fill our lives. I'm Amy, I'm a Surface Pattern Designer and Illustrator. I discovered surface pattern design in 2014, and I realized that all those patterns that I loved were created by artists just like me. It was an aha moment, a light bulb went off and I started pursuing surface pattern design. I have always loved to draw and I have 30 years of experience as an artist, so I've mostly worked with traditional media and I even studied fine art in college. I moved to digital art and started working on the iPad in 2016. You may know me from my previous Skillshare classes, where I teach how to create digital artwork on the iPad. There are many ways to create patterns, and most people learn through Adobe Photoshop or Illustrator. I'm always looking to streamline my processes and make sure that I can design on the go anytime I want. I always have my iPad with me, so I like to have the option to design a pattern completely on the iPad. Adobe Fresco added new features last year that allow you to make a seamless repeating pattern right in the app. This class will teach you all the basics you need to know to create a seamless repeat in Adobe Fresco. It's for beginners, but will also be helpful for those who already know how to build patterns and want a new option for creating them. In this class, we will talk about common pattern types and different methods of building a seamless repeat based on your preference and style. While I will be showing you all the necessary tools to complete this class project, it may be helpful to get a refresher on Adobe Fresco before you get started. If you need a refresher on Adobe Fresco, I teach everything you need to know about the app in my Skillshare class, Intro to iPad Art: Part 2 - Adobe Fresco. If you want to stay updated on all my classes and be notified of any discussions I post, you can follow me on Skillshare. You can also find me on Instagram or Pinterest @amyebdesigns. If you love creating patterns and want a simple way to design them anywhere and anytime, you'll want to check out this class, so let's get started. 2. Class Project: For the class project, you'll be creating a seamless repeating pattern in Adobe Fresco. We're going to start by discussing the basic tools and features you will need to know to complete your pattern. We'll review the precision panel tools as well as the transform settings and the selection tools. We'll talk about important tips when creating our motifs and discuss two methods for creating our patterns. I'll also go over how to correct mistakes and how to recolor your pattern using adjustment layers. At the end, we will have a seamless repeat ready to be exported. In the Project & Resources tab, I have included an overview of the most common surface pattern repeats as a reference, as well as a list of theme ideas and color palettes that you can use as inspiration for your patterns. You can download these files from your browser and save them in a location that is accessible on your iPad. I like to use the iCloud Drive to save mine. I'd really love to see your work, so please upload your class project to the gallery page. You don't have to complete a finished pattern to upload your project. You can share any part of the process along the way, and you can always go back and update your project at any time. To upload a project, just go to the Project & Resources section of the class page and tap "Create Project". When the page opens, you can simply upload your image, add a project title and description, and then hit ''Publish''. In the next lesson, we're going to go over some important tips to get started. 3. Getting Started + Important Tips: To get started, I want to go over your Canvas settings, and review the main tools you'll need to create a pattern in Adobe Fresco. In this lesson, I will go over how to set up your canvas and some important rules for using the pixel and live brushes in your workspace. I will also review the features that allow precision in your repeats, which include the alignment guides, touch shortcut, and use of the grid feature. When you're working with the raster elements, setting up your canvas at the right size and resolution is critical to making sure you can use your pattern for various projects. I like to start with a square workspace, but you can also choose a vertical or horizontal rectangle as your layout. I'll select pixels as my units, and I'm going to choose 3,600 by 3,600 pixels. Under Print Size, I'll make sure I have at least 300 PPI. As you can see at the bottom of this section, this will print out at 12 inches by 12 inches so it's quite large and gives plenty of flexibility when exporting it. I can also save this size for future reference. I tap "Save this Size" and then just give it a name. Last thing I'll do is rename my document. Then I'll tap "Create Document". In this class, we're going to be focusing on the pixel and live brushes. You have quite a lot of options to choose from, so you can follow along with what I will be using or you can experiment or use your own favorite brushes. The important thing to remember about your pixel-based brushes is that they are cut off if they fall off the edge of your document. This is a critical feature for creating your patterns. For example, I will select a pixel brush and draw a shape. Then I'll use the transform tool to move it around my document. Now, as long as I'm in the transform settings, I can move it around and re-position it as much as I want. If I tap "Done" and exit the transform settings, anything that falls off the edge of the document will be chopped off. If I go back into transform, you will see that the edge of the shape was deleted. By comparison, vector brushes do not act this way in Adobe Fresco. If you were to move a vector shape off the edge of the document, the shape stays intact. The part of the shape that is off the edge will not be visible, but it is still there if you move it back onto the document. This is a critical difference between pixel and vector layers in Adobe Fresco when it comes to creating repeat patterns. There are a few tools you will need to know to ensure your repeats are seamless. The first and most important tool is the alignment guides, which can be found in the precision panel under snapping. Make sure your alignment guides are turned on by tapping the button, and when, it's on it'll be dark gray. With it turned on, I'm going to open up my transform tool. As I move my object around the document, a blue line will appear when the object is centered vertically and horizontally. It will also snap slightly as it gets closer to the center. If you double-tap the touch shortcut, you will engage the primary position. This constrains the movement of your object horizontally and vertically. The last tool I want to show you is the grid. This is optional, but can be helpful for spacing. This is found in the precision panel and you can tap to turn on the grid and then select "Graph" under the grid type. I like to keep this opacity pretty low so it's less distracting. You can change the color and the spacing. There's a max limit on the grid size, so if your grid doesn't go all the way to the edge, don't worry. This is just going to be used to help you find the center point of the canvas. It's not going to affect the alignment guides or the snapping function. Now that we've gone over the canvas settings and we've reviewed the precision panel, in the next lesson, I'll show you some additional tools that will be helpful when creating the elements of your pattern. 4. Additional Tools to Know: In this lesson, I'm going to go over some additional tools that will be helpful when creating the motifs for your pattern. First up, we have the transform tools. I have a leaf that I drew, and I'm going to duplicate this leaf and open up the transform menu. Now, I can flip this leaf vertically and horizontally. I can rotate it and I can resize it. I can move it around my canvas by dragging it around. Or I can use the Nudge tool if I want to move it pixel by pixel. If I double-tap the primary touch shortcut, I can select multiple layers and move them simultaneously. Just tap to select or deselect the layers you want to transform. To exit the multi-selection feature, just tap the "X". If you have multiple objects on a single layer, the selection tools let you make adjustments to a single object. You have a few options. You can use the rectangle selection tool or the ellipse selection tool to select your object but it can be hard to select specific elements if the spacing is tight. I prefer the Lasso tool because it allows me to draw around a single object. With my leaf selected, I can tap the Transform tool, and now I can transform the leaf and make adjustments to it without affecting the other leaf on my layer. I can also duplicate the selection in my layer menu, and this will duplicate the leaf onto its own layer. Sometimes it's nice to have mirrored and symmetrical motifs in your design. You can duplicate your layer, open the Transform menu, and flip the motif. It'll flip from the center of the selected items. You can use the primary touch shortcut to constrain the movement as you drag it across and line it up. Another option is to fill a blank layer. Then open the Transform menu and double tap the primary touch shortcut, select the duplicated layer with your elements and the filled layer, then flip horizontally. This will flip everything from the center of the document and will mirror the element and line it up from the center. Many patterns are created from basic shapes, hash marks, or doodles. Tab to open the ruler or tap and hold to open the drawing aids menu. You can select a circle, a square, a triangle, or use the plus symbol to create additional polygons. You can draw an outline of your shape using the dotted contour lines. Or you can use the fill bucket to fill the shape. I'm going to double tap the primary touch shortcut and move my drawing aid up directly aligned with my filled shape. If I select the transparency fill in my color wheel and tap to fill the shape again, it will act as an eraser, and I'm left with an arrow shape. In this way, I can use the drawing aids to create more complex motifs for my pattern. You can create color palettes several ways in Adobe Fresco. You can use the color wheel to select colors and add them to your swatches. You can also import an image. Adobe Fresco will select up to 30 colors from that image automatically. Delete any palettes you don't want. You can also use the color palettes I've shared in the Projects and Resources section of the class. You can draw your motifs using your selected color palette but if you need to re-color your motifs there are a couple of options. You can use the Fill Bucket. Be sure that your color margin is turned up high enough to fill the shape right up to the edges. Now, certain brushes can be harder to recolor with the fill bucket without leaving an edge so if that doesn't work, you can also use a clipping mask. Add a layer above the layer you want to recolor, tap the clipping mask icon to clip the new layer, and fill it with a color. This will ensure all pixels will be recolored. If you're happy with this new color, you can merge the layers. Keep in mind that this technique will re-color all filled areas in the layer with the same color. Now that you're familiar with these tools, let's create our motifs. 5. Creating Your Motifs: It's time to create our motifs. Now we're going to be working with the pixel and live brushes to create our patterns. The techniques that I'm going to show you in this class will only work with the pixel brushes. As I pointed out earlier, anything on a vector layer will remain intact when you drag it outside the boundaries, so the techniques that I'm going to show you won't work with vector layers. Now you can use the list of theme ideas I share in the project and resources tab to generate the elements for your pattern or you can follow along with the motifs that I'm going to create. Feel free to use any of the pixel or live brushes and add in your own style to your elements. I'll be showing you two methods for creating your pattern. Method 1 is great for creating half-drop and diamond repeats. Method 2 is really great for creating tossed patterns. Typically in a tossed pattern, you don't want the repeat to be noticeable. I suggest creating several versions of the same element. This will give us plenty of options later when arranging our elements and will give enough variety to keep the pattern interesting. Now, I'm just drawing out some stems and some leaf shapes, and if you'll notice, I am going to create them on different layers. I'm going to keep all of my stems on one layer and all of my leaves on another layer. This will be really helpful when I go to arrange the elements and make different combinations later on. You can sketch out and draw an entire leaf and stem and flower in one design all on one layer if you'd like, but I recommend making sure that you keep some layers separate. It just gives you a lot of flexibility later on in your design and you'll see what I mean as we go through the lessons. I'm just going to draw as much variety as I can. I'll do different lengths of stems, I'll do different size leaves, and this way when I go to create my pattern, I've got enough variety in size and shape that if I need to fill in an area, I can do it with ease. I may not use all of the motifs, but this way I give myself plenty of options. I also like to create elements with a lot of movement and this is going to help your pattern flow and let your eyes dance around the elements. Particularly in a tossed pattern, elements with a good variety and flow just really help move your eyes through the pattern. You can also choose to create elements that are very directional, straight lines, very symmetrical, and clean. But I'm going to go with a really organic pattern today of florals. Feel free to also add in some dots or hash marks or small textural elements that can be really useful when filling in the blank spaces of your pattern. [MUSIC] I realized that I accidentally put my floral motifs on the same layer as my flowers, so I'm going to just circle them with my lasso tool and then duplicate them onto a new layer and then go back in on that original layer and use my lasso tool to select them and delete them. Now I've got my florals on a different layer than my leaves. Everything is editable in Adobe Fresco, so don't worry if you make a mistake, you can always undo it or reposition it, it's not set in stone, which is one thing that's great about working in Adobe Fresco or any other digital app. [MUSIC] Another thing I like to do is make sure I have a good variety of colors. I've got the gold and the reddish color and the slightly peachier pink color and I want to make sure that I have enough elements of different colors that I can use later. Again, this is just going to give me a lot of really great variety and options to work with later. Better to have too many motifs and elements than not enough. Remember that when you're using your fill bucket, you may just want to make sure your color margin is turned up high enough that it's really filling right up to the edge. I'm going to go in and just add some little embellishment details. These are pixel brushes, so you can also add some texture to your little leaves or your flowers, you can keep it simple or get really detailed. It's just up to you. [MUSIC] You can also start with sketches or in black and white first if you want to create the elements and then decide on colors later. If you know your color palette, you can just draw the motifs in the colors you're going to be using. In a later lesson, I am going to show you how to recolor your patterns using the adjustment layers. Just a few more elements. I think I want to add in some additional leaf, a different leaf to throw in there just for some variety. I'll draw about four of them. This way, I'll have enough little differences, different angles, and I have a little more variety to my motifs. [MUSIC] I have a stray little leaf that needs to be filled. Now that we've created our motifs, let's start building our pattern in the next lesson. 6. Building a Pattern: Method 1: Our motifs are created, so we're ready to build our pattern. Now, in this class, I'm going to show you two different methods for building your pattern. You can choose what works best for you and the pattern that you're creating. In this lesson, I'm going to go for Method 1, which I think works best for patterns with a clear repeat, like a half-drop or a diamond. I've arranged my elements to the sides of my documents so I can build my motif in the center. I'll group all of the layers together, then I'll duplicate the layer group, and this way, I have all the original elements preserved in case I need them. I'll start by creating a new layer and using the diamond, drawing it to create a container shape. I want to size it so it goes all the way to the edge of my document and then I'll make sure it's centered. I'll fill it with a color and then reduce the opacity. It's just a guide in the background. Now, the shape is going to be a guide as I arrange my elements. I'll turn back on the duplicated layer of my elements, and I'm going to reduce the opacity of each layer so I can focus on the ones I want to work with first. I'm going to be building a central motif and then duplicate it for the repeat. I'll use the Lasso tool to select specific elements and then reposition them in my design. Now, you can create a symmetrical or mirror design or one that's more organic. It's really just up to you. I'm going to duplicate this motif and drag it across. I'll just mirror these two elements first. I'll reduce the opacity here so I can focus on the next elements. Next, I'll arrange the stems, and I'll just select one at a time using the Lasso tool and reposition them in the center of my diamond shape. Now, these are still on the same layer, so I want to be sure not to let them overlap or I won't be able to reposition them again. I'm planning to use the leaves to fill in the holes and spaces in between where I'm not matching these up. [MUSIC] If I want to reuse a stem, I can just duplicate the selection and it'll create a copy on its own layer. Now, because this one is on its own layer, if I do overlap it a little bit, it won't be a big problem. I think I want to move this layer up and reposition this other stem. You can decide on how tight you want the spacing to be between your elements. You can have it really condensed or more loose with your elements further apart. [MUSIC] I think I need to reuse this little stem because I want another smaller stem to go on the other side to balance it out. First I need to duplicate my selection so I can leave that one behind, and I'll just reposition this one up here. It's on its own layer, so it doesn't matter if it overlaps this a little bit. I'm going to move this one just a little bit. [MUSIC] Now, I'll just group all the stem layers together, then I'll reduce the opacity so I can work on the leaves. I'll repeat the same process with the leaves, just selecting them with the Lasso tool and moving them around my document until I find a good space for them. Now, I'm going to cover up the gaps in the stems with these leaf shapes. I'm just looking to balance out the larger leaves and the smaller leaves in my layout. This is where having a lot of different variety in size and shape and orientation is really helpful so I have a lot of options when I'm positioning these leaves to make it feel like it's full and everything has a space. I'm also going to be mindful of where I'll be putting these flower elements. Anywhere there's a top of the stem, I'm going to need to be able to fit in a flower shape, so I don't want to put my leaves too densely packed in together. I can also reuse any of these leaves and just flip them or rotate them slightly to make it less obvious that they've been duplicated. I'll just continue working until I come up with something I like. I'll reduce the opacity on those so I can work on my flowers next. I'll start with the larger flowers and spread those out and then I'll move on to the smaller sizes. Each of my flowers are on different layers by color so I just have to keep in mind when I'm selecting each of the colors, which layer I need to select. See there I had the wrong layer selected, so my lasso tool didn't actually select anything. I think this fits best right there. Once I've got my larger flowers spaced out nicely, I'll start working in the medium sizes and I'm also considering the different colors. I don't want the colors to be too close together. Your eye gets drawn to an area where there's a bunch of the same color in the same area. Oops. It's okay, I can just undo anything. So I'm just balancing out size and color throughout my little floral arrangement here. Give it a nice balance. I'll just rotate or flip any of these little flowers to make sure it fits nicely in this space. Did that again. I can just nudge it just a little bit if I don't need to move it a great deal. I'm going to reposition this big one here so I can space out this little yellow flower a little better, I think it'll look better like that. I want to add another yellow one and I think I'm going to move it down lower because there's not really a flower down here. I have this extra flower, I'm just going to duplicate the selection so it's on its own layer and then I'll erase the original on that grouped layer and then I'll just hide it so it's out of the way. Now, I need a new stem for this yellow flower I just added, so I'll go to my original stem layer and duplicate that selection and then move the little stem over in place for my yellow flower. I think that looks pretty good. I'm going to turn up the opacity on all of my layers so I can see my design in full color. Next, I'm going to work on this bottom border layer. While my central arrangement is organic and not symmetrical, I'm going to give this bottom area with these additional leaves, I'm going to give it a more symmetrical look. I will copy it and move it over so that it's directly aligned across then I'll group them and just make sure they're centered. I'm going to just create these on their own layers and group them together. I think I'll use this other one and do a third level. That needs to go on its own layer because right now it's layered with that same one and just reposition it here. Turn that one off because I don't think I'm going to use it. Duplicate and slide it across, and then I'll group them and I will center them. I think this central section needs to be rotated slightly, so I'm going to rotate it and move it. I think that looks a little better. Now I need to delete that other one, duplicate the one I just changed and reposition it. I like the way this has this twisting effect on this bottom border. I'll just arrange them in the right order, I think that's a little better. That's done. Next, I'll delete the background shape because I don't need it anymore. I'm going to create a new layer and fill that layer and then I'll turn the opacity down. I'll duplicate this layer with my original design because I want to save those original layers in case I need to work with them later. I'll drag it and combine it down into the group with the filled layer. I'm going to duplicate this layer three times so I have four copies. Open the transform menu, and drag the first layer up and to the left. Make sure the bottom right corner aligns with the center guides. Move the second layer up and to the right, using the alignment guides to snap the bottom corner to the center. Do the same with the third layer and finally the fourth layer. You can zoom in to see if the squares overlap. The reduced opacity on that filled layer helps to see if the areas are aligned. I'll zoom in and I see there's a little gap, so I'm going to have to undo and start that over, so let's try that again. Up and to the left, up and to the right, down and to the left, down and to the right, snap, and this time we zoom in and there's no overlap. We've got a nice clean repeat. I'll turn back on my original layer and I'll bring it to the top. Then I'm going to open each layer group and just delete out that filled layer because I don't need it anymore. That was just going to help us align the spaces up. I'll group all the layers together, and then I'll duplicate it and I'll merge the layers. This is just going to be used to test the pattern so we can flatten it. Now to test the pattern, open the Transform menu and drag the bottom corner to resize it. Use the grid to find the center and we're going to want to fill the upper left quadrant. Next, duplicate that layer and slide it across. You can use the primary touch shortcut to constrain the movement horizontally. Zoom in to make sure the design lines up. Yeah, this looks good. We'll duplicate those layers and this time we're going to drag them down so we can check the bottom half of our pattern. Zoom in, everything looks good, and we're done. You can use this method with other shapes as well. Now that we've gone over method 1, in the next lesson, we're going to go over method 2 and create a tossed pattern. 7. Building a Pattern Method 2: Let's take a slightly different approach to building our pattern. In Method 2, we're going to be creating a tossed pattern. These can be directional, where they have a strong top, and bottom orientation or they can be non-directional where the elements are tossed in all directions. So rather than starting with a center shape, this time, I'm just going to group my stems, leaves, and petals into flowers to create several different versions that I can use in this tossed pattern. Because all of these elements are grouped on the same layer, I'm just going to continue to use my Lasso tool to select them and move them around. But I'm going to keep each part of my flower on separate layers so that the layer group can be adjusted later. I'm just trying to also create flowers with a lot of movement, and flow so that I have a lot of options when I'm building my pattern, and putting these pieces together. I'm just going to continue this process until I've got enough variety. For instance, I'll make this smaller one. I also want to make sure that I have a lot of different colors, different sizes of the flower shape. Once I've got all my flowers created, I'm then going to separate everything onto its own layer. I'll use the Lasso selection tool, duplicate the selection, and then I can just delete the original layer because I have them all on separate layers now. What I want to do is be able to move my flower as one whole piece. Now that all my elements are on separate layers, I'm going to group the parts of my flowers together. In that way, I can move each flower I've created as a whole when I'm building my pattern. I'll just drag, and drop it into the layer group with the leaves. This takes a little bit of time, but it will make building my pattern much easier. As you can see, I now have each flower in its own group, but every part is on its own layer. This will give me maximum flexibility. Now that I'm done, I'll duplicate this layer group, and hide it so I can preserve my original motifs in case I need them later. I'll double-tap to open my duplicated layer and start arranging my pattern. I'm going to make sure that I keep everything to the center of my document. Because remember, if I move it off to the side, it's going to delete part of my flower or my stem. Since each flower is a separate layer group, I can just select the group rather than having to use my Lasso tool. I'm just going to space the elements out, and I'm thinking about varying up the direction, the flower size, and petal color so that there's even spacing, but also that a small flower is next to a larger flower, that there's different colors next to each other. I'm going for a non-directional pattern so I want the elements rotated at different angles, so there's no top or bottom to my design. I don't want to clump up the same color or size because it'll stick out in my repeat. My elements are arranged, and I've left a good amount of space at the bottom, and at the top, and on either side. I'll fill this in later. I want to think about the size of my elements, and how they're going to fit. Now, I'm going to duplicate my layer group, and I'll hide the original. I'll create a new layer, and fill it with a color. Then I'll take the opacity down. I'm going to group the fill layer and the layer of my group of flowers, and then I'll duplicate that layer, and this time I only need two copies. I'll open the transform tool, and I'm going to slide the first layer over to the left, making sure that the right side aligns with the center. I can also turn on my primary touch shortcut to help guide it along the horizontal axis. I can zoom in, and just make sure that there's no overlap in their snap to the center. I'm going to zoom in again. Everything looks good. I'm going to open up my layer, and I'll just delete out that extra fill that I don't need anymore. Group the layers together, and duplicate the original group of flowers. I'll take the opacity down on my first group so I can see all the different elements a little more clearly. I'll just turn off layers that I don't think I'm going to use just to get them out of the way. I'm just going to move this one to the center. Now I'm just filling in the center point of the pattern that I've already created. I just want to fill in the gap there. If I turn on my primary touch shortcut and double-tap a layer, I will hide it or I can double-tap again to reveal it. This way I don't have to exit my transform tool, but I can still work within it. I'm going to turn that off because I was actually constraining my movement. I'll just rotate it, maybe flip it horizontally if I need to. Hide that one. When I'm done, I'll turn the opacity back up to see how the pattern is looking. This little flower is a little too close, so I'll just come back in, and hide that one. I'm going to look to see if I want to move some additional elements around for better spacing. Once I'm happy, I'll just exit the layer group, and add this new group to my original layer so all the elements of my pattern are grouped together. I'll duplicate this layer group, hide that one, add a new fill layer, fill it with a color. Turn down the opacity once more, and combine it with my pattern group. Duplicate that so I have two copies. I'll open up my transform tool, turn on my primary touch shortcut, and slide the first group up. This time, I'm moving things up, and down so that I can fill in the tops, and bottoms of my pattern. I'll zoom in. I'm going to check to make sure that it's aligned perfectly to the center. Then I'll just turn off these fill layers once more because we don't need them. I'll group those together. I'll go back to my original motifs, and duplicate the group so I can use them to fill in the gaps in the center. I'm going to reveal that, I'll turn the opacity down on my pattern so that I can see my motifs more clearly. I'll go in, and hide all the ones that I don't think I need right now. All I'm needing to do is fill in this middle section, so I don't need anything too big. I'll start with these, and we'll see how they fit. This one is just filling in the gaps in the puzzle. I'll rotate that. Actually, I think I'll flip that. I'm just keeping in mind that I want the spacing to be similar to how I've already arranged my motifs in the previous sections. Even though the background layer is a little lighter with the opacity turned down, I can tell where the original pattern had different pieces so I want to keep that variation in color, and shape. This one is a little big, it doesn't quite fit. This flower is a little too long, so I'm going to make some adjustments. Since all the parts of the flower are on separate layers, I can easily move them around. If I had merged all my flower layers together in the beginning, this would be very hard to adjust. Keeping all the layers may seem like a lot of work, but this is when it really helps. I can even grab a smaller stem, and add it to my layer group, and then move it around. Turn off that longer one, and make some adjustments, and now I've got a smaller flower. I'll just rotate this one around, and see where I can fit it in. I think I like it better there. When I'm done, I'll turn the opacity on the other layer group up so I can see everything clearly. I think I'll nudge this one over slightly for better spacing. Actually, I'll move that back. I think I'm going to move the red flower instead. I think I like that. The gap on the left side is going to match the one over on the right side, in the repeat so I'm just visualizing the space I have in between them. If I were to move both elements close to the edge, they'd be really tight together in the pattern. When I'm done, I'll group the new layer of flowers in that pattern layer, then I'll duplicate it, and hide the original. I don't need that. I'll duplicate this, and merge the layers. Open the transform menu, and resize layer to the top right quadrant until it snaps to the center. Duplicate this layer, and then we're just going to slide it across until the left, and bottom edges snap to the center. We'll zoom in, and check. That looks good. There's no gaps. Everything's paired up seamlessly. Group these layers, and then I'm going to duplicate them and move them down to the bottom half. Snapping in place, zoom in, check that the pattern is good. Now I'm going to turn off my grid so I can really see my pattern. What I'm checking for is to see if there's any gaps or any holes in my pattern that I might want to adjust. If there's a white line, hairline in your pattern if you zoom in, and it disappears, then it's really not there, and you don't have to worry about it. Now that we've created our second pattern, I'm going to show you how to fix any gaps or holes in your pattern in the next lesson. 8. Fixing Holes in Your Pattern: In this lesson, I'm going to show you how to make any adjustments to your pattern if you have holes or gaps that make it feel unbalanced. I'm looking at my pattern to check for any holes and areas that stick out. For instance, this section has a gap that sticks out to me and also this one here. This spacing looks just a little tight. To fix this, I'll turn off the test pattern group and open my last pattern group layer. I've got three groups, the middle elements, the top elements, and the bottom elements. Now, this leaf here is in the top group. I'll find it in my layers. Then I'll just slide it down and to the right a little. That looks better. Next, I'll open up the bottom group and I think that red flower is the first thing I want to adjust. There we go. I think that should go down here. I'll rotate it a little. Next, this little flower needs to come up here. I'll rotate it. Now I need to move some flowers in this middle section, so I'll open that up. I'm going to just tap until I find the right one. This red one here. First I'm going to move this pink one. I'll move that here and make this adjustment. Now this red one. Move that here. Rotate it. Sometimes when I get too close to those little circles, they'll resize it rather than moving it. That's good. But now I need to move this pink flower again. Now I need to find this little red flower and that's in my top layer. I think if I go in here, there we go. That's it. I will just move that. I think I want to rotate it because I don't want those little red buds so close together. That's better. Now I think I need to move this yellow flower. It's here in my middle group, so there we go, find it and just give it a slight adjustment. I think everything looks much better. Now I just need to test my new pattern. I'll go back in and I'll delete that old one. I'll duplicate this new version, hide the original. Then I'll merge the layers for my test pattern. Open the Transform Menu. I just need to re-size it. I'll snap it to align to the middle and I'll duplicate the layer, slide it across to the right, snap it in place. Let's zoom in. I think everything's lining up just right. I don't see any gaps. It looks good. Let's combine this layer down, duplicate the layer group, and we're going to move it to the bottom to check that alignment. Snap it in place. Hit Done. Zoom in, I see a white hairline but see how it disappears. That means it's not really there and everything else looks like it's lining up just right. Now I think the adjusted pattern looks a lot better. Now that you know how to correct your mistakes, I'm going to show you how to recolor your pattern using adjustment layers. 9. Recoloring Your Pattern: Now that you've completed your pattern and you know how to make corrections, I want to show you how to recolor it. Whether you want to modify a specific color or create a second colorway, you can use the adjustment layers to modify any part of your pattern. The first thing I want to think about is creating a background color. Right now, I just have that default white background. I'll add a new layer and I'll go ahead and fill it with a color. I think I want this to be a light background and I think I'll choose a green color. Then I'll fill it, and now I have a background color for my pattern. It's on its own layer, so I can change it at anytime. Let's look at recoloring this pattern. I'll open up my appearance panel and I see the options for the adjustment layers. We can check to clip the layer and then we have three types of adjustments. If we check this box, it'll create a clipping mask on whatever layer we select. I'll start with hue and saturation adjustment, and then I'll move this clipping mask to above my pattern layer group. If I want the adjustments to affect my background fill, I'll need to add that to my pattern layer group, so I'll just drag to combine, and then I'll drag the clipping mask back out of this group. Now it will clip to the entire group which includes the pattern and the background fill. Let's take a look at our options. We can adjust the hue, saturation, and lightness. We can select a specific color in the color range or we can choose colorize. Let's start with our reds. Now, this means that only objects in the red color range are going to be affected. First, I'll adjust the hue or color. As I move my slider, you can see that only the two sets of flowers are changing color, but everything else is unchanged. Next, I'll change the yellow. Notice that my background and the lighter leaves are changing because they do have a little bit of yellow in them. Now my background is connected by the layer group. If I drag the background out of the layer group, then the color adjustments are removed because it's no longer in the clipped group. I'll go in and continue to recolor my pattern elements. Next, let's try adjusting the green items like my leaves. Notice that the leaves are changing. Although they have some yellow in them, the yellow flowers don't have any green, so I can isolate the changes. As you play around with these sliders, you'll see how they work. That's the color range adjustments, but we can also choose colorize. If we tap the button and turn on colorize, you'll notice that everything becomes monochromatic. If I adjust the hue, everything is affected evenly and changes to shades of that color, so colorize affects the whole thing uniformly. You'll notice that the background is still green because we took it out of the layer group. If I want it to be affected, I can always add it back into the group. I'll just drag to combine the group like last time. Drag this back out of here. Now, our background fill is colorized with the same blue hue. That's the color adjustments. Down here, we also have a few additional options, we can change the blend mode. This will change how the adjustment layer interacts and blends with the pattern layer. You can play around with these blend modes and see if you like any of them. I can also change the opacity of the adjustment layer. With the lower opacity, this blue color is toned down. If I take it all the way down, I'll just have my original color again. I have a lot of fine tuning I can do with this adjustment layer. I'll turn off colorize so we can look at our next adjustment layer. I'll clip it again, and this time let's look at brightness and contrast. This layer does what it sounds like, it will adjust the brightness, and I can also adjust the contrast. Everything in the pattern is changed uniformly. We have the same blend mode option, then the layer opacity slider. Right now we have the two clipped layers stacked together. I can go in and hide the first layer, and now my brightness and contrast layer is directly affecting the pattern group. All of these clipping masks are non-destructive. Let's look at the color balance adjustments. Once again, it adds to the clipped group. I'll turn this back on. In this new layer, we have the options to isolate the shadows, midtones, and highlights, and then we just change the color balance. I'll start with the midtones. As I slide the first cyan and red slider, only the midtone ranges are changed, and I can continue with these other ones. Next, let's try the shadows. You can see that the darkest part of the leaves and stems are changing. And like the first layer, we can select the parts we want to change. Next, let's try the highlights. Our background changes as well as some parts of the flowers. Once again, we can change the blend mode. Maybe I'll choose Lighter Color, and then I'll take down the opacity. Now, I can hide any of these adjustment layers, so nothing is permanent. If you want to create a few different colorways with these adjustment layers, you can just turn them on and off as needed. Now that you have different colorways, I'll show you how to export your patterns in the next lesson. 10. Exporting Your Pattern: We've created our pattern, fixed our mistakes, and created several colorways. Now let's take a look at how to export it. When you're ready to export your pattern, just go up to the Share menu and select "Publish and export". Next, select "Export as". Let's look at these settings. First, we can rename our file. We may want to name each colorway differently. We can select the format. If we select JPEG or PNG, we will export a flat image. Just tap the Export button and choose where you want to save it. We can also export as a PSD. Now, this is going to export all of our layers. Everything is already saved to the Creative Cloud, but if we want to save this file as a backup, this may be a good option. If we want to save a different colorway, we need to exit the Share menu. We'll hide the adjustment layer and then go back into the same Share menu. We can repeat the same steps and save it in whatever format we want. You may want to give this a different name just to keep the different colorways identified. Just tap "Export" and repeat those steps as much as needed. It's important to remember that all of your Adobe Fresco files are automatically synced to Photoshop on your iPad and desktop. If we open up Photoshop, you can see my pattern file in the Home menu. I'll just open it up. As you can see, I have all my layers. I can continue working on things here. I can hide the adjustment layers, make any necessary changes, and so on. This is also available on my desktop version, so I can create a pattern swatch and create any size I need. That's it. Your pattern is ready to go. At this time, please upload your project to the Class Gallery page. I'd really love to see the final piece. 11. Final Thoughts: I hope you've enjoyed the class and you're excited about the possibilities ahead. I'd love to hear your thoughts about this class and any questions that you may have for me. You can ask questions and share your thoughts in the Discussion section of the class and I'd love for you to leave a review. I read every single one and I love getting feedback from students. Reviews also help other students find the class and decide if it's right for them so thank you in advance for leaving your review. At this time, I hope you'll upload your project to the class gallery page. Remember, you can upload any part of your process. If you continue to make new patterns and colorways, I'd love for you to come back and update it. If you've enjoyed this class and want to learn more about creating artwork on the iPad, you can check out my other classes here on Skillshare and you can click the Follow button if you want to stay up-to-date on all the classes that I teach. Thank you so much for watching. As always, it's been an honor to teach you, and I hope I'll see you in the next class.