Transcripts
1. Intro Easy PhotoshopSeamless Half Drop Patterns: Hi guys and welcome. My name is Dolores and
aspirin and I'm coming to you from sunny,
Manitoba, Canada. I'm so glad you're
here with me today. It's such a gorgeous day. I shouldn't be
outside, not inside, but I bought a few things that I've been
wanting to get done. One of the Mrs. class, which is kind of a follow-up
to a previous class that I did using the new pattern
preview in Photoshop 2021. I've been really messing around with this and I've learned to do a few things and I just
wanted to share them with you. It took a little bit
of figuring out, but I've got a method
to produce a half drop. Repeat that. I think
you're gonna really like. It's quite a bit less
difficult than using sort of mathematical means
to get that half-drop. Honestly, there's really no measuring involved unless
you really want to. I've been using this
method and yeah, I think you're really
going to like it. So since the demise of the Adobe textile
designer extension, I think that a lot of
us have been wanting different ways to create patterns both in
grid and half-drop, and then also to be able to have a method to produce
different colorways. So in this class I'm gonna be addressing that
half-drop repeat, but I'm also going to
be addressing methods to do your colorization to
produce different colorways. I hope you're into it. So you'll recognize the
pattern because it's the same one that I use in my original pattern
preview class. So we're gonna do some
rearranging of those elements. Now before we go into
the first lesson, I want to make sure that you hit that follow button up there. That way you get informed
of my classes as I release them and you get any of the
other postings that I do. At the end of class,
if you have a minute, could you please leave a review and maybe a little anecdote? The reviews really help other students to
pick the classes that are suitable for the skills that they're
trying to gain. So I'm really hoping to
increase my viewership. Alright, you ready
to get started? Then let's get into it.
2. Intro and Overview of the Process: Hi guys, welcome to lesson one. This lesson is just a quick one. We're going to just have
a bit of an overview and an explanation as to what
I'm gonna be doing with you. Let's get started. So in this class here, what I've been
wanting to do is to show you how to create
a half drop repeat. So in this class
that I did earlier, I produced a pattern
using the preview tool, which I absolutely love. I love that Photoshop has
finally come up with something like this to help us to
create our patterns. But one of the things that
I immediately realized was that there was no easy way
to do a half-drop repeat. So I struggled to
find solutions. I checked out a lot of forums. I searched for possibly
another class, somebody teaching how
to do half-drop repeat. I couldn't really find
anything suitable, and so I decided to try to
figure it out on my own. So the one thing
that did help me to figure this out
was thinking back to the days of the Adobe
textile designer plugin. So I don't know if you ever
had a chance to use that. It never really fully
reached the market per se. It was always in
beta testing format. And I had signed up
for the trial as had hundreds and hundreds
of other people. And I was super
disappointed when in 2020, Adobe announced
that it would not be continuing with the trial. So if you had been using
Adobe textile designer or if you'd been like an early adopter and we're
still using project Paris, which is what it was
originally called. Then you only had up until November of 2020 to be able
to still use the plugin. And I had really
hoped beyond hope that at some point it would actually be somehow offered
as a paid extension, but it never did materialize. So here we are, mid 2021 and now it seems that the
pattern preview tool in Photoshop has taken over some of the duties that Adobe textile
designer could do for us. So of course, we can easily create a grid repeats using
this pattern preview tool. But there really isn't a super easy way to
create a half drop. Repeat, you really have to
know what you're doing. And it took me a lot
of experimenting and I really wanted to pass on
what I've learned to you. Because once you do learn, it really isn't that hard. I'm gonna be showing you my method for doing
a half drop repeat. I hope that it is useful to you. What really helped
me to figure this out was thinking back to Adobe textile designer and how the export for a
half-drop pattern worked. I did teach a couple of classes on Adobe textile designer. And one of my classes
showed how to do an export for a
half-drop pattern. And what was necessary
was to actually create the repeat or the
single tile at 10 " by 20 ". And that 20 " wide
was wide enough to encapsulate the
whole half-drop. Repeat. That may sound confusing, but I'm going to show
you this step-by-step. And the beauty of it is
we're going to create a half-drop that isn't
your typical half-drop. It's not an exact repeat
of the original tile. So you're going to see some kind of fun stuff that we're going to do to make this a super
interesting pattern. Alright, so let's get
started with this. I'll meet you in the next lesson where I'm going to show
you the basic setup. See you there.
3. Half Drop Document Set Up: Hi guys, welcome to lesson two. Lesson two here I'm going to be demonstrating the creation of the master half-drop
document. Let's get started. So you will recognize
all of these icons because I created those
for that last class in which I was introducing
the pattern preview in the latest version
of Adobe Photoshop. So you need to have
for shock 2021 to have this new feature, which you'll find under View. Now you can see I've put a
shortcut in here for it, Command Option Shift P. And I did explain how to go about and do that
in that last class. So I had all of
those loose motifs. I think you probably
remember the whole process. And we went through and
designed the pattern. And now I want to try
it as a half-drop. Explain to you a little bit in the first lesson there about why I would like to
experimental little bit. And so I've got all
those loose parts. And this is the
document that I've created to put it on
in the last class, there was a ten by
ten grid repeat. And what I wanna do
now is a half-drop. So in order to get
a full repeat, to have the half-drop, I need to have a ten
by 20 inch document and I'm going to
explain as we go along. So if you're confused
right now, don't worry. So as I when I first started doing this and it
took me a little while, It's really fully wrap
my head around it. What happens with a
half-drop pattern is that you have your full ten by ten pattern on the one side and then in
order to drop it down, you need that additional
ten inch width. So that will be
from here to here. And then the pattern will, instead of lining up to the top, it'll line up to halfway in
the middle of the document. So on bottom right-hand corner will be the top half
of my original square, and at the top here will
be the bottom half of it. So this would be super, super confusing if you did not have the pattern
preview to use, hadn't preview tool here, but it really isn't that bad now that that's
available to us. So let me show you why. I'm going to open that up and remember I've
got that shortcut, so I'm going to use it
Command Option Shift P. And the first thing I get is this warning about
Pattern Preview working best with smart objects. I have explained that
in that last class. Basically, the important thing is that if you have
a smart object here, you're going to have a lot
less trouble with things like moving motifs off of the actual image area
and not having them cut off and being able to do
things like rotating them. So it's just easier if you
make these into smart objects. And what I have done
as well as made a shortcut for myself for
creating the smart objects. So the shortcut that I created, and you don't have
to do the same one, but I created mine with
Control or Command and S, because to me that's an
easy one to remember. S for smart objects. So if this wasn't a smart
object, let me just, let me just show
you the user that shortcut Control Command S. And now this has been
converted into a smart object. So I would go down
and do the same thing with all of my layers and I've already
actually done this. So that's why you see the smart object designation
here on the layer. So if I were to double-click
on it, it would open up. That would not work
or happened if it wasn't actually
a smart object yet. So now that I've
got that all done, I am going to duplicate
this group just in case. So Command J to duplicate it. And I'm going to call it
motifs backup just in case what I like to do is lock that just so
nothing happens to it. I've always got that
one to fall back on if something catastrophic
were to happen. I'm going to actually get rid
of that background as well. We're gonna be working
on backgrounds and doing some experiments with
color later in the class. The other thing
I'd like to do to make things easier for myself is I put this indicator on here for auto
selecting the layer. When you have auto
select layer on, you can easily move
objects without having to go into your
layers to select them. Now, I see here that I've
got the duplicate and that's because I didn't hide
that backup folder. So I'll do that now
so that's hidden. And now I can move these around. You can see how
amazing this is having the pattern preview
because as I'm placing it over
here on the edge, I see that preview for
the repeat instantly. So I'm going to go
through and just do a bunch of this positioning. And like I said, I want to create something
quite different than I had in my last
class that you saw. So I'll just kinda
time-lapse this and move it along a little
bit more quickly for you. So basically I've got my ten by ten area kind of
worked out here. You can drag yourself
a ruler guide out from the left edge there and position it at the ten inch mark just to help you visualize. And I'm pretty happy
so far with this. I mean, it's obvious
that there's gonna be a few things that will
have to move around. And I may have to
duplicate a motif somewhere along the way here
it says to fill in a bit. But I think what I
wanna do right now is do that half-drop just
to get the feel for it. So in order to do
that, what I wanna do is duplicate this group. So highlight the
group, hit Command J. And that's going to give
you an exact duplicate of what you've got here. So I've been using the
auto select layer here. So I'm going to turn that
off because I want to move this whole group
at the same time. And I'm going to use a highly technical method
to create that half-drop. It's called eyeballing it. The easiest thing is to
just focus on one motif. Maybe if you just focus
on this one flower here, this cupped flower, I've moved
that about halfway down. You can also see it here with the fermi branch
here, leafy branch. I could move this whole
group over a little bit. And essentially I've
created the half-drop here. Now you could have also
done it in a different, There's a couple of different ways that you
could have done it. One of them is to go to the filter on an
individual group, go to Offset here. And you could have
moved it 3,000 to the right and 1,500 down, or you could have with the coal group selected,
hit transform. My shortcut is Command T. And here, after the word pixel, you could have done plus 3,000 on the x value
and on the Y value, you could have done plus 1,500. But honestly, this, I think, ends up with a sort of more, I guess you'd call
it organic fit. And at this point, we can do a bunch of adjustments here to make this
whole pattern work. Let's meet in the next lesson, we're gonna do that. Alright, I'll see you there.
4. Adjusting and Finessing Element Fit: Hi guys, welcome
to lesson three. In less than three
here we're going to be just kinda finessing
the pattern. I'm gonna be showing you some
of the tricks that I use to really get it all balanced. Let's get started. So now we're at the
adjustments stage. And this is where
I really feel as though I do most
of my designing. One of the things that I so appreciate about
this pre viewer is that we can take a look at this entire pattern as a whole, if you wanted to, you
could hide the extras. So Command H would hide
that actual swatch. And it's very easy to see
at this point that I've got some real striping
happening here because I've got too many of these orangey, rusty your brown elements all in a row going
up and down here. So that's one of the things
I'm going to address. And because this is such a strong element
here, this brown branch, I feel as though
it's really obvious, even though it's a
half-drop repeat here. So I probably gonna do some really interesting
adjustments to this half here. Probably, specifically
this branch. I could choose either one of these and I would put auto
select layer back on. So it makes it a lot easier
for me to grab onto it. And you can see that
when I move it, it moves everywhere
in the pattern here. So Command T to transform
and I'm going to flip it. And you can do it
manually like this. Or you can go up to your width up here and make this -100. And let's just think
about the rotation here. Actually thinking something
like this already, that is a vast improvement
in my opinion. I think that that works nicely with what we've
got going on here. Or we could have a
complete juxtaposition. So completely the opposite
of what is going on there. And that also is pleasing to me, but I can see that
that's going to require a lot more rearranging
of the other parts here. But you know what,
that might solve my other problem too
with that banding. So we pull this well over here and then I'm going
to start doing some of my other arranging here. So I may time-lapse a
little bit of this. If there's anything significant, I will definitely stop
recording to explain it to you, but you'll see me doing a bunch of this, just rearranging, rotating your positioning as I work out all the
details here, alright. Now another highly technical
technique that I use is too unfocused my
eyes or to squint my eyes to see if I've
got any issues happening. And I've moved this
little guy here. And now I kinda don't like that. There's a band across here, so I'm moving other
things around so that I can then
move this guy. Now one of the things I'm
looking for as I'm constructing this final repeat is balance, both with elements
and with the spacing. So I definitely want to keep the spacing quite
consistent because I've got this really started tight fit of a pattern going on. So there's times when
I'm going to be just moving things slightly to
kinda try to deal with that. There's no law that says
that you can't at this point add new elements or take away
elements that you've got. You Are the judge and you are the final say on
this arrangement. And the funny thing
is if I gave you all of these parts and you
put together this pattern, it would probably come out
looking completely different. So that's what I always keep
in mind when I'm doing this, is that the way I'm doing
it is going to be really true to my view or my aesthetic. That was one of the terms that my art teacher in high
school used quite often. In fact, it was on his
assessment sheets. He would have a system of ten points are five points of whatever he had
been looking for, his objectives for
us to fulfill. One of them was whether or not the design was
aesthetically pleasing. So I always keep that in
mind as I'm doing my work. I think about good old
Mr. Sandman and yeah, his techniques and
his wisdom and knowledge that he
tried to impart on us. When I'm working on
pattern design to, when I'm coming up with
the elements that I have for a particular pattern. I always make sure that I have a good variety of these
smaller elements to help me. Especially at this
stage where I'm doing some intricate fitting
and balancing. Now, this little guy here
I might want to duplicate. So in order to do that, I just hold down my option and command
key at the same time. And that gives me the duplicate. This one. I think I'll make
this a slight bit larger. And I feel like I'm
getting pretty close. I just find that maybe this area here is a
little bit crowded. Yeah, it's definitely
this element here that is not
working in this spot. So maybe we'll try Something like that.
I kinda like that. That gives it some
really nice rhythm. Guy over here. Remember you can
use your arrow keys were slight and edges. With this one here, I
wanted to just make a slight adjustment
to its shape. And I think I can do that
just with the transforms. So Command T, and I'm
going to just hold down my command key and
readjust this. And that's kinda what I
was looking for there. I think I've pretty
much got it the way I want it for the next lesson. And in the next
lesson, what we're gonna do is we're going to test our swatch. So I might do a couple
of slight adjustments before I come back to you, but I'll see you in the
next lesson where we can use that little bit of
a test. I'll see you there.
5. Testing and Adjusting for Final Tile: Hi guys, welcome to lesson four. So we did a lot in
that last class. In this class I wanted
to just do some testing. Let's get started. So this is pretty
much where we left off at the last lesson there, I've made some
slight adjustments. I kind of move this
guy a little bit and I feel like I've got
this quite balanced. Now, I also changed the
color of this motif here so that it worked
better from side-to-side. I kinda felt like
I had some banding happening this way when I
really took a look at it. So I've made just slight
adjustments here and there. Sometimes it was just a
slight rotational difference. I also added a few more of these little fillers
here and there. If I had two of them close
together that were identical, then I adjusted like this, either the size or
the rotation of it. And I think for our
purposes of testing here, this is going to be just fine. So let's take a look at it
with none of the guides in the way they can see that's
gonna be a nice repeat. And what we need to do
now is export that tile. So I'll bring that
back for you to see. So we need to export this
whole ten by 20 inch area. So what I'm gonna do
here is so simple, you're not even
going to believe it, but I go into the
pattern's panel here, I hit the plus sign. I'm going to call this
funny sunflower half drop and hit. Okay. And you can see just like that, it's added to my panel. So let's do a test here. I'm gonna make a new
document command. In new document, I'm going to do a 20 by 20 inch
documents so we can get the full effect of
the pattern repeat. So you can either just drag this over or what I like to do is actually create a
new fill layer pattern. Hit Okay here. And you're gonna be able to select the pattern
that you just created. And the nice thing about this
is that this point here, I can change my scale so that I can see
my entire pattern. And just like that, we have created or tested
this half-drop repeat. And one of the
things I really like about the method that I just used as opposed to a regular
half-drop is that these e.g. the big sunflowers are flipped, so they're opposites here
in a regular half-drop, this would be the
exact same all the way down and all of the
other things that we've kind of moved around
make it quite different from one
column to the next. So this is a really
good example here. Take a look at this grouping, and when you look at that
same branch over here, the grouping is
completely different. So I think that that
is a really great way to create a really
interesting half-drop. Are there things I would change? Probably, but at this point I'm actually quite happy with this. I also really love how
this branch here reflects. I think when you first
glance at this pattern, that that's the thing
that really stands out. And I think if it wasn't
the same direction, it would be a lot easier to spot the repeat. So I like that. And this flower here,
this cup flour. How we've got this column facing upwards and
this facing downwards. One of the things that's really advantageous to this
sort of layout is that the pattern can be used
on the reverse side of items or on any
sort of an item that the fabric might not
necessarily have been cut in the direction that our original layout,
what had been. So if this flower, e.g. had been the same
all the way along, it might not have looked great
if it was flipped upside down on sewn pattern. If you get what I'm saying. So really now at this point, we're ready to start
thinking about color. And as I said at the
beginning of a class, I really want to create
additional colorways, just like I used
to be able to do with Adobe textile designer. So a textile designer, I was able to just go in and I don't know
if you remember. I still have it here. I don't know why I'm
hanging onto it, but you could go into the
preview of the pattern. There was this colorways
panel that you could use to make adjustments to
your color and save, you can save multiple versions
of it in different colors. So it was a really
great and intuitive way to change your colors. So I've had to do a lot
of experimenting to try to figure out a
different method. And I really needed to figure out a way that
was non-destructive. So you'll see my
method for doing that. And believe me, it's
not as easy as it was in the Adobe textile
designer plug-in, but I think it is
equally as versatile. This is the message you'd
get if you had this plugin. So obviously, I can
get rid of those now. I really, really
hope that someday that actually does
come into fruition. The first thing I'll do is show you adding a background color. You weren't in my other class. All I did was add
a layer actually outside of that folder icon. So I'm going to actually
close those two off to make it a little
bit less confusing. And then in this layer, I simply filled it
with the paint bucket. So G for your bucket. And let's just grab
a random color here, and I'll drop that in there. Or you can go into
the menu here to fill and fill it with
the foreground color. Now, this is limiting if This is the way
you choose to do it, because you have
to kinda clunky, just going back-and-forth and experimenting with
these different colors. So what I usually do is add
a adjustment layer here. What I would do here is add a hue and saturation adjustment. And you can see that that's
only above this layer. So that's why I had
that at the bottom. And I can make adjustments here and see them in real time. So that's about the
closest I could find to the actual colorways method and the Adobe textile designer. But I've got a few
other tricks for actually changing
our color overall, so of changing the
colors of the motifs. So we'll do that in
the next lesson. In lesson five. We're going to be
doing more work with selectively changing these
colors in our design. Alright, So I will meet
you in that next lesson.
6. Producing Different Colorways: Hi guys, welcome to lesson five. It's always great to get
to this point when you have your final pattern swatch. But what I wanna do now is experimental little bit
with different color ways. We're gonna be producing two
or three different ones. So let's get started. So I've been a testament to that background color and
I like this a lot better. And I'm ready to
save this swatch. So this is my
colorway number one. So I've renamed my
file accordingly. So I did a save as, and here I'm just going to
click the plus sign and call it sunny sunflower
colorway one and hit. Okay, so now I've got
that original one with a transparent
background and I've got the new one with this kind
of a beige background. And what I wanna do is create
two others so that I have some real alternatives for the document for
various purposes. Maybe to do some different
sort of mockups, alternate colors, or to show a client whatever
the purpose is, what do you do POD or you're
selling to fabric companies, or really whatever your purposes
at all for your pattern, it's always nice to have
alternate color ways. So what I did in my Finder here is I saved three
different versions of it. So it's exact same
file at the moment, so the color is
exactly the same. I have the color way
one which is the one that we were
just looking at. And then colorway 2.3 that we're going to make
some alterations to. So let's open these two up. And they're going to
open up in Photoshop because it's a PSD file. And remember in the
last class we had done a really deep color
in the background. I want to try to replicate that. So that'll be the one colorway. I might change some of the motif colors to stand
out a little bit better. And then we'll do a second
one that's very different. So we're ready to go here. I'm going to check
that earlier pattern that we had done in
the other class. And let's take a good look
at that background color. So it's just a really
nice dark brown. Now let's go into
color way to here and we'll make an adjustment
there on the background. So you can see here that
my hue and saturation, I now have clipped
to that background. So in order to clip, you can just hold
down your Option key and click on the line separating those two
for now, unlinked. But as soon as I click here
again with my Option key, you can see by this
little arrow here that it is now linked to
this background layer. So it's not going to
affect anything else. So let's double-click on that and really dark in
that background. So as I go through and
do this, generally, what happens is that I can get the background
the way I want it, but it often creates issues
with some of the motifs, like the coloration on
some of the motifs. You can see that
problem is happening here with this stem, e.g. and the stem for this one. So we're going to be
making some adjustments specifically to those motifs. We're going to go
into the Smart Object and actually make
the change there. So let's take a look at the smart objects that
we want to change. So I'm just going to
temporarily switch back to my move tool
that I can auto select. And let's select this one here so we can find it
more easily in the folder. And now what we can do is
just double-click on it here and it will open
in its own document. In a case like this, I think the fastest thing would
be to just re-color this. I just simply clicked
on the area with my magic wand tool set
with a tolerance of 22. It's selected everything here. And I'm going to just use my
hue and saturation command. You colorize and lighten it to what I think
will be suitable. And I'm brightening it too. So it's got a little
bit more saturation and a little bit wider. We can always come
back and change it. I'll hit Save. And that will update any of the smart objects wherever
they're found in the document. So you can see here this one has been recolored and the color, I think it's gonna be okay. So basically we'll do the
same thing for this one. So V allows me to
select it and know it's selected by hiding it
and showing it again, and then double-click on it. Same thing, magic wand, make my selection command. You saturate, colorize, sorry, and then saturate, enlightened. And I think in this case I
might change it to be more of a samadhi color or light lite version of what we've already
got there going on. And let's save it and see
if that one looks suitable. So that's definitely one
of the advantages of using a smart object is that
you can go in and make a change like
that and it applies it wherever that is
found on your document. Really, this one
here could totally be one of my
alternate color ways. I think this one is ready to go. So I'm going to go
into my patterns and add this as my second color way. So in a way, this is the third color way
because I do have that original one that had
just the white background. But now I want to
really change this up. So I'm going to save this one. So I'm just going to close
it and we're gonna go into the sunflower colorway
number three. And we're gonna do a few things differently as
far as the background goals. It can be done in
this way just like we had done before with
the hue and saturation. I'm just going to
leave that for a sec. What I wanna do here is change these colors
fairly dramatically. But I don't want to just use the hue and saturation
as my method. Let's just look at
that for a second so I can show you
what would happen. And actually let's put it
right above this group. So if I were to make
changes here now, let me get that above
that other group. So I don't have
that specifically clipped to the one layer. So you can see here that I've
dramatically changed this, but not this group here. So I'm going to just move
that group down as well. So I've got the two groups below the hue and saturation
layer adjustment, then you're going to
see that my colors have been altered throughout,
which is cool. I mean, it's definitely
a possibility. You could just use this as
a method to re-color it. But what if you didn't want
everything to be changing? Now, although I really
loved this one here, I think I wanted to do some slightly different
adjustments to different motifs. So let's say, for instance, this one here just
doesn't work with this other color scheme
that I've got going on. So what I really need here, instead of the hue
and saturation, sort of blanket adjustments, what I need is selective
color adjustments. So that's the one
here at the bottom. It's not something that
I have used a lot, but I think it's worth
giving this a try to make some final adjustments to what I've got going on here. So at the moment, it's not specifically clipped
to either the groups, so it should change everything as I go
through and do this. So it does take a little
bit of experimenting. And if you look here, you can actually go through and adjust all of these
colors individually. So it just happens
to be on the red. And I think red is what
I need to adjust in order to get rid of an
orange genus there. So let's just do a little
bit of experimenting to see. So I'm going to slide at one way first to see
what I'm adjusting here. This is all pretty difficult to explain specifically
what to do here because it really is a matter of preference
and judgment. And you are the best judge of what it is that you're
trying to achieve here. So a lot of times, it just takes experimentation
and trial and error to try to figure out a really beautiful
color scheme. So I've gone through
and made the changes. The main or the biggest
difference was when I went to the glaze
are the neutrals. So the neutrals here were
the biggest alteration. And I'll just go through my
history here just so you can see the progression that I made. It's faster than me showing
you the time-lapse. So you can see each of the steps as I was
going through them. So these are the alterations
that I've slowly making as I'm working through
that selective color. And I got to about this stage and started to really
like what I was seeing. So I just made some very
slight alterations there. And I just want to now create my swatch and I'm going to
show you the alternative way. This is the original method
that one would use to create the individual
tile define pattern. And it's going to
pop up into this. It's the same as clicking
on the plus sign there. So let me just get rid
of that and say, okay, and now we've got our three are actually four
different colorways. I focusing my eyes are
squinting a little bit. I think that the black on these two elements
is just a little bit too much for this
particular color scheme. So I would go in and make the change the same way as I did with the previous pattern. So I'm double-clicking on the smart object that's going to open it up
in a separate window. And I'm going to
use the magic wand again to select that stem. And I think this time I'm
going to go for a really soft, creamy white, a
color I'm not sure. Let's just, let's just
experiment a little bit here. So interestingly enough, What's happened
here is that this is that altered smart object
from the last color change. So I'm gonna hit Update here and let's just see if
there's blue works. So the issue here would be that the same smart object was used
in both of the documents. I'm going to alter the
hue and saturation. And of course, because
it's just this one object, I'm not going to worry too much about using
liter adjustments. I think I'm just going
to go for it here. Let's just see how
this color might work. So I like that better
than the black, but it's obviously still
a little bit too dark, so I'm gonna go way later so
that it's an almost white. I'm going to put 96 in here. And yeah, I think that works. I think it works great
with these sunflowers. So let's just change this guy. So double-click on it. And again, I'm
getting that adjusted one from the last document. So I'm going to update. So in this document, use my magic wand again, hue and saturation
is going to go to the same settings as I just
had or the other ones. So I'm going to hit Save. Yes, this is very lovely. I don't know why
this one actually makes me think of Christmas, but it is just the blue the
snowflake he kinda color. Yeah, I'm liking that are the hardest thing I think is
just thinking in terms of the CMYK color model because that's how the
selective color works. If you're not too familiar with cyan, magenta yellow block, that color model, which is used for basically all printed. You might need to just do
a little bit of reading. And I actually have
attached a couple of relevant articles with
the course materials that you can look up. And I think there's a couple of videos there that you
can watch as well. Now just so that
you can practice this whole thing
without actual artwork, I've attached this document
here in the course materials. Let's go through a little bit of a series of exercises
here so you can see what playing around with
this can do to help you. This might be a fun little
side exercise to do to just kinda practice the use
of the CMYK color model. Download that and
put it in Photoshop. So what I'll do here is add the selective
color adjustments. And of course, you see here the CMYK sliders
and I will just go in and individually affect each of the colors
that are listed here. So with these gradients
that I've put down here, you've got to read
cyan to Richard, blue, yellow to orange. And each of the colors
that you have here should affect at least
some area of the image. The red adjustment would adjust, obviously the bottom of this and probably the
bottom of this one. So just practice and
the first thing you should do is go to extremes. Remember that you
can option click on this line in-between
the two to make sure that the selective
color adjustment is clipping to this
specific layer. And you can see here, I go to the magenta, you should start to see
what I'm slider would do. So here, the more
magenta I add is the deeper the pinks and reds become anything
that has red in it. And the farther into
the negative IPO is, the less of the red that's
actually showing with the end. So if you were trying
to cancel out some other red and that's what
you'd want to be doing, is going into red and pulling your slider for
magenta down lower. And each of these sliders should affect the color if it's
in that color initially. So if this does have
yellow in it than the yellow slider is
also going to affect it. Try that with each of the colors just so that you can
kind of get an idea. So now I've switched
into the yellow. So the one that would
be affected the most would be this
yellow slider. The yellow slider will affect that considerably
as you can see. Let's try science. So a cyan is a sky blue color and this slider is the one I would use
for that to affect it. If it doesn't lighten
it all the way, it's because there's
another color that is a part of that color. So the cyan could have a lot of yellow in it or
it could have a lot of, probably know magenta at all. But you can see the
magenta affected the bottom here and block. I've never found it
actually does anything. So I really don't usually
touch the block at all. Let's go into the
magentas and see. Now you can see there. But these are affected again. And like I said, the neutral seem to be what affected my
document the most. So you can see what's
happening here. Like I said, try the extremes
so that you know what each of them is really going to do to effect your own image. You could even do this on a separate document just to kind of practice
a little bit. Here we can receive it. This one here I'm
going to select and just hit that trash
can to get rid of it. So this is our most
recent colorway and I think that's my favorite. I've got a few other little things that I want to show you, so I'll do those in
the next lesson. And maybe we'll experiment
with mock-up or two just to see how we can really show off our patterns in the
most pleasing way. Alright, so I will see
you in the next lesson.
7. Mock Ups and Considering Next Steps: Hi guys, welcome to lesson six. In less than six here
we're just going to be covering a few other
bits and pieces. Let's get started. So you know, for me,
the funnest part of the process is
always doing this, creating mockups and
really getting a chance to see what your patterns
can look like. So this is one that I
like because it shows the four different
options or whatever you've created and it's
really easy mock-up to use. So this one is by this
young lady, Eliana. She is at Creative Market. So check her out because I really do like her
mock-ups quite a lot. And I'll just show
you really quickly. This is such a quick process
when you get a good mockup. As you can see here in
the Layers palette, the fronts for each of the
notebooks is a smart objects. So you just simply
double-click on the smart object, it opens up. You can see, I've used this
a couple of times already, so let's say I had a
full pattern on it. This is what it would look like. I'll just hide
that single heart. This is a pattern I created in one of my really early classes. And what I would do here is
something that I've learned, of course in time here I didn't use the pattern
adjustment layer, but that's what I would do now, so I will just hit Pattern. And then here I could choose
the pattern of my choice. I'm going to make it that
last one that we just finished and let
me hide this one. This is the one I want to
put the adjustment layer on, pattern adjustment. So it kinda hides what
was there before. I'm going to choose
that last one that we were working on. Here. I can reduce the
size of the repeat. So let's try a fairly small
ones so that we can see the half-drop here if the 45
may be good and hit Okay? And now anytime I go to
use this mock-up again, I can just click on that
layer and make my changes. I think I'm actually getting rid of all these extra layers here because that'll make it
a lot easier for next time. As long as I hit save. Here in this document
you can see it's saving. And when I go back to the
main notebooks document, you'll see that that
is now updated. Those are the four patterns
that we worked on today. And if all turned out really pretty and I think this is a
great way to showcase them. Want to show you something
really quick on this one here. So that's the teal colored one. I use that pattern that
had no background. So it's like a PNG image. And I simply put in a Color Fill Adjustment
layer on that one. I just experimented until I found one that I
thought looked good. So I think it's kind
of a mid-range color and it comes in with
the new background, which is really cool. So that was a way for you
to see how having one of those blank patterns or the blank background pattern
can work and be really cool. Now, one of the final things I do when designing a
pattern like this. I do this for almost
every collection, is I go through and
I make a sell sheet. On that cell sheet, I will show some
of the patterns in the collection as well as a few mock-ups most of the time. So most of the time I
do add the mockups, but there are occasions when I teach this other class
on creating sell sheets. But I will include that in my next class that
we're going to do with this particular pattern. So this series of classes has three installations
and the next one will be covering the end
of the whole process of creating a pattern. And we'll include
the production of the cell sheets as well as the export of the PAT
files that you see here. Then of course, the export
of the single tile for each color way that has
the actual repeat on it. It's not just as simple as
exporting the single PAT file. We need to be sure
that we've got the repeating elements
all along the edges here. So that's something that
we'll do in the next class. And I think this is it for now, and I will meet you in that
wrap up in the next lesson.
8. Outro: Hey guys, isn't that great when you make it to
the end of a project? I love this stage because then I can go through and create mockups or prepare by files
for upload to POD sites, or to submit to my agent for, who knows, maybe,
maybe some sales. That would be awesome. If you're looking for some
additional reference, please check out my
two Pinterest sites. I've got one call teacher
Dolores now Scranton, another one just called
the loris now's grant, The Lost Art Gallery
and ask her that think. Also if you're interested, check out my website, shop dot Dolores or.ca and add yourself to
the mailing list. That way you get any
of the mailings I send out and believe me,
they're not very often. And believe me, it's
not that often. Also, if you have a minute
checkout, my stores, my biggest one is
on dazzled.com and I have one in Canada
at art of where. And I also sell on society six. Remember if you liked this class to hit that follow
button up there. And if you have a minute, leave a review and please, if you have a project that
you've created for this class, I'd love to see it here. So I guess that's all for now. But by, and I will see
you in my next class.
Delores Naskrent, Creative Explorer
