Surface Pattern Design : A Procreate to Photoshop Workflow

1. Trailer: This is more than just another class about how to make patterns on your iPad. It's about creating a workflow that will make the most of your time, allowing you to really enjoy the creative process and then fast forward through some of the more tedious steps. I'm going to take you through the whole life cycle of a pattern from the initial sketching and Procreate right through to putting it together in Photoshop and then having a completed design ready to send to clients, share on social media, and then eventually archive and your file system so that you have all the different files together in one place. If we haven't already met, then, hello. I'm Rebecca Flaherty, an artist with a big love for surface pattern design. I live here in the UK, where I've been working as a self employed artist and designer for about seven years now. I've been in love with patterns for almost as long as I can remember. Some of my earliest memories are studying my mom's huge hand sewn floor cushions with their 1980s Laura Ashley floral fabric and trying to spot the repeating motifs long before I even knew what a technical repeat was. Now I get to see my own patterns license on lots of different products like hats, stencils, children's clothes, dog harnesses, and stationery. In this class, I'm going to teach you how to sketch and illustrate your patterns in Procreate using non destructive methods that preserve image quality, maintain an editable layer structure, and therefore make this a viable method for professional commercial pattern making. We'll look at how to use a diamond shape for your peat so that you can keep the edges of your pattern inside the canvas in Procreate. All of our motifs will be intact, and nothing is going to get cut in half on the edges of the canvas. You'll learn how to sketch out your design first so that you know exactly what motifs you'll need to draw. No more wishing you'd made a leaf a bit bigger or curve a bit more to the left. Once we've sketched our design, we'll learn how to illustrate and add texture to the motifs. If like me, you like to use textured brushes to draw your motifs, but hate how difficult they can be to fill in and procreate. Then you are really going to love the shortcut that I have for skipping the boring edge tracing in procreate and instead doing it in Photoshop with just one click. And talking of shortcuts. I'm also going to teach you how to record a photoshop action for building out your pattern using smart objects, which you can run through with just one button. It's a real timesaver. I've even created a few goodies for you to use while you're working through the class, including a flower stamp brush for creating easy flower shapes to trace over and a beautiful welly boot mockup for you to showcase your patterns with. I'd say this is probably somewhere between a beginner and intermediate level class. If you're familiar with the basics of Procreate and Photoshop, then this class is a perfect next step for your pattern design journey. It's also a great class for advanced students who are looking for some tips to speed up and streamline their workflows. Ready to get started, then let's go. 2. High Level Overview and Class Project Flattened: I As always, I want to start with a very brief explanation of what we're going to cover because having the end result in mind will help everything make more sense as we work our way through. My whole process for making patterns in Procreate is based around a diamond shaped repeat instead of a square or rectangle one, which is what you are probably used to using. It does sound more complicated than it is, and you'll still get to turn it into a normal square repeat at the end, so don't worry about that. We'll start by making the Canvas template and Photoshop, and then we'll send it over to Procreate, where we'll go over a bit of pattern design one oh one before we get started. This workflow, we're going to design the pattern first as a sketch and then illustrate the motifs, which I found to be a much more time efficient and fun way of working. There's a few shortcuts we can take in Procreate, which take advantage of the fact we'll be using Photoshop to put the pattern together later. Things like tracing in these textured edges can be skipped in Procreate, and instead, we can just do it with one click in Photoshop. We'll learn how to preview the pattern in Procreate, to check for any errors or things we might want to change before we send it over to Photoshop. Once we open the pattern in Photoshop, we'll be learning how to build out our tile using smart objects. I'll be showing you how to record two really useful Photoshop actions. One to automate building at your tile, and one for filling all those pesky gaps you get when you use the color drop tool in Procreate. Then we'll be covering how to test your repeat in Photoshop before we make any last minute edits, and then we'll export our pattern ready to send to a client or upload to somewhere like Spoonflower. This workflow that I've come up with plays to the strength of each piece of software, and it really speeds up your pattern making process. Your class project is, you guessed it, make your own pattern using the steps I'll be teaching you. You have total free reign to make any pattern you like in any colors or theme you choose. My favorite class projects that I set are ones where I get to see all your lovely patterns. So please do upload them to the project gallery so that we can all take a look. Just a quick note on copyright, you're welcome to copy my pattern for a reference as we go along for the purposes of learning during this class. However, don't forget that it is an act of copyright infringement if you were to then use your copied pattern for any other purposes such as selling it or uploading it to print on demand or spoonflower or sharing on social media and implying it was your own design. If you do want to eventually be able to sell your pattern, you create while following this class, which is a great idea, then you will need to create work which is unique to you. Plus, it's much more fun to create your design in your own style anyway, and I can't wait to see what you come up with. Even included a link in the resources for a free mockup you can use to show off your designs in the class project section. Let's get started. 3. Creating a Canvas in Photoshop: I guess the first thing we should talk about is canvas size. I get asked about this a lot, and the answer is that there is no right or wrong size or shape for a pattern repeat to be. It depends entirely on what you're making it for. If you're creating a design for a client as a custom project, they may tell you what size they want. Because we're making pixel art, we need to make it in the actual size we want it to be right from the beginning because we can't scale up like you can with vector art. If you're making a standalone motif, there's definitely a case for going as big as you can, because you can then use the design on products like big wall art and tapestries. But when we're making a pattern, you can just repeat it several times to fill a larger area, so there's no need to go as big as you can. You can stick to a simple size. I see a lot of designers use anything 8-12 " at 300 DPI for their repeats. You can use a square or a rectangle. I'll tell you what size I use and the reasons why, and then you can tweak those things to figure out what might be the best size for you to use. So I use a 12 by 12 inch canvas at 300 DPI. This is 3,600 pixels by 3,600 pixels. To convert inches to pixels, just multiply by your DPI, 300, in this case. Sometimes I do use a 5,000 or a 6,000 pixel repeat, but that's very rare and only when I want to do a super bold, large scale design. So here are my reasons for choosing a 12 inch or 3,600 pixel repeat. It's small enough not to run out of layers too often in procreate. It just happens to be the perfect size and ratio square for wallpaper on Society six. It's also a good size for spoon flower. Their wallpaper is 24 " wide at 150 DPI. So when my pattern is finished, I can double the width in Photoshop and still be within the correct resolution for spoon flower. It's a good size for the level of detail that I personally draw in, and it's a good scale for the markets I design for. A benefit of sticking to the same size canvas mostly, is that you can set up processes and actions to repeat certain things that you do over and over again. So have a think about any of these factors that might be relevant to you when trying to decide what canvas is a good size to work with. I suggest using a 12 inch canvas when following along with this class, at least. So then all the dimensions and maths will be the same as what you see on your screen. I will, of course, tell you how to make alternate sizes as we go along. One last piece of advice is to always use an even number as we will be moving things around by halves later. Things can sometimes get messy if you're dealing with half pixels. So always try and pick an even number of pixels for your canvases if you can. So now we're going to set up our Canvas template that we'll be working with. I'm using a MacBook and IMAC for the Photoshop aspects of this course. I'll be telling you keyboard shortcuts as we go along. So if you're using Windows, as you probably know, if I say command, then for you, it will be control. For any other steps or parts which look different, you could try Googling how to do X in Photoshop for Windows, and please feel free to share any of these differences in the discussions for other students and also so that I can mention any differences in future courses that I make. I first started out doing this part in Procreate, and that's how I teach it in my first class on making patterns in Procreate. However, I recently switched to a template that I made in Photoshop. And honestly, the reason for that is one day I was feeling extra fussy. I'm a bit of a perfectionist and wanted to make a more pixel perfect version of it. But I actually found out because it is pixel perfect, it snaps into place a lot quicker and easier than the one I made in Procreate. The templates that you make in Procreate do function perfectly, but I just find it satisfying to have it line up perfectly. So now I use this one that I made in Photoshop. If you want to see how to do it in Procreate, then have a look at my other class where those steps are covered. But today, we're going to look at setting it up in Photoshop. So we're going to create a new file, and I'm going to come over here to the width and height, and we're going to change it to 3,600 pixels and 3,600 pixels for the height as well. You could also change it to inches, and then you'll see here that it's 12 by 12 ". That's only going to be 12 by 12 if you have the resolution here set to 300 DPI, which is what we want it to be. You can leave the color mode in RGB unless you have a specific reason for wanting to use CMYK. It's always best to start in RGB, and then you can always switch down to CMYK colors later. You can leave all of these other settings as they are. And this one here, the color profile, this one here is a pretty commonly used color profile, so we'll leave that how it is. And then we can click on Create to start working on our document. So the first thing I'm going to do is come over here to our Layers panel and unlock this background layer. And then over here on the left, I'm going to click on the color and change my foreground color to black. So as I showed you in the basic overview, we're going to use a diamond shaped repeat, which I promise is not as scary as it sounds. I'll show you exactly how it works in the next lesson. But first of all, we just need to go ahead and make a working document template. So we're going to use the rectangle tool. And if you don't see your rectangle tool over here, it's probably hidden behind this one. So if we right click on this one, and yours might be hidden behind any of these. Mine's hidden behind the line tool at the moment, because that's the last one of these that I used. So we're going to use the rectangle tool. Keyboard shortcut for that is U. And we can click anywhere on the Canvas. And then in these boxes, we're going to type 3,000 603,600 in this one. And make sure all the radii settings are set to zero, and then we can click Okay. And that's going to make a square for us. We don't want our square to have any fill. We want it to be transparent so that we can see through it. So we're going to click up here where it says fill up on the top, and we're going to set that into no fill. And then for the stroke, we're going to choose black for the color. And then for the line, we're going to choose a solid line, and let's just slide this around. I normally have mine quite thin for my working document, maybe about five pixels. But if I make it that thin for this one, you're not going to be able to see it very well when we do the screen recording. So let's try 15, maybe a bit too thin. Let's try 20. There we go. And then if we hover here in the corner, and you want to make sure you've got Snap turned on for this, so we'll go to view and make sure Snap is enabled. And then we're going to click up here and drag this around whilst holding shift at the same time. And we can then snap it to various different angles. And we want to snap it to 45 degrees. So when you have it there, you can let go of shift and let go of the mouse, and we'll leave that like it is for now, and we'll go back to using our move tool. And then I'm going to come up here to these three dots and click on those and choose a line to Canvas. You want to make sure you've got that selected. Sometimes it says Align to selection, and you won't be able to do this next part, which is to center it on the canvas using these two like that. The next thing we want to do is resize it so it exactly fits the edges of the canvas. And actually, let's set some guidelines up first so we can see where the middle is. So I'm going to drag in from the rulers here. If you don't have rulers showing, you can go up to view and make sure you have rulers checked here. And we're going to drag it across to the halfway point, 1,800 pixels. And then we'll drag another one from the top ruler down and snap that into the middle too. Then we can zoom in here. And if I press Command T, and then up in this box, make sure you have the image constraint checked, and I'm just going to type in there 3600 px, and that will change this width to 3,600 pixels. If you were working with a different size canvas, obviously, you'd put your actual Canvas width in there. And if we just zoom in here, you can see this goes nicely off the edges. If yours was to look something like, let's just make this a bit smaller. Something like that with a gap between the diamond and the edge. This canvas is not going to work the way we want it to. It's crucially important that your diamond goes all the way off the edge. So let's change that back to 3,600. And then I'm just going to again, double check in all of these corners. It should do because we've centered it, but I'm still going to go around and check that this is touching and going off the edges on all four corners of this diamond. So once you're happy with that and you've verified it, you can press Enter twice to set that transformation. And at this point, we can right click on the layer and scroll down, and we're going to rasterize the layer. So this is no longer an active rectangle. It's just pixels, and this layer is now flattened. So let's zoom out and have a look at this. So this is the template to mark out the repeat that we'll be using in Procreate. We're going to use this as our repeating tile. Just one last thing which I want to add on there, which can help a little bit with an extra visual so that you know you've lined it up properly. This is an additional step to how I used to make them Improcreate. I'm going to add, like, a little cross line or cross hair in each corner. So let's come back over here to our rectangle tool. We'll right click on this and change it to the line tool. And then anywhere along here, I'm going to click on the guideline and drag out a horizontal line around about 2300 pixels. It doesn't have to be exact. And then we're going to go up here to the fill and stroke boxes like we did with our rectangle, and we're going to choose no fill for the line, and we want a black stroke on it. And then we'll set the stroke weight the same as we had for our diamond around the edge. So we'll choose the thick line for that one, and we'll change this one to 20 pixels. And then with this layer here selected, I'm going to align it to the left of the canvas. You already know it's centered vertically because we did it on the guideline. And then what I want to do is repeat that in each of these corners it's just going to give us an extra visual to verify that this is all lined up when we're working in Procreate. So to repeat this in the other sections, I'm going to press Command J on this layer to duplicate it, and then we can use the align to right button up here. And then that's going to pop it over here for us. And then we can select both of these, press Command J again to duplicate those two. And I'm going to press Command T. And then if you come over here, make sure you're not adjusting the guideline. If you're just above it, you'll see this little rotate icon. And if you hold down Shift again, and then you can rotate it 90 degrees and then press Enter. And then you're going to get those lines at the top and bottom. Just going to get rid of my guidelines here. You can do that with the keyboard short command semicolon. So now we can select all of those layers, all of those small lines there, and we can right click and we can go down and merge all of those shapes. And then we can select rasterized layer, and then we can select those two and merge them all down into one single layer. So this now is all the construction that we need to do to set up our template. The rest is just organizing a few layers to make it easier to use in Procreate, and then for bringing back into Photoshop afterwards. And it's just going to help us keep our file tidy. So I'm going to name this layer here, sketch, and then I'm going to press Command J to duplicate it, and then drag this one underneath. And I'm going to call this one spare diamond. And then I'm just going to hide this layer, and I'm also going to lock it. That way, we'll always have a spare to go back to and procreate if we need to. So I'm going to group these layers together, and I'm going to call this group sketch. And then I'm going to add a new layer above this one. And I'm going to use the text tool shortcut is T, and I'm just going to type anywhere in here. I'm just going to write pattern in there. And then on this layer here with that selected, I'm going to press Command J to duplicate it. And then I'm going to double click on the text icon there, and I'm going to change the text in this one to say extra. And then I'm going to right click on each of these layers and rasterize the text. So right click on this part of the layer and come down here and rasterize type. The reason I'm rasterizing it rather than leaving it as text, if you don't have the font you use installed on Procreate, every single time you open this document in Procreate, you're going to get a notification like this to say that it's missing fonts. So as these are just placeholders, we don't need them to be active text, we're just going to rasterize them, and then that won't happen every time we open it. So the next thing I'm going to do is to add a layer above each of those. So let's add one above there and one above extra. And then I'm going to group these two top players together. And I'm going to call this group extra, and then I'm going to group these ones together. You can either use this folder icon or the shortcut Command G, and then I'm going to call this one pattern. And then all three of these folders, I'm going to select, and then I'm going to group all of these together. And then this group, we're going to call Pattern Double click to edit. You can call this, obviously, anything you like. But as you'll see later, when we bring this back into Photoshop to edit, that's exactly what we're going to be doing with this layer. And I like to call it that right from the start because it saves me renaming it later every time if I want to hand it over to a client. I'm a big believer in only doing repeated steps once. So yeah, admit these steps all do seem a bit random and mysterious. But in the next lesson, I'm going to show you exactly how to use all of these layers, and it will make a lot more sense. We can even hide these layers to start with the pattern and the extra because we won't need those for doing our initial sketches. It's the sketch layer we'll be working on. And again, saving it with these hidden saves us having to hide them every time we open them in Procreate. So with that said, the next job is to save it. I'm going to press Command S to save, and I have a folder on my iCloud called Procreate Transfers. And that's a dedicated folder I have for moving stuff to and from my iPad and my computer. Obviously, you can save yours in wherever you'd normally save it to do this kind of thing. You can see I have a copy of my now pattern tile that I use, save there already. So I'm going to call this one pattern tile, and we'll just put a two after it so it doesn't overwrite that. And then you compress Enter. So that's now saved, and I'll be able to open that on my iPad. If you don't use iCloud, you could use AirDrop to airdrop it over to your iPad or you can use Dropbox or email, whichever Cloud service or method you use for transferring it, that will work just fine. I do recommend having it somewhere you can access from your iPad without having to send it over each time just so that it's always there and ready to use. So that's the basic Canvas made. I'm going to add an optional step here. You'll notice the one that I showed you there on my iPad in ICloud has the colors flipped on it, and the background is black. Where is it? And here, this one. If we open up this file, you'll see that, this has got the colors flipped and the lines are white. You can see how I use these much thinner lines in the one that I use in real life. But as I said, that doesn't show up very well on a screen recording. So yeah, this one, black background and white lines. The reason for this is that I like to have my iPad and my procreate interface set to dark mode. So that means if I draw with black lines on the white canvas, it's harder to see the layer thumbnails when I'm trying to spot what is what on each layer. If I draw in white on a black canvas, though, it's much easier to see, and I also find it easier on my eyes drawing this way with a mostly black screen. I often do all my sketching and drawing, first thing in the morning as soon as I get up. So I don't like staring at the bright white screen that early in the day. So I have my background in black and my lines in white. However, if you prefer the light interface on Procreate, then you'll find the black linework will show up just fine in the thumbnails, so you can keep it the way we just created it in Photoshop. If you do want to flip the colors, just select the layer that you want to change. And if you press Command I on that layer, it's going to invert the color, and then you can just do that for each of the layers. So go on that layer, press Command I to invert and it'll change it from black to white. So now I just need to save this version. I'm going to press Command Shift S, and that's going to save as. And then we can just add black to the end of the file name here, and then press Enter to save it. And now we have both versions of that saved in our iCloud ready to download from our iPad. So now that's our template Canvas setup. Then the next lesson, we'll open it and Procreate and learn how to use it. 4. Procreate Pattern Basics: So let's go over a bit of pattern design one oh one. First, the very basics that make a pattern tile repeat seamlessly are that everything that touches this left edge needs to be repeated in the exact same position over on this right edge. And then everything that touches this top edge needs to be repeated down here on the bottom. That's what makes the design seamless. If we look at this layer here, you can see this is how the design repeats. Here's a bit of pattern design vocabulary for you. When we move something up and down on a canvas, we are moving it along the y axis. Down is positive and up is negative. And when we move something side to side, we're moving it along the X axis. Left is negative and right is positive. If you have trouble remembering which axis is which, an easy way to remember is to visualize the Y with an arrow pointing down. My canvas here is 12 by 12 ". So everything up here needs to be copied and moved 12 " along the Y axis. And all this here on the left needs to be duplicated and moved 12 " along the X axis. We now have a repeating tile. So as I said earlier, let's just turn this layer off and turn this one on. You can see how it looks when it's put into repeat. But here's the thing. When you make a pattern in Photoshop or Illustrator, you have the option of seeing past the edges of your repeat. You can see how your motifs are interacting with the ones on the other side of the canvas. This just isn't possible in procreate. Everything is cut off along this edge and you don't get to see past the canvas edges. You can work around it by duplicating these layers. And then you can bring these edges into the middle, which would then allow you to fill any holes in your pattern that fell on the edges. But the problem with that is that when you start duplicating and transforming in Procreate, you can start to lose image quality. Some types of transformation are worse than others. Let's just undo this and take a look at what I mean. Let's have a look at this motif here. You can see I've got this nice textured edge where I've used the dry ink brush to draw it. If I select a part of this, let's just make sure I'm on the right layer. There we go. If I select some of this heart to transform it, and then scaling it down even a tiny bit, you can see Procreate has had to recalculate how to move it and put it back together with a smaller number of pixels than we started with. It's having to remake the image every time we do this. And so it's now all blurred and soft, and we lost our nice textured edge. These nice textured lines can become fuzzy and blurred after they're interpolated multiple times. Interpolation is the method used to adjust the pixels in an image when you scale, rotate, or transform. Here's a little pro tip from the Procreate manual itself. Every time you resize an image, the interpolation process happens again. After a few times, you might start to see the edges in your image degrading and looking fuzzy. Think of this like making a photocopy of a photocopy of a photocopy. You lose a little more image quality each time you transform. Try to avoid repeatedly transforming the same part of your image. Thankfully, moving it about like we are doesn't cause as much of a problem as rotating or resizing does. But for best practice and always for commercial work, I try to avoid doing it. The main thing, though, is that I like to work in a non destructive manner and have intact motifs that aren't cut off at an edge. So how do we get around this? Well, we can still use a square as our tile, but we're going to have that square rotated 45 degrees so that it's a diamond. That way, all of the edges of the repeat are visible there inside the visible canvas that we can see on procreate. We can see how they'll be positioned with the next tile as we're drawing them, and they're also not going to get cropped off at the edge. When it comes to making this repeat work, instead of making sure the top and bottom and the left and right match up, we need to have this edge here match up with this edge here, and this one match up with this one. The maths of that, and please don't panic here because you won't actually have to do any, is that everything touching this line needs to be copied and moved plus half of our overall document size in inches along the X axis. So this is a 12 inch document, so it needs to move 6 " this way, and then half of our overall document size again, 6 " along the Y axis. But as I said, you don't have to do any maths. Procreate snapping can do that part for us. Let's have a look here. I'm just going to duplicate this diamond layer and then hide the one underneath. And I'm just going to add a blob to this one. And let's do one here, and then one just roughly in the middle. So on this layer with the diamond, I'm going to swipe left to duplicate. Then we can tap on transform. And then down here where it says snapping, we need to make sure that we have magnetics and snapping on, and these slides here turned all the way up to the max. You will then be able to drag your canvas exactly halfway across. You'll see these orange lines cross over here in the middle when it's snapped into place, and then you can just release. And then we're also going to drag it halfway down. And again, you'll see the orange lines pop up when it snaps into place, then you can just let that go. Easy peasy. Didn't have to do any maths. Just make sure that you're definitely snapping into exactly the right spot by checking for those orange lines. Look for those along the edges and crossing in the middle. You can also use these little cross hair lines that we put in. This should look exactly as we created it. If it looks anything like, let me just nudge this up slightly, and then we'll go and have a look down at the bottom, and you'll see what I mean. If you're seeing things like this, then you'll know that it's not snapped into the right position. If those aren't lined up properly, you'll know you've gone wrong somewhere. If you find that yours isn't snapping properly as you're moving this around, then double check that you have snapping turned on, first of all, and that both of these sliders are all the way up. And also, if we go back to this layer and we can zoom in, as I mentioned when we were setting it up, make sure that all the edges of your diamond are touching the edges of the canvas. I know that mine are, so let's just let's break this one here. Let's crop a little bit out. That. So yeah, if you're seeing something like this, that would be why yours isn't snapping correctly into position. When we select the whole layer to move it halfway across, we need to have the whole canvas selected. As you can see, when I've selected this, we don't have the whole canvas, not the full width selected. So when we move it across by half, we're only going to be moving it across by half of this amount, not the full width of the canvas. So if you find that you have an error on your document like that, you can fix it by just adding a little blob and making sure they go to the edge. However, you'd be better off going back into your photoshop document and changing it. There and then re saving it on the cloud because otherwise, you're going to have to do this every single time you import it back into Procreate. So let's just undo those steps and get back to where we were. So let's go back to our tile with the blobs on it, and we'll show this one that we already started moving. So to carry on building this tile, this is how it's going to work. On this original layer that has the bits we drew on it, I'm going to re show that one that we moved. So with our original layer, that we drew on. We're going to duplicate that again and this time, we'll drag it halfway down and halfway back this way. So in a negative direction along the X axis, and again, checking for our orange lines intersecting. And then again, we'll go back to the one that we drew on this bottom layer, and we're going to duplicate that, and we're going to drag it upwards, making sure we've got our lines crossing and then over to the left. And then go back down to this bottom layer again, duplicate it, select it, and we'll drag it up and over to the right. And now we have built out our diamond repeat. We have this edge matching up with this one and this edge matching up with that one down there. So let's test this repeat out, shall we? I'm going to swipe down with three fingers, and I'm going to tap copy all. Then I'm going to go up to the very highest layer. It doesn't matter if it's showing or not. So up on your topmost layer, swipe down again with three fingers, and this time, we're going to tap paste. And that's just pasted a copy of everything that we could see. So I'm going to tap on this blue dot down there, and I'm going to drag this up until it fills. Just this top left quarter of the document. And you'll see your orange lines for snapping come up there in the middle, and then you can release. And then we're going to go to our layers, and we're going to swipe left to duplicate this layer. Then we're going to transform it, and then we're going to drag it over here until it snaps into place. And then we're going to pinch those two layers together. Duplicate those two, tap to transform, and then we're going to drag and snap them down into the bottom. And you can now see how our diamond is tiling and repeating perfectly. So let's hide these two and go back to our tile. The clever thing about this is that the whole square can still be our overall repeat. You'll notice that this edge here matches up perfectly with this one, and the top also matches up with the bottom. So this entire canvas will actually be a seamless tile that we can export. It will still function just like a normal square grid repeat, and you can use it just like any other pattern tile. For example, on spoon flour, you can still use the basic repeat. The best part is that because we're repeating everything within it in this built in diamond repeat, we only have to create motifs to fill this middle part. These three here are the only ones we'd need to illustrate. We only have to create finish motifs for these. If we go back to my flower pattern, let's show this layer, and let's also show the diamond so we can see where the edges are. If we go back to this pattern, the only part that I had to illustrate were these ones here. Even though the pattern is made up of all of these, these here are the only ones I had to illustrate. The rest will be repeated when we bring this into Photoshop later. I'll show you quickly how that works. So on this layer, I'm going to have to add a little mark to the corners because my illustration doesn't go all the way to the edges. It's going off the edges here, but there's nothing touching the top and bottom, so I need to just uh, let's just add a little mark going off each of these corners. There we go. So now, if we duplicate this layer, you can see how this section repeats in a diamond, just like we did with that test one to fill out the rest of the tile. There we go. Just do this last one. So those parts in the middle, these ones here are the only ones that we had to draw. Now, I know what you're thinking. I said that duplicating things was bad, and you're absolutely right. I did. But we're only going to be doing this duplicating for our sketch layer, and image quality isn't important for a sketch layer. With this method, we will sketch all our motifs first. Let me just find the original for this pattern, somewhere hidden down here. Let's turn these layers off, turn this one back on, and let's find the sketch layer. I don't know if you can see that because it's in white. Let me just change the colors on those. There we go. Change those to blue. So there we go. This is the sketch layer for this pattern. And yeah, we're only going to be using this duplicating to work out the sketch layer. We'll sketch all our motifs first and figure out the layout for the pattern. Then we will illustrate them over the top afterwards. The rest will be duplicated in Photoshop using smart objects. Duplicating with a smart object in Photoshop preserves image quality. So it's perfect for building out patterns we've made starting this way in Procreate. We can even automate parts of the process. I know you must be excited to get started with some real pattern building now. But before we move on, I just have one more thing to set your minds at rest and say, in case you are wondering, this diamond here is only ever part of the sketch layer. You can see I have it here on my sketch. It's just to allow us to see the seams of our repeat and allow us to snap the edges when we transform. It won't show in the final pattern. So now you have the basics of how your pattern is going to repeat. Let's start designing it. And 5. Sketching a Design 1: So let's get started making our pattern. So obviously, the first thing we need to do is to bring in our Canvas template from wherever it was that we had it stored. Either airdrop it to your iPad and then open it and Procreate, or if you've got it saved in the Cloud somewhere or in your files on your iPad, you can go to Import, and then you want to navigate to wherever you have it saved. And I'm going to bring in this black one here, the black version. So we're going to come up here to our layers, and I'm just going to this sketch layer here is the one we'll be using, so I'm just going to lock the one underneath to keep it as a spare in case we need to go back to it. So I'm going to swipe to the left and tap on lock. So we can't draw on that one by accident and hide. So I'm going to add a layer above this diamond just to start off drawing, and then I'll merge it down in a second. It's just nice to be able to get drawing on a blank layer to start with, and then we can merge it down. So you can use any brush for this. I'm going to go into the inking this one's my favorite, and I'm going to use the dry ink pen. Where is it? There we go. And I think what we'll try and do is to make a similar version of that flower pattern that we were looking at in the last lesson. So I'm just going to test out this brush. That's probably a little bit thick for sketching and make that a bit smaller. And I'm actually going to change something, change the settings on this dry ink brush. So if we have a look at this one, you'll see that if we go to stabilization, it's got some smoothing on there, and that can make it difficult to do quick sketches if it's smoothing it. So I prefer to have that turned off, but I don't want to change the settings on the main brush and then forget what they are. So I'm going to duplicate this brush by swiping left, tap on duplicate. Then I'm going to tap on this little squiggle up here, and then we can go in to stabilization and turn all of those all the way down. And then there's no smoothing on this one now, so we can do nice quick sketching with it. So let's get started doing drawing. I'm just going to start laying down some shapes here, start with the stalks for the flowers. Plunk those in there. And for now, I'm just going to do a rough circle where I know I want the flower heads to be. I'll draw the petals and stuff in properly later. I might also put some leaves in at this point. There we go. And then once I have this first basic doodle of my first shape there, I'm going to select it, and then you can move it to wherever you want it to be, you're going to turn off snapping there so we can free move it. And then we can just drag this first motif around to place it on the diamond where we want it. Normally, I place everything right up here in the middle, almost going up into the corner there, but I want to show you a way of being able to draw into these corners later. So I'm going to place this deliberately down a bit. And then once that's in place, I'm going to pinch it together to merge it with my sketch layer. So they're now on the same layer. So now I'm going to tap on this transform arrow up here and I'm going to turn my snapping and magnetics back on and make sure those slides are all the way up. So then I'm going to duplicate this layer, tap on transform, and we're going to drag it into the corners like we did before, dragging up and across making sure that we can see these snapping lines showing we've got everything in the right place and checking for these little crosses, as well. And I'm going to do that four times dragging it into each of the different corners. And then once that's done, you can pinch these four layers here together. And now we have these around the outside. We now know how this element is going to interplay with anything else around it. I'm going to turn the opacity down on this top one just so that we can easily see what's on our sketch layer and what's on the outside duplicated layer. So let's go back to our bottom sketch layer, this one here. As you look at the thumbnails, it's the one with the drawing on the inside of the diamond, as opposed to the one which has it around the outside. So now we know that we have this gap here to fill. We can maybe draw something that's going to connect into here, maybe let's make sure we're on the right layer. Let's start down here next to this one, which is, in fact, this one up here. Let's maybe draw some lines that curve up there and go around here. And again, just go to draw the flower heads in as circles for now until I've got all my positioning worked out. Just put a few leaves in. And then again, we can duplicate this layer and drag it into its positions in all the different corners of the canvas. So go back to the bottom, duplicate, transform, drag it up until the left, making sure it's snapped. Bottom layer, duplicate, transform, drag it again, bottom layer, duplicate, transform. And then because I haven't made any changes to this top one here, we've just added bits to it. We can just merge all of these layers into one. Again, you just pinch them all together to do that. And I'm going to bring down the opacity on that layer. So now we can see we've got this nice section here of pattern lining up, and we can see how these motifs are lining up with each other off the edges of the canvas. Whereas, if we were doing this using the edges of this canvas, we wouldn't be able to see off the edges. So the next part that we need to fill, I think, is maybe do something in here. Um, it's actually looking like I don't quite have enough room here to put another motif, this sort of size. And what I'd like to be able to do is draw in kind of this area here and go off the edge. So this is a step I didn't include in my first class on making patterns like this IPcreate because it can get a bit messy if you're not going to be using Photoshop to put it all back together again at the end. The way we get round it is to shift the edges of the pattern inwards. So I'm going to duplicate this top layer. And then I'm going to select it. I'm going to drag it halfway across. And then the one underneath, I'm going to drag halfway across in the other direction. And then I can pinch to merge those two together. So if I just hide this, you'll see now instead of having the diamond, we've got the diamond going in across like that with these cross hairs now in the middle. And again, this is a nice way to be able to verify that you've got it lined up properly. So then this bottom sketch layer, we're going to do the same to that. I'm going to duplicate it. Select it, and I'm going to drag it halfway across. And then the bottom one, I'm going to drag halfway to the other side. And then this now brings the edges of the pattern into the middle for us so we can then draw off the edges because they're now in the middle. And like I said, this is just for a sketch version. We won't be doing this for the final one. The duplicating, as I said, can sometimes get a bit messy, but this is just the sketch, and we're going to be using Photoshop to do the rest later. So now we've got this nice big section here, all in one stretch that we can work on. So I'm going to maybe start here, making sure that I'm on this bottom of the two, the one with the higher opacity. So let's start maybe here. I don't know if I'm going to be able to get three on this one, maybe just and do my tapping with two fingers. I think I might go. Let's see if I can just draw these in here. We can make the line go up there, and then take this one over here, and then possibly we can fit that one in there. Then we can take the leaves round here. And then I think this part is going to be the part that then goes up there. So once we've added this motif, to see how that is interacting with everything else, I'm going to delete this top layer. And then this one that's left, I'm going to duplicate it and shift everything back over to the sides so that we have our diamond again. Let's bring that there and take that one across, and then I'm going to pinch to merge those two together. So now we're back to our diamond, and you can see how this way we're able to have things going off the edge. As I said, I don't mind things off the edge when they're in my sketch layer. When we come to draw the motifs on later, I'm going to show you how to get these going off the edges and to draw them in the middle, and then we can fix it in Photoshop later. But we'll leave that for now. So I think that's the whole thing filled now. So if we do duplicate and fill the edges, again, just duplicating that bottom layer, transforming and dragging it out into all the corners, each time making sure you can see those orange lines where it's snapping into place. 6. Refining Your Sketch: So it's looking like we've just got this area here to fill. Just going to pinch to merge these layers and turn down the opacity. So we've got this gap here, which is the same gap as we've got up here and over here. So what I think I would do is modify this slightly and bring this flour down there. So let's try erasing that, make sure I'm on the right layer. Let's go back down to this one. The one that has a filled in diamond as opposed to the empty diamond up there. So let's just erase that part of it. It doesn't matter if you erase some of the diamond, as well while we're at it, as long as you keep the bits in contact with the edges intact, it doesn't matter if you mess up these inside edges while you're sketching. So let's go for having maybe let's have a flower head down here in that gap, and then we can bring that stark down there to meet with it. And then I think I'll bring this one a bit further over as well. So let's just erase that and draw that a bit further over. And then we can put a leaf in there to fill that gap and one down there. And, yeah, this is the reason that I absolutely love using this method to make patterns, rather than drawing motifs and then taking them into Photoshop or Illustrator to build a pattern. By drawing the layout first, you can really make these motifs lean into each other and fill every little gap and really make an interwoven pattern. That's why I absolutely love this method. I love drawing intricately interwoven patterns where everything fills the space really nicely. So I'm just looking now to see if I want to put in any more leaves on at this stage. I think I think there's probably enough in there for now, and I'll leave that until a bit further on before I put a few extra leaves in. So what I'm going to do now is to duplicate this bottom layer and then take that up into the corners again to reflect those changes that we just made. Just take up this last one. So this top one here, because this is now different, we've modified and move things around on these layers, I'm going to delete this one and then merge just these four duplicates just to keep things nice and tidy. And that space is now nicely filled. To test the pattern and see how it's looking in repeat, I'm going to swipe down with three fingers. I'm going to copy all, and then I'm going to go up to this layer here, this group, the one that's called pattern double click. I'm going to swipe down again with three fingers, and I'm going to paste and then this blue dot down here, I'm going to drag up to the center, so we're just snapping this up into the top left corner. Then I'm going to duplicate that layer, transform it again, and snap it across to the side, pinch those together, duplicate, transform, and snap those down at the bottom there, and then we can pinch those last two layers together. And then, although it can be a little distracting with these thicker diamonds, and as I mentioned, when we were making those, I have deliberately made those a lot thicker so that you can easily see them from above as I'm filming. You can definitely make those thinner in photoshops so that they won't show up as much and they won't be as much of a distraction. But on the whole, I think this pattern, it's flowing nicely. There's no obvious gaps or bits that stand out as being too big. I think maybe here, and I see it happening up here on the same part, I might make this flower sort of twist down a bit more to fill that space. Or when it comes to this flower, I might move that up a bit or even extend that leaf up there. We'll have a look when we start drawing the proper motifs on, and that's easy enough to fix later. So I'm going to hide this layer or you could delete it. You don't need to keep that. I'm going to go back to my sketch layer, and I still need to draw these flowers. Once we've got the bones of our pattern laid out, you'll want to put a bit more detail into it. You can either draw the flowers in by hand like this or what I normally do. I normally make a shape stamp brush, and I have this one here, which I'm going to include with the class materials. So you can use this one as a sketch to trace over it. So let's have a look and see what size this is. Whoa, way too big. Let's make this bit smaller, still a bit too big, bit smaller, too small, bit bigger. There we go. About 30%. So, yeah, you can either draw your flowers in and details by hand or as I say, what I normally do. I use this brush stamp so I have a bit of uniformity but with a little bit of variation because when I trace over them in the illustration stage, they're all going to be slightly different but still based on this shape being the same size. So I'm just going to lower the opacity on the layer above again. So you know which one we're working on. Then I'm going to go on my proper sketch layer, and then I'm just going to stamp my flower shapes in here where these circles are. And then to be able to draw these ones that we've got going off the corners here, I'm going to duplicate this sketch layer and perform that side to side offset that we did when we were putting those in place the first time. So just duplicate it and drag it over and then drag the other one over and then do the same with your sketch layer above. Duplicate and drag that over and then drag the other one underneath. So then we have this X instead of a diamond. And then we'll go back onto our sketch layer and just put this flower in there. And looks like I forgot to do this one as well. There we go. So now that we have all of our flowers added, I'm going to delete this top layer and we will put this back into a diamond, duplicating and moving over, and then the other one pinch together, and then we'll perform our diamond offset into the corners with this sketch layer, and then all our flowers will be in place around the outside. And then we should be at the stage when we're ready to start properly illustrating motifs. So that's all done now. I'm going to pinch these four at the top together, reduce the opacity on that one. Do you know, actually, I think I might add a few more leaves to this one. So let's go back to the dry ink brush for drawing, go to the M recent, and it should be there. There we go. Yeah, so I'm just going to put a few more leaves in here to fill up some of these gaps. These don't have to be perfectly shaped. We can work out the exact shape and positioning better later. I'd like to have my patterns fairly densed and fill most of the gaps. So yeah, I think that's probably enough for now. Again, now I've made a change to this central bit, I need to apply it to these outside areas so that when I'm drawing the final motifs, I'm aware of what's going on around it. So let's just do this offset again. Because when we want to illustrate over the top, we need to know what we're illustrating next to. So if you make a change in the middle, always, then apply it to the areas around the outside. So then let's pinch those four together. We can delete this previous one up there. Although we didn't make any changes, we just added to it. We could merge them together, but I'm just going to delete this one. And there we go. That is now our finished sketch of our basic pattern. When we come to illustrate this, these parts here are the only ones that we're actually going to need to illustrate. And then these ones here are the ones we'll put together later in Photoshop. So in the next video, we'll look at how to start illustrating over the top of this. 7. Illustrating Motifs: So now that's our sketch all laid out nicely. We can start adding some color and final motifs to this. Just going to start by turning down the opacity on this outside layer here. And then the first thing that I'm going to do is change the backgron color to something that I want to use in the final illustration and then work the colors around that. So I've got this palette here that I'm going to use. Change the background color. Come up to your layers, tap on the background color, and then you can choose a color off your palett. I'm going to go for this Piccio one here. And then we're going to come up to our layers menu again. And we're going to be working in this pattern group here. So I'm going to turn that one on. We can hide that text layer now. We just needed that layer in so that we could save out the group with at least one layer in it. So we can add a layer above that one. And now, working in my pattern folder, I'm going to choose the color that I want for the stalks. That's where I normally start. So I'm going to go with the green. I'll use this dark green here. And I think the brush I use. I'm going to go back to the dry ink but use the regular version that does have some smoothing in it. So now I'm going to start drawing in the stalks. That's normally where I start if I'm doing a floral pattern like this. So I will start from the middle of where the stalk would be attached to the flower just to get the right angles. And I'm just going to draw some nice flowing lines for these. So I think I'll use this thicker brush for the flower stalks these larger leaves. And then I think for these smaller leaves, I'm going to use a slightly thinner brush. Don't be afraid. When you're drawing curves like this. Don't be afraid to move the canvas around. It's much easier to draw at this angle than to try and go backwards and draw the other way. So don't be afraid to move the canvas around to a position you find comfortable to draw in. So I'm just going to finish putting these leaves in here. And then I'm going to change up to the bigger one for these flower stalks again. I think I'm going to turn the opacity up on the outside sketch layer so I can see it a bit better. It's a little hard to see at the moment. And while we're here, I'm going to go back up onto my stem layer and I'm going to rename this layer to stems. I always like to name as I go in Procreate. And then when we get back into Photoshop, it's easy to see what is what. It's much easier to see the thumbnails and do the renaming in Procreate. So let's carry on with this and draw these flour stalks in here using nice curved lines or straight lines, if that's your style. I'll change to the smaller brush for these. As you can see, I'm obviously not sticking religiously to the sketch lines that I've drawn. I'm going more going with more of a flow of the curve and using that to be the guide is where I want the stem to be rather than sticking religiously to what I drew in the sketch. As long as I'm following and paying attention to what's going on around where I'm drawing, it doesn't matter if you deviate from the sketch a little bit. I think actually I need to change the color of this sketch layer on the outside because it's getting a bit hard to see which I'm supposed to be drawing and which I'm not. So rather than changing the opacity, I'm going to alpha lock the sketch layer. Swipe right. Actually, maybe I'll do the top one. Swipe right with two fingers to alpha lock it, and then you can tap on fill layer and it will fill it with the color that you've got, and then I can turn the opacity down. And now I can easily see the difference between the ones I do need to draw and the ones I don't need to draw. So let's go back to the stems. And I think the only one I need to draw now is this one, which it goes right off the edge, but actually it's only the flower that goes off. So I can still draw this on this same layer. So let's draw in the stems, and then we'll look at drawing the flower later. So, as I'm not going off the edge, I can start here. I'm just looking at this and thinking it looks a bit too vertical, and I think I want to put a bit more curve into that, so I'm going to undo those and try and work a bit more curve into that line. Yeah, I think that works better. So let's just put these back in. I'm just remembering from when we looked at this image here on this bit, I was thinking I might have a look when we come to draw the motifs to fixing that bit. And that was this section here. And so my options were to maybe extend this leaf up a little into it or move this flower down, this one here. So I think I think I'm going to probably extend this leaf up a bit more. So let's get the eraser. I want to erase with the current brush that I'm using. So I'm going to long press on the eraser, and you'll see up there it says erase with current brush. That's gonna give me a much softer brush to work with. So just go to erase that down. And then let's just draw actually, I'm going to fix the stem that I'll be coming into first. Let's just go back over this. There we go. That's fixed. So I'm going to come up here and angle it down into the leaf. The stalks are right, and then we can make the leaf come up there. I think that should fill it nicely. I might even take this flower a little bit further down there. So let's just erase that one. And then on my sketch layer, I'm going to use the select tool, and I want to select freehand. Just go to draw around this flower. Go to transform. I'm going to turn snapping off, and then I'm just going to move it down here ever so slightly. And then I can go back to my stems layer here, start in the middle of the flower, and then join back up with that point. And there we go. And now I'm just going to go back over here and finish working on these last few stems. 8. Filling Motifs (A shortcut!): No. Okay, so I think that's all of our stems done now. So the next thing that I'm going to illustrate would be the flowers. So we'll add a layer above this one. And I'm going to do the flower centers first, which are going to be yellow. So let's rename this layer yellow. You could call it centers, middles, yellow or whatever color you're doing. So let's go grab my yellow color. And then we just need to draw and fill in all these circles to do that. So I'm just going to make a rough circle shape. And then you want to hold it in position, and then up here, you'll see it'll say ellipse or circle. I'm taking too long over that. I need to go quicker. Let's undo that. So keep an eye up there. I'm going to draw and hold, and it'll say ellipse created, or it might say circle. You can tap on that little triangle right there and then change it to be either ellipse or a circle. If you want an oval shape, you can tap on ellipse or if you want the perfect circle, you can tap on circle. I'll just undo that and show you again. It doesn't give you all the time in the world. So draw, hold, tap up here, and then you can choose circle or ellipse. I'm going to keep the circle for this one. And then I'm just going to work my way doing this for all of the others. And that's now all of these done except for this one here in the corner, which we're going to tackle after we've done the rest. So now we need to fill these in. You can drag from your pink color here down into one of these shapes and let it go. And then up here, you'll see it says continue filling. You can tap on that and then just tap on each of those circles here like this. And then when you're done, you can just tap on the little tick there. Now, with Procreate's color drop, because we're using a texture brush, it doesn't fill all the way to the edges as easily as if we were using a flat brush like this one. I'll just show you if I drag that in there. Apart from that place where we started, you can see that this one fills more seamlessly than the textured one. I mean, even that one's not perfect. You can get around it to some degree if you hold and then drag across, you can change the threshold. To fill more of the shape. And you can do that with these as well, but once you get to a certain point, even if you turn the threshold as high as you can go without filling the whole page, you're still going to see some of these gaps creeping in. There are ways around that. If you're using only Procreate, you can obviously go around each one of the motifs and trace over the edges like that. And that's a perfectly acceptable way of doing it. However, let's just get rid of all of these. If you've got a lot of shapes to fill in and especially when it comes to doing these petals later, that actually gets quite tedious to have to go around and trace around all of these things one by one. So I wait until I'm in Photoshop to fill all of these in because then we can use the magic one to do things like invert selection, feather and fill that way. It's actually a process we can even automate, so you can do it with just a couple of clicks. But we'll get onto that later. The only problem with not filling these in now is that if we want to do any shading over these, which we will do in a second. So if we were to just let's alpha lock this layer, which is how we might normally do shading, let's go for a darker color and choose a texturibush. Choose one out of here. So when we put some shading on these, that's kind of made that permanent now. And when we come to fill that in Photoshop, you know, we're left with not being able to do it properly because we've sketched over an unfilled shape. So the way we're going to do this shading later, we're going to add a layer above our flat shapes, and then we're going to clip it to them. And then when we add our shading to that layer, when we come into Photoshop and we do the equivalent of filling in these gaps like this, I'm just going to quickly draw over them. So when we do the equivalent of filling in these lines like this, we still have that perfectly intact shading layer over the top of it, which we can then merge down in Photoshop like that, and we have no gaps. So I'm just going to undo all those steps again now and get rid of that. So, I just wanted to run over that in case you were thinking, hang on, are we going to leave the unfilled shapes like that? The answer is yes, we are. We're just going to use the quick color drop, fill them, and then we're going to move on. We're not going to worry about filling these in because we're playing to the strengths of the different programs we're using. Procreate is great for drawing but not so great for filling. We can leave that and pick it up in Photoshop later, which is much better for filling. So now we've done those. We can add a layer underneath that one for the petals. I'm going to tap on this layer and rename it petals. And I think let's make them this pink color. And then we'll make sure we've got our drawing brush again, dry ink line. I'm just going to go round and fill, well, trace all of these flower lines in. And remember, I said, by using the flower stamp to make sure they're all roughly the same size and angle and the spacing is correct. But then tracing over each one by hand, you'll get the uniformity, but with a little bit of a hand drawn feel built into it as well. And that's why I like using motif shape stamps for drawing motifs like this. And then that's all our flowers drawn. And yeah, I'm always thinking when I'm drawing the same motif over and over again like this, I'm always thankful that at least I don't have to draw all these ones as well. So then we can use the color drop again, drag from the corner, continue filling, and then we can fill in all these flowers. Oops. I might have not quite closed that shape. We'll just leave that one until the end. I expect if we hide these, there's probably a gap somewhere in there so we can drag. And then if we pull to the left to reduce the threshold, that will fill properly. So there we go. That's our flowers drawn now. The last thing I'm going to do is the leaves, and I'm going to draw these underneath the stems. So I'm going to tap on pattern layer and I can add a layer above it, and we'll call this one leaves, and I'm going to use a lighter green for this one. And I'm just going to trace over these leaf shapes here. Nice and simple. I might actually switch the shape of these up and change the shape. Even though I've drawn them, you know, the shape this shape in the sketch, we're not tied to having to draw them that shape. So if you change your mind halfway through it illustrating, that's okay. Um, I think I'll go for sort of that shape, but with a bit more pizzas and curve built like. A. One thing which I'm checking for here, I remember I changed the shape of this slightly, so I'm just kind of checking where that ends in relation to the leaf, and I think that's gonna be okay. Also, I know that I need to be careful because we move this flower down a bit. But I know to just go over that line a little bit is still going to be okay. So that's fine. Ideally, if you change stuff in your sketch, you should then go and change it all around the edges again. But because these were only really tiny tweaks, I didn't bother to do that at the time. But if you make any big changes to your sketch as you're going along, I'd recommend repeating the duplicate and taking it off the corners again. And then that way, you'll have less potential things to fix in Photoshop later. Right. I think that's all of our leaves done. Just looking at this section here, I'm wondering if that's going to feel like a bit of a gap later. So we might add some dots to this pattern later to fill in some of those smaller gaps. But for now, on our leaves layer, we're going to use color drop just like before to continue filling these shapes in. Oops. Oh, I actually really like seeing color that background. I really like this green background, so I might use that to come up with some alternate colors later. We'll skip that one, which is obviously not filled in. Try and change the threshold. No, still not going to get away with it. That might be cause I have the threshold turned up too much, no. There we go. Let's just take this all the way down. It doesn't need to be that high because we're gonna be fixing things later anyway. Yet, that one clearly doesn't want to be filled in. So let's hide that. And yeah, I've got a great big gap there. That's never gonna fill. So let's fill that in and then drag the color in. 9. The Extra Group: That is most of the illustrating done. The next thing that we need to do is this flower here on the edges. So to work on that, this is going to go in the extra section. And what I'm going to do is swipe down with three fingers, and I'm going to copy all, and then I'm going to turn on my extra folder. I'm going to select this layer with extra on it, and I'm going to swipe down again with three fingers and paste. And that's now pasted a copy of everything that we had on screen. I'm going to duplicate this layer and I'm going to oh, I don't have snapping turned on. Let's turn magnetics and snapping on. And then I'm going to drag this layer all the way and snap it to the edge. And then the one underneath, I'm going to drag back in the opposite direction. So now we're working on our X rather than a diamond. Gonna pinch those two together. We can just delete that placeholder at the bottom that says extra. You can delete the Pattern one if you want at this point as well, because we don't need to add any more layers in underneath. Those are just placeholders. So now we can work on this flower here. Now, when we move things over to the side, we know that because our document is 3,600 pixels or 12 ", we've shifted everything this flower that was on the edge, we've moved it plus 1,800 pixels or 6 " along the X axis. We've moved it half of the document size along the X axis. So this spot in the middle, this is a very specific place. We haven't just shifted this to any old spot on the canvas. So when we come to take this back into Photoshop, this whole extra folder, we can easily move that back to where it should be in the pattern just by moving the whole folder -1,800 pixels along the X axis or 1,800 pixels to the left. So that is how we get around drawing off the edges and procreate, but without having to have motifs cut in half. Because when we take this back into Photoshop, we can just make the canvas bigger and do it that way. So now we can go ahead and illustrate this flower here in the middle. So let's add a layer and we will do the yellow center. We're just going to draw the circle like we did before, snap it by holding, and we'll change that to a circle. And then you can tap anywhere to come off that, and then we can color drop into that. Just go to rename this one extra yellow. And then I'm going to add a layer underneath. And then we can use the pink. And again, just tracing over our petal shapes. And then use color drop to fill that in. And that is now that extra folder done, and we've laid down the basics for all of our motifs. If you just work in flat shapes with no shading in procreate, you're actually done at this point, and you could then save and send this over to Photoshop and skip ahead and start the next section working in Photoshop. But if you like to add texturing to your work, then keep watching for the next video because we will look at doing that next. 10. Adding Texture: So now let's have a look at how to add some texture to these motifs in a way that makes use of not having to stop and start in procreate to fill in all those little lines and instead, making use of how easy it is to do it in Photoshop later. So as I said, if we were to alpha lock these layers and then add texture onto this layer, we would have to fill in these spaces around the edges first. But if we add a layer above and we use a clipping mask, it's still going to have the same effect as if we'd alpha locked the layer, but it's still going to fill over the top of these gaps. It just won't show them at the moment, and they will show up when we come into Photoshop later. So on this layer, let's just rename this one to Petals Extra, I forgot about that earlier. Don't worry about renaming the clipping masks because when they get merged down, they will take the name of whatever layer is below them when we do that in Photoshop later. So on this clipping mask layer, and let's have a look at what texture brushes are available. Let's try this one. So I'm going to use this medium nozzle spray paint that comes with procreate, and I'm just going to use this to add a bit of this darker color to the center of the petals like that. And then I'm going to choose a lighter pink and just add a touch of lighter color to the edges like that. And as you can see, if I just unclip this, all of that is still intact and will cover those areas perfectly. But because it's clipped to this layer underneath, it's still going to show those gaps, even though they're not really there. So that's all there is to do on this layer because this is in our extra group. So I'm just going to do the same with the yellow, add a layer above it, clip it to the layer below, and let's go for a slightly darker orange color on the bottom here. And then a lighter color up there on the top. That might be a bit too similar to see. Let's go a bit lighter. There we go. And while I've got these colors saved here in my color history, I'm going to go and add these to the other layers. I recommend if you don't have color history on your iPad, I think not all models have it, my son's iPad doesn't have this in his version of Procreate. If you use a color in illustration that's not saved in your palette, what I would do is create a new palette to put it in, and then you can just add any extra colors that you use as you go along because sometimes it's hard to find the exact right color by pulling it from the illustration like that. Another thing that I know some illustrators do is to add a layer in their illustration which they'll just drop down colors onto so they can easily pull them that way. Just use a hard brush. And like I said, on a new layer, you can just add dots of the color which you've got then saved there to go back to, like having a note of them in your illustration. Just going to hide those for now. We can also hide this whole extra folder now because we've finished doing that flower. So when we hide that, it's going to jump back to the normal illustration underneath. So let's start with doing the yellow flowers first as we have those colors in our recent history. Let's add, not a layer mask, tap on it and add a clipping mask. There we go. So yeah, let's use these colors, and I'm going to go back to my recent brushes at the top to find the one I was just using. So now we're just going to go round and add that little bit of shading to all of these flower centers. And then we'll get the lighter color just to add a bit of light to the top. We're imagining the light is coming from the top left in this drawing. That's that layer done. We can now go to the petals, add a layer above, tap it, and then choose clipping mask. And then I need to scroll all the way back down here to this palette, and I can get the darker pink. And I'm just going to put a touch of this coming out from behind the yellow circle there just to add a little bit of depth. Do that one down there, and then I'm going to choose the lighter pink and just touch that onto the edges of the petals. And then with the stems, I think I'm probably just going to leave those as they are. I'm not going to put any shading on those. If you wanted to do any shading on the stems, because we didn't use color fill on this, we just did drawing. You can just alpha lock it and do shading over the top on this one if you wanted to. That way, there's no gaps on this layer, so we don't use to use the mask. Um, I don't want to do any shading on this one, so I'm just going to leave that one as it is. For the leaves, I'm going to add a layer above, tap it and clip it to the layer. And then I'm going to use a darker green to add some shading to the leaf. I'm just going to which one do we have? It's a darker one. So yeah, I'm just going to add a bit of darker color just where the leaves come out of the stem. And then this lighter green, I'm just going to add a touch of that on top. And then that is all of our leaves now shaded in. So if we collapse all these layers, I'm going to get rid of this when I put up there. I'm going to get rid of that preview. We've got everything now contained in our pattern group. We've got our sketch. We've got our pattern, and we've got our extra. We're almost ready to export to Photoshop, but before we do, I'm going to show you how to put this into a quick preview for one last checko things before we leave Procre and switch software into Photoshop. I 11. Testing the Pattern in Procreate: And and If you wanted to put all of this together to preview on your iPad and to see how the pattern is going to look, what I would do is to duplicate this whole folder. If you have enough layers, you may find that you don't have enough free layers to be able to do that. In which case, I would go out into the gallery, duplicate the whole document, swipe left and tap on duplicate, and then you can have your working version and one that we're going to flatten. So let's go into this one. So I'm going to hide this one. Actually, so I'm going to lock that so that we can't do anything destructive with that one. I'm going to delete the extra sketch. I have locked stuff there. I just need to unlock that spare diamond and then we can delete it. And then for the pattern, I'm just going to tap on that one and we can tap on flatten. And then for the extra, we can turn those layers on. We just need to delete that pasted image, and then we can tap on the whole group. We've just got this one flare there. We can then flatten that too. So to almost replicate what we're going to do in Photoshop, which is to be able to move this over, we need to do the opposite of the offset to get it into the middle in the first place. So if we just select this, we are only going to grab the flour, and there's no way of moving this exactly 1,800 pixels. We need to be able to select the whole canvas to do that to move it over by half. So if we just take a regular pen, it doesn't matter what it is, this one will do, and we just draw a little mark going corner to corner off the edges there. And then off the edges of the corner in that one, then we can duplicate this layer. And remember, this is just to give us a little preview. This isn't us putting the pattern together. This is just a preview and a check. We're going to duplicate this. We can drag it over to the left and snap it into place and drag this one over to the right and snap it into place, and then we can pinch those together. And then I'm going to erase this line which is now in the middle. Et's use a different eraser. There we go. And then we can show our main layer, and then we can pinch these together. And then this is the bit which we can offset and fill the edges with. Now, because we've not got anything we've got something going off the edges left and right, but we don't have anything touching the edges top and bottom. We need to put those with a pen. We need to put those marks back in again to the corners, and then we can duplicate this layer and do our out into the corners offset the same as we were doing with the sketch layers earlier. Again, remember this is just to give us a little preview and a check on our iPad. We're not merging any final artwork. Everything is still going to be fully editable later. So let's just pinch those last four together. We'll erase those little marks in the middle and go to the layer underneath and erase the marks in the corners, and then we can pinch those two together. And then this is now a copy of exactly what our patentile is going to look like. I like to do this because it's a last opportunity to check if there's anything that I could quickly fix here before we take it into Photoshop. And I'm glad I did because I can see in this section here, I've got my stem going down a little bit too far, and it's overlapping with the leaf like that. It's not the end of the world, but because that's not how the rest of the design is working, that's not got elements touching, I'm going to change it now while I've still got it in prorocreate. Another thing I can see, which I spotted as I was going along is that I have the petal overlapping the leaf there. And again, it's not the end of the world, but my pattern style is generally not to have things overlapping. But with this one, what I'm going to do is to rotate that later in Photoshop. So I'm not going to change that now, but I think I will go and edit this stork so we can hide this flattened layer, and we'll go back to our pattern folder. I'm going to unlock it now. And so it's this one here that needs editing just a bit. I'm going to turn this layer back on, but bring the opacity down. And so I need to go back into my stems layer. Let's get the right brush, and then I'm going to long press on the eraser to erase with this softer brush. So I'm just going to erase this up here and then go back and get the color that I use for the stems. Oh, and get the brush a bit thicker and then just fix that stem there. Except now, I think that looks a bit too short and stubby. So I think I'm going to undo this. I'm going to leave that as it was, and I'm actually going to fix the leaf instead. And it's this one up here. So let's go to our leaves layer. I can probably leave this clipping mask as it is, because this will rather handily apply to whatever I do underneath it as well on this layer. So I'm going to use a solid erase at this time. So let's erase this whole leaf. And then let's get the color we use for that one, which is this green. So I'm just going to draw another leaf, avoiding that stem there, if I can. Get the brush at the right thickness. And you'll see as I do this, it's going to pick up the texture from the clipping mask above. Might be easier if I draw this side first and then match the other one to it. There we go. I think that's going to look much better than trying to change the stem. And as you can see, we've kept this nice texture from above. So we don't need to go and redo this preview layer again. That's just for us to see how it looked. So I'm going to hide my pattern layers again, and let's go back up here to this preview one and take the opacity back up. And although I know I've changed these parts, another thing I like to do is to see how this looks overall in repeat. So I'm going to select the whole layer. And I'm going to drag it up to just this top left quarter, duplicate it and snap it over to the right, pinch those two together, duplicate, and snap those down to the bottom. And then you get a nice preview before you send it over to Photoshop. If you spotted anything else at this point that you wanted to change, this would be the point to go back and do it. Otherwise, if you're happy in the next lesson, we will look at some export best practices for sending it over to Photoshop. 12. Procreate Exporting Best Practices: So let's have a look at a few export best practices. I always like to tidy my files up a bit before I send them over to Procreate. So I'm going to delete this preview layer because we won't need that. This duplicated pattern layer I'm also going to delete. I want to have my pattern layer showing but have my sketch layer turned off. And I'm just going to go through and make sure that everything that should have a name has a name, which all of these do, and on the extra section. All of those do, too. I can delete this pasted layer because we won't need that. There's not a whole lot of point collapsing folders before you export into Photoshop, because when you bring stuff into Photoshop, everything imports open as default. So once I know that I don't need to undo anything else in this document and it's ready to go, I'm going to come back out into the gallery, and I'm going to rename this document. So I'm going to tap on the name and then normally, I don't have black on the end of my file names. It's just called patentile. So we'll just delete that for now. The reason I call it patentile is because when I'm adding a file name to things, I just need to add what the file name is, and then this would be Pink Daisy's patentile that can be its permanent name. It saves me having to add paten tile on the name every time. So we can then tap Select. We can tap on our file, and then we can tap Share and you want to share it as a PSD. I'm going to save mine to files. I'm going to save it in iCloud, but you could airdrop it, you could text it, email it, however it is that you normally send files from your iPad to your computer. So just as I have a Procreate transfer folder for sending things to Procreate, I also have a transfer to MAC folder, which I put things in for sending back the other way. Got my file name down here so I can just click on save, and that will now save in ICloud and I will be able to open that on my computer. Once you have your file saved and sent over to your computer, in the next lesson, we'll look at opening it in Photoshop. 13. Opening in Photoshop: So once you have your file on your computer, you can double click on it and open it in Photoshop. If you've never used Photoshop before, don't be overwhelmed all the different menus and panels and things. I'll walk you through everything as we go along, so just stick with me and it'll be fine. So when you open your file in Photoshop, you'll notice, as I mentioned, even if you closed all the groups in Procreate, they'll all be auto expanded when you open it in Photoshop. It look a bit overwhelming when you're in this small interface. So if you go to the top one and Command click on it, it's going to auto close all of those groups for you, much tidier. So the panels that we're going to need for working on these files are the patterns panel here, the Swatches panel, and you're also going to need layers and actions. If you don't have any of those, you can go up to the Window menu up here and find them on this list, click on them, and then arrange them as you want them to be over here. One last thing I want to do before we start is just to go over to the crop tool here and make sure you have delete crop pixels unchecked. This will mean that we can move the edges of the canvas later, and we're not going to inadvertently delete any parts that fall outside the canvas. So now that's done, we have a file open, and we've got the correct panels over here. And the next lesson, we're going to learn all about smart objects. 14. Creating a Smart Object: So this part here is what we want to use to build out the rest of our tile, similar to how we did in Procreate. The best way to do that is to convert it to a smart object. If you've never used smart objects before, a smart object sort of behaves like a group, but it makes everything in it a whole separate file that you linked to. When you duplicate a normal group like this one, let's just duplicate that and just change this to group select. And let's just move this move it up to here, for example. If you change something within this group here, for example, if we made a change that leaf here and say we rotated it, it would only change that leaf there. This leaf would remain unchanged because this is a whole separate entity. It's a duplicate. But when we make something a smart object and then change it, let's just go back, get rid of that one, quickly make this one a smart object, duplicate it, and let's drag it up there. If I change this leaf here, this one up here would also change in exactly the same way. When you duplicate a smart object, you're not saying make one version of the object here and another version up here. You're saying show this object here and show it here at the same time. It's the same object. So any changes we make to this little leaf here also apply to this one plus all the other ones around the edges. So it's a great way to build patterns for three reasons. One, it's a non destructive way of duplicating and transforming. We're not going to lose image quality. It saves us time because we only have to edit one instance of an object. But the main reason is that your pattern stays seamless. If you weren't using smart objects, you'd need to keep checking that when you change something here on this side, you'd also have to move and change the duplicated version of all the other edges. In a Smart Object, you know that any changes you make on one instance will be mirred on all the other instances. So let's just delete this one. Actually, note, let's undo, and then we can go back to it just being a normal group. So let's convert this to a Smart Object. I use this function so often that I have a shortcut setup. So I use Command W, but to do it the normal way, right click on the layer and go down here and click on Convert to Smart Object. You'll notice the little icon here changes, and we now can't expand the group like we could by clicking on the little folder. We now got this thumbnail, and the way we get to our layers within that group are by double clicking on this icon here. You'll notice that the smart object takes the name of the highest layer. This is why I call all my layers grouped together as pattern, double click to edit. When I hand these files over to a client, they can easily figure out how to get to the pattern elements. Just by naming that group like that from the beginning, I don't always have to rename it at the end when I get to this stage. So let's double click on this thumbnail and see what happens. You'll see that it's now opening another document over here in this new tab. So we have our original document here. We double click on that, and it's opened up all those layers as a new file up here called Pattern Double click to edit PSB. This is the separate document that I was talking about. We can edit things in here, save it, and then the main document will update. So let's just add something here. We're just going to add a layer in, and let's just go get a big, ugly brush and just draw a bigblogeon it like this. If I press Command S to save, and then we go back over to our main document. You'll see that big ugly blob is now in our main document. And if I'd had this duplicated up in the corner like I did before, there would also be that black blob up there as well. So let's go back into our Smart Object and undo that and also undo the added layer. I'm going to re save this now so that we get rid of that black blob in our main document, and then I'm going to close this for now and then we'll come back to it later. So now that we've looked at how to convert this to a smart object, the next step is to look at how to use that to build out the other parts of our tile, and we'll look at that in the next lesson. 15. Building a Repeat: So we're going to use this smart object to build out the rest of our tile. Let's start by setting up some guidelines to mark the edges of the pattern. The design will still work if you don't do this, but it's useful to have the seams marked out in case you want to expand the canvas later. It's also useful to have it set up so that when you pass a file over to a client, if they play around with things and move things about, they can easily find their way back to the edges of the repeat. So we need to have rulers showing around the edges to do this. If you don't have these, you can go up to view and make sure you have rulers checked. This is also a good point to make sure you've got snap turned onto. So what we're going to do, we're going to go up to our rollers and click and drag and snap a guide to the edges of the canvas like this. That one's not quite in the right place. Just going to press Command Ed to undo that. And there we go. That one's dragged into the right place and the last one over here on the right. So now I'm going to use my crop tool over here. I'm going to hold down option I'm just going to click out here and then hold down option and then you can drag out in all directions. If I just drag it without option held down, it's only going to drag it out in one direction. So hold down option, and then you get to drag it in all directions at the same time. Then you can release and press Return to set that transformation. Now, I don't normally expand the canvas like this when I'm working on a pattern and you don't need to either. But it's going to be helpful for us to see what's going on and visualize what's happening if we can see past the edges as we're learning what's going on here. So the first thing I'm going to do, the first thing I'm going to do is plug my Mac in so that it doesn't run out of battery, and I'll be right back. Okay, we're good. So the second thing I'm going to do is just delete this background here. And replace this procreate background layer with a color fill layer that just extends infinitely across the whole canvas. That way, we're not going to have any issues with things potentially becoming misaligned. I prefer to have everything extend over the edges when I'm making patterns. So I'm going to come down here and I'm going to click on this little icon, and we're going to add a solid color fill. And we're going to click on that, and this is going to set a solid color fill over the whole document. So let's just leave that black for now, and then we can hide that layer, and we can use our eye drop at all. Keyboard shortcut is I. We can select that background color, hide sorry, show the color fill layer, and then come up to our swatches and apply that to the whole document. We can then delete this background layer. Now, whenever I add one of these background layers, I always make a note of the X and Y dimensions in the layer name so that I don't forget what it is. It's a habit I got into back when I was working with more random size canvases, before I started using this method, where nine times out of ten, my canvas is 12 by 12. But I'd write the dimensions down on a scrap of paper, and I'd be referring back to that for working out the maths of how much to shift things left and right, et cetera. But then I realized it would be more useful to have that info in the actual document. So then I started writing the X and Y dimensions here in the layer name. So although it's a thing I don't need to do anymore, it's a habit I've stuck with. And again, it's a thing I think is potentially useful info to have contained in the file for when you hand it over to a client. So I'm going to double click on this layer name, and we're just going to write in there x36 hundred and y36 hundred. So yeah, two little tips there to help you keep track of your document dimensions. One is to have them written down there in the layer name, and then a second is to have them marked out with guidelines around the edge of the canvas, so you can always find your way back to wherever the repeat is. So let's start building our patentile. So the first thing we're going to do is go to that Smart Object layer, and we're going to duplicate it by pressing Command J, or you can right click and go down to duplicate layer. So the next thing we're going to do is to transform it in exactly the same positions as we did with our sketch in Procreate. Except this time, we'll be doing it with some easy maths instead of snapping. And again, don't let the word math scare you because we can get Photoshop to do that for us. So we're going to press Command and that's the shortcut for transform. Now, up here in these boxes, these show where this tile is positioned on the canvas. They show where its X and Y coordinates are. So whatever this number is, and if you remember when we were working in Procreate, we knew we needed to move that by half the amount of the overall repeat size. So our repeat is 12 ". It's 3,600 pixels. So we need to move it half of that amount, which is 1,800 pixels this way in a negative direction along the X axis, and also 1,800 pixels up, and that's a negative direction along the Y axis. The good news is that we don't have to do any of that maths in our head. We can just click up into this box. If you click once, it's going to highlight it, and then if you click again, you'll be able to type. So click between that number and where it says Px. So we're going to type in minus 1800. And that is then moved 1,800 pixels this way. But we also want to move it 1,800 pixels that way, and that's a negative Y direction. So click into the Y box. Click once to highlight it and then click to get in there to be able to type. There we go. And we want to move that minus 1800 pixels upwards. And once you've done that, you can press Return twice to set that transformation. So now that smart object is being shown in the middle of the canvas here, and it's also being shown up there in the top left of the canvas. So the next thing we need to do is same as we did in Procreate, we want to move this up and to the right. But instead of moving this one up and to the right, we can move this one across instead. So we'll click on the one that's on top and we'll press Command J to duplicate. And this time, we want to move this all the way over to the other side of the Canvas, which is 3,600 pixels. So we're going to press Command T to transform. And then up here in our X box up here, we're going to type in plus 3,600, and that's going to take it all the way over to the other side, and then you can press Enter to set that transformation. And then the next thing we need to do is these two smart objects that we have here, these two because they're touching this top edge, we need to move these 3,600 pixels down here as well. So we're going to with these two layers selected, press Command J to duplicate, Command T to transform, and then in the Y box up here, remembering that down is a positive, we're going to type in plus 3600. And that's going to move those 3,600 pixels down, and then you can press Enter twice to set that transformation. So the main reason that I wanted to expand the edges of the canvas was to give you a good view of what we were doing. I didn't want all these parts up here to be hidden and not on view. So looking at it like this, you get a good understanding and feel for how the pattern is put together in its diamond formation, but still repeating within this square. Remember, I said, I'd show you how to build a pattern with just one click? Well, all those steps we just did are the ones we're going to combine into a Photoshop action. However, we're not going to do it just yet because there's an extra step we'll need to put in that has something to do with the extra layer group that we had created in Procreate. So we'll circle back to that later. First, we need to tidy up and edit the motifs, which is what we'll look at in the next video. 16. Editing Motifs: Mm. So let's have a look at editing some of these motifs and fixing these holes here. To get to our motifs, we need to double click on our smart object again, just like we did before. So I'm going to make sure my sketch layer is hidden, and I just want to be looking at my pattern layer. I'm actually going to ungroup all of these. So on the top layer here, the pattern, double click to edit, I'm going to press Command Shift G, and that will ungroup all those. We don't need those grouped together anymore. So we have our sketch layer hidden. I'm not going to delete it because we might need to come back to it at some point. This one is one I added in with some dots after I stopped recording because I wanted to be able to show you how to move some things around in Photoshop. So I'll hide that, and we'll come back to that later. So to find our motifs, I can open up this patterns folder, and then you can see all the layers that we made in Procreate a little earlier. So the first job is to properly fill all those motifs because as you can see, they've still got those little lines on the edges. So let's start with these leaves, working from the bottom layer up. I'm going to unclip the shading on top of that. And to do that, you hold down option hovering between the two, and then just click, and then that becomes unclipped. If you want to clip it back again, you hold down hover between and click again. That's how to toggle that on and off. And then I'm going to hide that layer. So the way we're going to fill all of these layers, I'm just going to zoom out a bit. We've got a good selection on view here. I'm going to use the magic wand tool, so press W to get that. And what I want to do is to select everything outside here, all the space where there's nothing. I'm going to select all of the negative space. You need to make sure you have contiguous switched on for this bit. If you have contiguous switched off, it's going to grab any negative space no matter where it is in the whole drawing, even if it's these bits inside the leaves. We only want to select the stuff outside the leaves. Contiguous means only select stuff that is connected to the pixels that we're clicking on. So if I click here, it's only going to select the negative space that is the same and connected to this pixel. Things in here aren't connected because they're separated by that border there. Hopefully, that makes sense. Just make sure you have contiguous selected for this bit. So I'm going to click here, making sure that I'm on the right layer. Press Command D to deselect and select the leaves layer. Make sure you're on the right layer. So let's select that. And that is going to select all of the area where we have no fill at all. And what we want to do is to make this selection a little bit bigger, so it comes into just in past here. We want to soften the edges a little bit, and then we can use the fill tool to fill all the parts that we want to. So the next step is to go up to select menu, and we're going to go to modify, and we're going to expand what we have selected by two pixels. The brush that I used in Procreate and the size I was using it, two pixels should be just about enough to take it in so that we still get these nice soft textured edges here. If you were using a brush that was a lot more chunkier and had more texture on the edge, you might want to increase your selection than a bit more than by two pixels. But what we want to do is to just take it in enough to get a selection to get our selection in and out of the way of the nice textured edge here. So I'm just going to leave that with two well, actually, maybe I might take it and buy three. Let's press Command Z to undo that. And then go to select, modify, expand, and let's change this to three and see how that looks. Yeah, I think we're going to change it. We'll keep it at three. That looks a good amount to be taking it in. So the next thing we want to do is to soften the edge and put a feather on it so that we have a nice soft edge to eliminate. We don't want to see any harsh lines if we zoom in, and we have a look there. There's some parts where, you know, if we had a really harsh line, that might be a bit obvious. So we're going to put a feather on this selection, but only want a small one. So we're going to go to select, modify feather. And I'm just going to put a feather of half a pixel on that and click Okay. That won't make any visible change happen on screen at this point. So at the moment, we have all this negative space selected, but what we actually want to have selected is the space inside these leaves. So what we need to do is invert our selection by pressing Command Shift, I, and that will invert the selection. So now what we need to do is to add a layer above this one. So we're now working on a layer above the leaves. I'm going to use the eyedropper tool to select the color of the leaves. So press I, and I'm going to click on this leaf to select the color inside. And this is why we have the clipping mask turned off because we need to be able to see and select the same color as you have for this leaf. So now we're going to select our bucket fill tool, which is G. And if we fill the selection, that's going to fill everything on this layer which we have selected. So if I hide this layer underneath, you can see if I zoom out, we have these kind of inner areas filled on top of the original layer underneath. So now I'm going to turn this top layer on again. The next thing you need to do, just zoom out to make sure there's no glaringly obvious mistakes, but this is looking okay. So once you're happy that everything's looking as it should, you can with this layer here selected, I'm going to right click the layer and scroll down here and I'm going to choose Merge Down. And as I said, when you merge down, it takes the name of the layer underneath, so we don't need to do any renaming. So the next thing we can do is to show our clipping mask, our shading, and then we can clip that to the layer by holding down option, hovering between the two layers and clicking to clip it. And as I said, all of those gaps, because we did the shading on a separate layer that didn't have the gaps in it, when we then filled the gaps on the leaves layer, that fills in the gaps that weren't really there on the shading, if that makes sense. So once you've clipped that, you can go onto this clipped layer, right click and merge that down as well. Now we have all of that on one flat layer. Now, this process that we just did, all those steps, it's actually possible to automate all of that into one single action. So we'll look at how to record that action as we do these petals. So let's first of all, zoom in so we can see the petals more clearly. So first of all, I'm going to unclip the petals, the shading over them, and then I'm going to hide and then I'm going to go to the petals layer, and we're going to select all the negative space with the Magic One tool. Then as before, we're going to use the eyedropper to select the color that we want to fill with. And at this point, we're ready to start recording our action. So we're going to go over to our actions panel, which you should hopefully have up from before. If you don't, you can go up to Window and get your actions panel showing from up there. Your actions panel will possibly look a little different to this. If you haven't ever used it before, there's probably a set of Photoshop default actions in there. I've deleted that folder from mine because I don't ever use any of those, and I just have this one with mine in there. So to set up your own folder with your own actions, you come down to this little folder icon here. And let's make a new set. We'll call this Skillshare. So with your folder selected, we're going to click on this little plus icon, and we're going to name our action. I'm going to call mine Procreate fill. That's why I have it called in my normal folder up here, so I'm going to make sure I save it into my skill share folder. I'm going to assign it a function key. I think I have F 11 assigned to this one in my other folder at the moment. You can pick any key you like. If it's a key that's already assigned to another function within Photoshop. For example, I think five is something to do with either brush or color, so I click Record. Yep, this is brush settings, so Five is already a Photoshop shortcut for brush settings. It's up to you if you use F five for brush settings as a regular shortcut, you'll cancel that and you could do Shift a five or Command Shift a five. If you don't ever use the F five key for the brush settings, then you could just click Okay and overwrite that setting. I don't ever use this shortcut key, so I'm going to go ahead and use a five for this. If you want to assign a color to it, these can be useful when we put the actions panel in Button Mode later. I'll just show you quickly now. If you click on this little hamburger menu up here, you have the option to view this in Button Mode, and each of your actions can have a different color on it. So you could choose that if you want to put a color on there. It's certainly not necessary to do that, and I'm not going to put one on here today. So once you have all of these settings here, I find it helpful for me to put the name of the shortcut key I'm using up here in the action name because when I start a new action, I will always forget what key I assigned to it. So the first few times I've used it, it's useful for me to have the name up there as a reminder. So I've put the key that I'm using up there. If you want to do that. And at this point, we can click Record. And as I said, it will prompt you if you've chosen a shortcut key that's already assigned to something else. So you can either cancel it and choose something else or if you're happy overriding it, just go ahead and click Okay. It's not going to cause any problems. You can always delete this action and reassign the shortcut key later. So you can just click Okay. And from this point, everything that we do in Photoshop is going to record as a step in our action. So you have to make sure that you're only doing things that you're supposed to be doing. For example, if I go to my list, if I were to add a new layer in here, you'll see that's recorded there, make a new layer. So if that happens to you and you record something at any point in this process that you don't want in the selection, you can stop recording. Find the step that you didn't want in, you can select it, and you can drag it down here to the bin. And that will remove that step. You can then go back to where you were supposed to be, go back and press record, and then you can carry on. So let's now continue from where we were. So I want my move tool selected, and let's go back over here to our Layers panel. Oh, actually, I need to delete this layer that we added, first of all, so let's delete that, and then we'll have to go back over to our actions. And then we need to stop recording, drag this step to the bin, and then we can carry on recording from where we were. So at the moment, we have all of this negative white space selected already. We have our color already set to the color we want to fill with in the next step. The first thing we want to record doing and happen every time because if we were to select this color every time, that would become a default. We have to do that before we play this action. So the first thing we want to repeat every single time is to go to select, modify, expand, and we want to expand by three pixels. So we'll click Okay on that. And you should see on our actions that step saved over there. Next job was to go to select, modify, feather by half a pixel. And then the next step was to invert the selection, which you can do with Command Shift I or you can go to select Inverse. So now we have this area inside selected instead. So we can go back over here to our actions, and you can see that all of those steps are also recorded. So we now need the bucket fill tool, which is G, a shortcut. We're going to add a new layer above this one. And with the bucket fill, we're going to fill in what we have selected with the color that we've already chosen, and then we can press Command D to deselect everything. And then we can right click on this layer here and choose Merge Down to merge this layer down. And then at this point, we can go to our actions panel and we can stop recording our action. So now that we've recorded that, the first thing we should do is to test it out or hold off re clipping emerging down these tops for now, and we'll test our action on these yellow ones. So let's go over to here. We'll unclip the mask and we'll hide it, and then make sure we're on this yellow layer that we want to be working on. We're going to use our magic one tool, W to select the negative space and I for our eye drop at tool to select the color from the middle or here. So now if we press F five, And now that has magically filled all of that for us, which is very cool, indeed. I'm actually going to go back and undo some of those steps now to show you several different ways of playing your action. Let's just undo that and delete that layer. And then let's get this back to where we were before with the that's selected, and we've got yellow as our color. So obviously, you can press the shortcut key Five, as we did before. And when I said earlier about butter mode, let's just put this into butter Mode. You just go to the Hamburger menu and select Button Mode up there. And this is what I meant about it putting all of your actions in a bit of an easier to see list. And as we were talking about color, and I said, If you've chosen a color for this one, I have purple selected. It can help you find it a little bit quicker. So if you're in butter Mode, you can find it and just click on it and it will play your action for you that way. Let's just undo that again. Go back to where we were. And then lastly, if you don't have it in Button Mode, you can find the action, select it, and then you can go down to the bottom and press Play, and that's going to play that action through for you. So that's three different ways of playing an action. You can press the shortcut key. You can select the action and press Play, or you can put it into Button Mode. You can use whichever you want. I more often than not use the shortcut key, but use whichever one fits best into how you use the mouse and the keyboard. So now let's go back to our layers, and we can fix this one first. So we're going to show the shading above it, and we're going to clip it to what's underneath by holding down option, hovering between and clicking as we've been doing. And then we are going to right click and we're going to merge this layer down. So now we can do the same on this layer below the petals. We're going to show it. We're going to clip it, and then we're going to right click and merge down. So now I'm going to zoom back out so we can see everything we've got here. And now we have all our shading and motifs fixed for this group. The next thing we're going to do is to deal with our little extra folder up here. So first of all, I'm going to turn it on to show it, and then while we're working on it, I'm going to hide the pattern layer underneath so it's not distracting us. So we'll hide that one. And what we need to do now is repeat those steps we did on the pattern layers to fix these motifs. So we will unclip the petal shading, hide it and go down to the layer below, select the negative space, eye drop of the color, and then we can play our shortcut with F five. And then we can show the shading, clip it back to the layer below, right click and merge it down. Then we can hide the shading here, unclip it. And make sure we have our extra yellow layer. Use the magic wand tool to select the negative space. I to eye drop the color in the middle and then our fill shortcut key. Then we can show the shading, clip it down, and then I'm going to use Command E, the shortcut to merge down this time. So once you have all of your motifs in your extra folder all tidied up and sorted out, the textures merged down and cleaned up, I'm going to close that folder and I'm going to show the pattern one. And I'm going to zoom out so that we can see everything going on in this window here. So the next job to do is to put this little extra section back into the correct place. So thinking back to procreate, we shifted the edge, the seam of the canvas to the very middle to draw this part. Our canvas was 3,600 pixels wide. So when we moved it to the middle, we moved it along the X axis by half of that, which is 1,800 pixels. So to put this back in its correct place within the pattern, we need to move it back along the X axis by 1,800 pixels. This number that you move it back by will always be half of whatever your canvas size in Procreate was. Photoshop can do that mass for us. So let's first of all, make the canvas a little bigger to start with. We're going to use our crop tool, which is C, and I'm going to hold down Alt or option, so it resizes in both directions, and I'm going to drag it roughly enough so that new piece will fit into it. And then I'm going to press Enter to set that crop size. So with this extra group selected, we're going to press Command and then Photoshop can do the maths for us. So we come up here to our X and Y boxes, and we need to move it along the X axis, and we're moving from right to left, so it's going to be in a negative direction. So we come up here to our Xbox, click in here and we're going to put minus. And if you can do the maths in your head, you could put -1,800. But if you've got a really strange canvas size, like, I don't know, two, four, five, two pixels, you could put minus 2452 divided by, which is the forward slash key, two, and then that would figure out for you what you need to move it by. Ours is 3,600 pixels. So if we put -3600/2 pixels px that's going to move it exactly 1,800 pixels over to the left for us. So that's two different ways of doing it. You can either type in the exact number, say -1,800, or you can type in your entire Canvas size, 3600, whatever yours is, and then divided by two. You'll then need to press Enter twice to set that transformation, and that is now over there in the right place. So if we now press Command S to save, and then we go back over to our main patentile we click up here to go into this file. You'll notice that it's applied this new motif here, here, and here to these smart objects. Where it's changed this one on the Canvas seam, we also have this one down here changed because we repeated it down here. But you can see with this one, because there wasn't anything going off the edge at that point, we didn't repeat it all the way over here. So because we've now gone past the edges, we've taken this motif and it's touching the seam of our tile. Now we need to repeat this one over here because it's now crossing the edge. We need to repeat this smart object, 3,600 pixels over to the right. So I'm going to select this layer that has it on there. And this is why we didn't record the action earlier because I knew we were going to need to put this extra repeat in there. So I'm going to press Command J to duplicate this layer, and then I'm going to press Command T and we want to move it 3,600 pixels over to the right. So that's a positive direction along the X axis. So we come up to our Xbox and into here and we're just going to type plus 3,600. Press Enter to set that and then this will move all the way over to there. And now we have a nice, perfectly repeating tile. So now we have in mind that anytime we build out this pattern tile with an extra part in it, we may also have to repeat this part over to the right. Let's have a look in the next lesson at how to record the action to build this all out automatically for us. 17. The Build Pattern Action: And So here we are back in another pattern that I have set up ready to build out. I'll record the action as we do it. So make sure you have your actions panel showing here as before. Again, if you don't have it, you can go up to your Window menu up here and choose the actions from there. So let's go to our Skill Share set. Let's just collapse this one and select our skill share set. I'm going to click on the plus icon down here to record a new action, and I'm going to call it Build 3600 pixel repeat. And then we need to pick a function key. I'll try F four and see if that has anything assigned. It's given me shift as an option there, so that probably does have something assigned to it. Before we go any further, I just want to say that this action will only work on a 12 inch, 3,600 pixel canvas. And by that, I just mean this specific action recording now because the measurements we're going to type in will be relative to a 12 inch canvas. This is one of the reasons that I like to work in the same size most of the time. If you regularly work in a few different sizes, you could record an action for each one. So if you regularly use an eight inch canvas quite a lot, 2,400 pixels, you could build out one of these actions for 2,400 pixel canvas as well. The principles will be the same. We're just going to stick to the 12 inch one, 3,600 pixels for learning how to do it. And then once you know how to do it, you can then modify the numbers to fit different sizes of canvas that you might want to work with. So at this point, we're going to click on record. Let's hop over to our Layers panel. The first thing that we want to do is convert this group to a smart object. So we're going to right click on it. And where did Convert Smart Object go up there? There it is. So step one is now done, and then we want to duplicate this layer with Command J, and then we're going to start building it out in the same way as we did in Procreate. We know that we need to move it 1,800 pixels or half a canvas distance to the left, and then up and to the right and down, et cetera. And then we know that we're also going to need to eventually put these extra parts here, so we also know that we're going to eventually need to repeat this over here on the right. So let's start to go through those steps now. So on this top layer here, the one we've just duplicated, we're going to press Command T, and we're going to move it along the X axis -1,800 pixels. So we'll type that up there. And then in our Y box, we are also going to move it -1,800 pixels. And then that's in the right place. Now we can press Enter to set that transformation. And then from here, we would duplicate this layer again, Command J, and then Command T to transform. And then this time, we want to move 3,600 pixels, a full width over to this side. So in the Xbox, we're going to type plus 3,600 and press Enter twice again. And then from here, again, we're going to press Command J to duplicate and then Command T to transform. And then we want to move it 3,600 pixels down the Y axis. So that's a positive direction. So up here, we're going to add in plus 3,600 pixels, press Enter twice. And then last of all, we're going to duplicate this layer again. Command T to transform, and then we want to move it a full 3,600 pixel negatively on the X axis. So up in the box here, -3,600 and then enter to set that. And then at this point, we also know we want another instance of this to come 3,600 pixels over that way. When Photoshop is playing this action through, it's going to be exactly in the same position as we are here. So rather than clicking on this bottom layer down here, we need to keep going through the layer we're on because it's less likely to mess the action up. So we're going to press Command J, Command T, and then this last one, we want to move it up by half a canvas height. So that's going to be in a negative direction on the y axis. So in this box, we're going to type in -1,800. And then on the X axis, we actually need to move this one slightly differently. So up here in the Xbox, let's move it plus 3600 and see where that takes us. And that's actually only moved us halfway across when we did that. So up here in the Xbox again, we need to type in another plus 1,800 to get it all the way over to the edge there, and that will take anything that's sticking out over this side over to this edge. And now we can press Enter. And at this point, we can stop recording our action. So we go over to our actions and click on Stop. I'm going to put all these steps for recording the action in the cheetseet in the class resources for you, so don't worry if you missed some of that. So once we've done all that, we can double click into our pattern here, and then I'm going to quickly fast forward making all these changes and tidying up the motifs. The thing to remember is that you always need to make the changes with your extra folder in the same direction, so as in always moving it back over to this side on the left, if what you have set up in your action out here is to repeat over on this side, if you make a change on this side of the canvas over here, then back on this one, it's going to need to be repeated over here. If you make your changes on this side of the canvas, you'd have the change here, and you'd actually need to repeat it back over on this side, over in this direction. So just keep that in mind, always going in the same direction. So I'm going to quickly fast forward through all these changes, and then you'll see how when we save this, it's already filling in this gap, and it will have sorted itself out. So I'll just quickly whiz through me doing that part now. Now we've fixed this pattern. We've shifted this extra part over here to the left. So now, when we save this, I'm just going to press Command S to save. And then when we go back into our main pattern, you can see on this original first layer here, the part that crosses the line over there now because we just moved it. It's been repeated over here already on the left in this last step of repeating the pattern layers here. So now that we've recorded that action over here, I'll build a repeat, I'm going to open up another pattern and we can test it out, see how it's working, and you can see it in action. So here in this pattern, if I select this pattern double click group and I press Shift and F four, you'll see it all run through that action and has built out that tile for us. To test the pattern and make sure it's working, we can add it to our patterns panel up here. And then if we add a layer above all of these smart objects, and then we apply this pattern to the layer, it's not going to look any different now because it's just added a straight up copy of the pattern on top of the pattern tile underneath. But if we zoom up here into this corner, and then with our move tool, we can drag it around so you can see this is a pattern layer. So if we just drag it down by a small amount, we can pan along the edges top and the side and just verify that everything is, in fact, tiling perfectly. So I'm just going to zoom back out and we can change this scale on here to 50% for a little preview. And you can just see how there from like air dropping my pattern from my iPad straight into Photoshop and just pressing one key. We've built out this pattern, having had all the maths done for us, which is pretty fantastic. So I'm just going to cancel out this pattern here. I think I did have one part in the extra section in this pattern. So let's have a look. And yeah, I can see that I did. So let's just tidy this up and fix this part over here. So quick refresher, we're going to go to our extra section. We can delete this pasted in layer here, and then all we have to do is move this part here, this leaf. Oops. It just needs to come 1,800 pixels this way. So I'm going to press Command T, and now I need to move it -1,800 pixels along the X axis. And then we're going to press Return twice to set that, and then I'm going to get my crop tool, and we can just drag this out this way. And this is exactly why you want to make sure you've got delete cropped pixels turned off because moving that off the edge of the canvas, that would potentially have deleted that. That's happened to me a few times when I forgot to have that unchecked. So we've transformed that off the edge. So now if we save this, I'm going to press Command S. And wait for it to save. And then if we go back into this pattern file here, you can see it's added the leaf in here going off this edge, and it wasn't there before. But because of our action, we have it set to bring the last copy up and all the way across here. So we also have this leaf copied over here. So again, we can add this pattern in up here. And then if we show this layer again and let's change the scale back to 50%, And then so this is the old version of the pattern. And then if we apply this new one with our extra leaf, you'll see that it now ties perfectly with the new edition. And yeah, I just really love being able to build out all of that just by pressing that button shift F four or whatever shortcut that you chose for it. So that is how to build out your pattern tile in Photoshop and record an action to do it so that you can import from Procreate then build out your pattern just by pressing one button or with one click. As I said, the steps and the numbers that we've used here are specific to a 12 inch pattern tile. If you wanted to use a different size, you would use the exact same steps, but you would just use different numbers. Instead of -1,800 or plus 1,800, you'd put half of whatever your canvas size is. As I said, all of these steps will be in a cheat sheet for you in the resources section, including one with blank parts for you to use and adapt to a pattern of any size. So in the next lesson, we'll go back to our pink daisy pattern tile, and we'll take a proper look at that quick and easy way to test that your seams are, in fact, seamless. 18. Testing Your Pattern: So this is how our tile is looking at the moment. It's always so exciting to go in that first moment when you save your changes and then come back and see it or built out like this. So now the moment of truth is where we test it works. We had a quick look at that in the last lesson, but we'll go into a bit more depth than that now. To do this, we're going to add our pattern to our pattern swatches up here. There's two ways of adding a pattern to this. If you want to add the whole of your visible area, then you can just click on this plus icon and add it like that. In my normal workflow, as I said, I don't have the canvas expanded past these edges like this, so that's how I normally do it. But that only works if you have only your pattern tile showing like we did for this one. But over here with our pink daisy tile, we've got bits of the edges showing outside the edges of our repeats. So that wouldn't work if we were to add this as a pattern. Let's just have a look at how that would work now. We add a layer and apply this, and then let's just change the scale to 50. We've got all kinds of weird things going on, and it's because we've added the whole of the visible area. Let's just drag that one down to the bin, and we can height this layer now. Second way is to use the Marquee tool to select just your pattern tile to pull from. We're going to choose the Marquee tool and make sure that we have Snap turned on. Then using your guides that you set up, you can click near them, and then it will snap to the guides and you can drag and select the area there, and you can see down there, it's saying 3,600 by 3,600. So we know we've snapped to the right position. So then you can let go, and then you can click the plus icon up here. And then we can click Okay, and then I'm going to press Command D to deselect. And then when we show this layer again here, if I tap on this news watch, you'll see this is now filled with the correct pattern. So I'm now going to crop back down to just having our Canvas showing. So with the Marquee tool, I'm going to again, select this area using the guidelines to snap to. And then if you select your crop tool with C, it's then going to snap to what you've just selected. You can then press Enter and then you'll just have your tile on view. So you can now click on the plus icon, and that would take you to your pattern properly as well. So there's two ways of adding your pattern. You can either have just your patentile showing and you can click the plus icon as it is, or if you have some showing past the Canvas edges, you would select the area of your pattern using the guidelines and then add just that selection. So now we're going to test the pattern is tiling seamlessly. So all we need to do is, and we'll pretend we haven't done this already, we'll delete that pattern fill there. We just need to add a layer at the top of our layers list here. And then we can apply this pattern to the layer. It's going to look like nothing's happened to start with because it's just applied a copy of the pattern right above the pattern and in exactly the same position. But if we go up here and we zoom in and then with our move tool, you can see we can drag it around because it's a pattern fill layer. So it's not the pattern underneath. Just going to undo that crazy moving around, so now it should be in the same position again. So the way I test the pattern is tiling properly is just to drag it down and across by a very small amount. And then I pan all the way up to the top edge and make sure that nothing's cut off up there. There's no seams or jaggedy bits. And then that's the top and bottom seam covered. And then I will pan down this one as well. Making sure nothing's cut off. And then that's the left and right seemed covered as well. And then you should find that if you've typed in all of the numbers correctly and your canvas is definitely the right size, you shouldn't actually have any mistakes on it, and it will work perfectly every time. Just going to quickly show you how it would look if there was a mistake in the pattern. So I'm just going to hide this last piece, which is that one this one here. So where we repeated this over here to account for that little bit of extra, if I turn this layer off and then we add this pattern, and then we apply this pattern to our fill layer, you'll see over here, it's not tiling, and that's because it was cut off because it wasn't repeated on the other side. So if you were seeing things like that, then you would need to go back to your pattern build steps and make sure that you had everything being repeated in the correct place. So we can turn that back on and we can get rid of our pattern fills. We don't need that now. And I'm also going to drag this incorrect pattern over there into the bin. So now that we've verified that our pattern is working perfectly, and we're happy with the layout here, can go back into our smart object and we can merge this extra section back in with the main pattern, and then we'll do some tidying up, and we'll cover all that in the next lesson. 19. Tidying Up: So now let's do a bit of tidying up of our pattern so that we've got all of the similar motifs on the same layer, and that's going to make it easier for things like changing colors around later. So let's open up our patterns folder and our extra folder. I'm going to grab this yellow, and I'm going to drag that down above the normal yellow layer. And I'm going to merge that down onto the layer below. Using the shortcut Command E. So now all of that is on the same layer. That bit looks like it's gone wrong, but that's just because these bits are still above it. When we bring this one down to above the petals, and we merge that down with Command E, then that is back in its proper correct position, and now all our yellow parts are on the same layer. And you would just do that with all the other motifs that were in your extra section. Once you've gone through and cleared all of those, you can then delete that folder. I'm also going to press Command Shift G on my pattern folder as well, because they don't need to be grouped separately anymore. So let's have a look at some other parts of tidying up that you might want to do. I don't know if you remember that I said I might rotate this a little bit when we were in Photoshop. So if you wanted to make any changes in here, a thing I like to do is to put a copy of the pattern underneath these layers so I can see what other things are around it. So if we come back in here, we'll add this version of the pattern to our swatches. And then we can go back into our Smart Object. And then here at the bottom, above my sketch and below the motifs, I'm going to add a layer, and then I'm going to apply the pattern to it. I'll look a bit crazy to start with. And what you need to do is to try and line it up with the pattern above it. It doesn't have to be pixel perfect. It just needs to be mostly the right position. Is just to help you see what's what. And then what we're going to do is change the opacity on this layer up here to 50% so that we're not getting confused between what is the actual motifs here and what is pattern. So I can see it was this petal here that I wanted to rotate a little bit. So I'm just going to use my Lasso tool, L to select just these petals. I'm going to make sure that I'm on the right layer, and then I'm going to press Command T, and I'm just going to give this a little bit of a rotate. Press Enter, and then I can then drag that over a little bit, as well. And then before I save this change, what I need to do is to hide this pattern layer. I'll just show you what will happen if I save without hiding it first. Let's go back to our main file. So this is going to save all changes we've made, including adding that fill behind. So weird things are going to start showing on here. So you need to hide this pattern layer, and then you can save it. And now you can see that's been rotated. If we just add a layer above here, and then we apply our old pattern to it. And then you can see by toggling this layer on and off the difference that it makes before and after. It's a good way of seeing a quick AB testing and deciding if you do or don't like the change you've just made. And I definitely prefer that without having the petal or crossing over the stalk there. So I'm going to leave that as it is. Let's now have more of a look at editing motifs within your pattern and things you might want to change. I'm going to add this layer of dots that I made back in now, and I'm going to save this as it is. And I can already see here where I've rotated this that I'm going to have to select that blue dot and move that about. But let's just go into the main pattern and see how this is looking in there. You'll see that in lots of places, I've got the dots of one layer overlapping with motifs on another one. I just kind of drew these dots in at the last minute and didn't bother too much about where they were. So that dot there is on this smart object, and it's overlapping with this one. So let's have a go at fixing things like that. I'm going to add this iteration of the pattern in here, and then I'm going to go back in here to my smart object. I'm going to show my pattern layer again and I'm going to apply this new instance of the pattern to that layer. And then we'll be able to zoom in and see where the dots from here are overlapping with the motifs. We can then either just move them or delete them. Let's first of all, make sure we're on the right layer, not on the pattern layer. We need to be on the layer with the dots. You could either move them or you could delete them. You need to remember that you only need to work on two out of the four edges, so this one and this one on your diamond, because what's down here is going to be repeated up here. So if we just go along and have a go at correcting these parts. A place on here we see these overlapping or they're too close. For example, here, I'm just going to select that and drag it up here into that gap. That's now going to leave me with a bit of a gap there. So I might just select this red one, and I'm going to hold down command and option, and then I can drag a copy of it up here. So that's now looking okay here. Up here, I can see that I've got three dots all clumped together here, which doesn't look so good. So I'm just going to delete that blue one. And this is an example of where I said that it would also be repeated down here. You need to be careful that you're only editing one edge. If you come down here and think, Oh, I need to get rid of these and you delete those two, you will have deleted all three of those dots. So you can just delete that one. This one I might move over a little bit. It can start to get a little bit confusing after a while, especially when you're working with something tiny like dots. So the best thing to do is to hide your pattern layer, press Command S to save, and then we'll go back into our main file and have a look at how it's looking in here. So we can just have a bit of a pan around and see if there's any parts that are still looking like mistakes. I think we've actually got everything. Hopefully, I'm not missing anything. So yeah, I'm happy with how that's looking now. So I'm going to give this whole document a save, and that's basically how you would go back and forth making edits and changing things to see if you did decide that there was something you still wanted to change. So I would add another instance of this pattern. And then go back here into my Smart Object, show my pattern again, apply this updated version of the pattern. And you'll see when we did that part here or if you focus on this part, when we flick between the two, you can see how the changes update, and then you could go and carry on making changes if there were still things you wanted to check. So what other things might we want to change in here? One thing you might want to change is the colors. If you wanted to change some of the colors, you can easily do that because we were careful to keep our pattern in our pattern, all of our colors on separate layers. You've used flat colors with no shading for your motifs, then it's super easy to change your color. All you need to do is make a color fill layer above and then you can clip that to the layer below by holding Option and clicking in between. So if you've only used flat motifs and no shading, this is a really easy way to change the colors. You can then click on your swatches and change the colors like that. Let's just put a blue one in here for now. So you can pick any swatch color you like. And then once you've chosen a color, let's just hide this pattern fill layer. You can just save this. And then over in the main pattern, your colors are going to update like that. If you decide that you didn't like a change that you just made, once you see it in your main pattern, then just go back into your smart object file and undo that change. Let's just undo all these other ones and get back to where we were. Before we added that color fill layer on it. There we go. And then you can resave and then go back into your main file, and that will be as it was before. So let's go on with the color changing. If you've used some texture in your pattern, then you'll want to keep that intact with the new color. So how I change my colors is to add a hue saturation adjustment layer to it. And this is the reason I like to just use one color per layer. If I had various different hues on the same layer, I wouldn't have as much flexibility. For example, on this layer where I do have all the dots on the same layer. If I were to change the hue and saturation on that layer, I don't have quite so much flexibility because it's changing all of the colors at the same time. Let's just undo that, delete that layer. So this is the reason that I like to use one color per layer. When I'm creating alternate color ways, I always make a separate adjustment layer for each one and then label them up. So let's start with the petals. We'll go to our adjustments panel, and we're going to add a hue and saturation adjustment layer. And I'm going to clip it to just the layer below. If I didn't clip it like that, it would change all the colors, everything below it. But if I clip it to the layer, it's just going to change these colors on the layer below it. So we can pick any color we like for these. It's just a case of playing around with the sliders. So you'll find when you change the hue for some colors, the saturation is just way too much like, for example, on these greens, that's too bright. So you'd want to bring the saturation down a bit for a softer color, and then you can also change the lightness or darkness as well. You can use these three sliders to play around and change the colors. I think I quite like that purple color that we had to start with. So we'll go with that purple color. And then we might want to change the color of the leaves to something else. So let's just go down to that one, add another hue saturation and clip it to that layer. And we might change these to more of a yellowy, greeny color. And then because the stems are pretty much the same color, you might want to apply this one to the stems as well. So to do that, just option, click on this layer and drag a copy of it above the stems, and then don't forget to clip it down to that layer as well. So when I'm creating alternate colorways, I always make a separate adjustment layer for each one, and then I'll label them up. So if I'm calling this colorway version A, then I would go through all of these ones and put an A in the layer name for all those adjustment layers. And then if I were to save this one and go back into our main pattern file again, then if I was going to choose a different color background to go with this, I'm just going to duplicate this one by pressing Command J, and let's just choose a different color for this. And then I would call this one, add an A to this layer name as well. And then when I want to go back and change between colorways, I know to turn all of the A layers on at the same time. This makes it easy for both myself and for clients who might be using the file to easily switch between colors once you've got all your colorways picked. So when you want to switch between the different colorways, you just know that you need to have all the As turned on and all the others turned off. Easy for you to remember and also easy to explain to someone else who might be using the file. So now that I've tested the repeat, we've fixed all those overlaps. I'm going to have a look at the pattern in a smaller scale again just to see how it's looking overall. I'm not going to keep any of these colorways, so I'm just going to go through and delete those. And then we can resave this and go back into our main file. I quite like this green background, so I might actually keep that as a second option for the background. But let's add this last version of the pattern in. And then on this layer, we'll apply it, and we'll change the scale to 50%. So now we can get a big picture of how our pattern is repeating. We already did this in Procreate to test and have a quick look. So we would already have ironed out any major problems with certain motifs dominating at this point. It's always good to have another look at the spacing now, too, especially as we added some dots. Are there any empty areas calling out to you or gutters or gaps? A tip that a lot of people talk about is kind of squinting your eyes as you look at the pattern, and that helps you to spot any overall gaps in it. And once I do that, I'm noticing I can kind of see lines going up this way through the pattern. And I think it's caused here where I've got a relatively large space here. So if we just hide this on our pattern tile, I think it's this part here. So if we go into our smart object, and I'm just going to put the pattern layer back underneath, and I'm going to update it with this latest version of the pattern. So I think it was just here. And I'm thinking if I just move this flower up this way, it should probably solve the problem. So I've already got my lasso tool selected. I'm going to command click on this petal to take me to that layer. And I'm going to select just these flower parts, and then I'm going to drag them up here, the press Command T to rotate that around a bit. I think we have a bit of leeway to be able to take this up here a bit more. I'm gonna press Return to set that and Command D to deselect. So making transformations like this is obviously a lot easier in Photoshop, and you'll get better results than the fuzzy edges that we get in Procreate. No software's 100% perfect, but Photoshop does do a much better job of keeping our nice textured edges intact. So if you want to rotate or resize things, it's best done in Photoshop afterwards. So now let's command click on the yellow center that will take us to that layer, and then we can select this with our Lasso tool and drag this up to the middle of the flower. And then I'm going to hide my pattern fill layer so I can fix the spacing of these dots around here. So I'm going to command click on that, and then I can start selecting and dragging these around and moving them about. I option click on this one and pull that one down there. And then I'm just going to move these others around into place. Maybe let's put another green one over here. I'm just going to put the background on. I know some of these are white, and I can't see them on the background. I think I might have messed up there. Yeah, so I dumped a pink one on top of a white one there, so I'll just delete both of those to take out those completely. And then let's just put another white one up here over the top of that. And then let's just carry on moving these dots around. So I think I'm just going to hide this and then save it and we'll see how that's looking over in the main file. And then we'll go back over to the main file here and have a look at that. And I think that's probably going to work. So we'll add this new iteration of the pattern to our patterns panel. Then we will turn this pattern fill layer on, make sure we have that selected, and then we'll apply this pattern to it. And yeah, I think that definitely looks better with that moved up slightly, flicking between the two. So having these different versions of the patterns up here is a good way to test to see if you like your changes before and after making them. It's also kind of fun to go through all the different stages of your pattern and see how it's progressed. But top tip, keeping this panel too full of patterns can really start to slow down Photoshop. So I only aim to keep what I need in here. So I know this version I want to keep, so I'm going to command, click on the others and drag them down there into the bin. And then we can apply this new one back down to our pattern fill layer. So now that I'm happy with this pattern and it's all done, I'm going to save it. And then in the next video, we'll look at exporting it and how I would package it up for a client. 20. Exporting Your Pattern Tile: Welcome to my external hard drive. This is what an archived folder for one of my files looks like. I keep several different versions and formats of each design, and as you can see, I add an SKU number to all of my files so I can keep track of them. As surprise, surprise, I have more than one pink daisy pattern. I have the master version of the file, which is what we saved in the last session. Although this is a different pink daisies pattern, it's the same type of file we saved last time. Then I have a client ready PSD file, and then a flattened copy, either a PNG or a JPEG of the file, which I could use for uploading to spoon flour or print on demand. I might also use this P&G for sending to clients if the flattened file was all they'd wanted, or if we'd negotiated a lower fee for one colorway or less editing options. Top tip and side note. In general, you should charge much more if you're giving somebody the PSD file as opposed to just a flattened PNG or JPEG because they're getting a ton more value from that PSD file. They have the option of creating multiple colors or if your contract gives them permission to modify the file, making edits and such. I also keep all the print on demand assets in this folder, and I have a separate class which covers making those if that's something you're interested in. So let's have a look at how to export these different versions of your pattern. Let's have a look at the folder of the one we've been working on. I'm going to rename this one, adding the name master to the end of the file name. And then I'm going to go ahead and open it up in Photoshop. So I'm going to trim this one down a little bit and tidy it up so that it's client ready. But I don't want to accidentally lose any of the information in this one. So before we change anything, I'm going to do Command Shift S, and I'm going to save this one as under a different file name, and I'm going to call this one client ready. The first thing I'm going to do is go into the Smart Object and delete the sketch in this. The client doesn't need the sketch for any of their purposes. And then the second thing I'm going to do is any of the layers which might have had a color adjustment on them. Let's just pretend that this one has blue leaves on it. And let's pretend that all of these have an adjustment on them. Any of those, I'm going to mark as green. So I'm going to right click on the layer like this. And I'm going to come down here and I'm going to make the layer green. And that way, I can easily direct the client to those when I'm explaining how to change the colors. It's easy to tell them to go to the green layers and turn them on or off accordingly. So make sure those are all labeled up correctly. At this point, I'm going to unlock the Alpha lock on that yellow layer that was leftover from Procreate. I'm going to rename this layer down here as dots, and then I'm going to delete this pattern fill layer because the client won't need that, and I don't want to save it with this color change added to it, so I'll hide that. And then I'm going to save this smart object. And then at this point, we're done with it so we can close it to click on the X up there, and we're back in our main file now. So all of these layers down here, we don't necessarily need to have this quite so messy. What I normally do is leave this bottom one out. It's the main one of the group. And then all of these other smart objects above it. I'll click on the bottom one, shift click on the top, and then put those into a group and just leave them like that. I just help keep things a bit tidier. And then I'm going to delete this pattern fill above because that doesn't need to be there either. I'm going to leave these two layers here for the alternate background colors, but I'm going to right click on this one and mark it up as green because it's one that needs to be turned on or off the same as the other color layers in the smart object. So if we save this now and we go back into the folder, you'll see we've got our master file, which is 209 megabytes. And then this one is only 143 megabytes. So it's nice when you're sending files over. It's just nice to have them trimmed down and as efficient as they can be. That way, they're quicker to upload and download and you're not wasting unnecessary disk space. So the next thing we're going to do is export JPEG or PNG copies from Photoshop. So I prefer to save as a PNG because it's a loss less format. So top tip, the PNG image won't lose any of its data when it's compressed, which makes it much easier to store and transfer. This is a big advantage over lossy options like JPEG files where some information disappears in the compression process. PNG files will be bigger, though, so this can be slightly slower and take up more space on your hard drive. So ultimately, it's up to you to choose which one is best for you. So we're going to press Command option S, and this will save as a copy. You can choose either JPEG or PNG. I'm going to choose PNG, and I'm going to select to embed the color profile, and I'm going to click on up here and just take off the client ready part. Client ready copy part. You can leave that on there if you want, though. I'm going to save this. So now I have this pink version of my tile saved. You can just click Okay to these PNG format options. They're fine as they are. So if I'd made alternate colorways, let's just click back into the Smart Object and turn this blue layer on there. If I had alternate colorways of my file, then I would save these out and also export a copy of these at the same time so that I have got a P and G tile for each one of the different colorways. So now that that's done, we have a master tile, a flattened file, and a client ready trimmed down copy all nice and tidy and ready for when I need them. In the next video, I'll show you what the next steps in my process would be so that we can make the most of this procreate into Photoshop workflow. 21. Applying Your Pattern and Class Project: So now I'm at the stage where I finish my pattern, while it's still up here and in my patterns panel, the very next thing that I'll do is pull my social media and print on demand templates out. Then I can quickly add it to those so they're ready and waiting for when I need them. That way, I don't have to go back and open old files when I'm looking for something to post or upload, and I can get it done while I'm still on the flow and before I've gotten bored of working on a pattern. I've got classes with more depth on each of those things. So if you'd like to know more, then check out those classes. The other thing I do is apply the pattern to any mockups that I might want to use, which is super easy when you still have the patterns in your swatches like this. So this one here is a mockup that I made using a photo from unsplash.com. And I'm going to put a link to download this from my website if you'd like to use it, too. So to apply the pattern to it, all you need to do is double click on this front boot. And click on this layer here, and from up here, you can just apply a pattern to it and then click Save. Go back to the main file and find the back boot. Double click on that and apply your pattern to that, too. Then you can press Command S to save or close those. And on this mockup, you can also change the color of the boot trim. So just select those colors and then pick one from your swatches. So if you wanted to save out a high res version of this file, you can do that in the same way as we exported the PNG tile with Command Option S. But if you want to export a copy to upload to the project gallery, then I would use the save for web option. So you can find that by coming up here to File and then we're going to come down to export and choose Save for Web. And then for saving to the project gallery, over in here, I would change this width to something like 1080. Actually, let's change the height to 1080. 1080. And then you can export this much smaller manageable size 720 by 1080. And then we're going to save it as a JPEG up here. JPEG low. I'm not worried about compression or image quality for this because it's just a mockup for uploading to social media. So you don't need to worry about image compression and stuff like that. So then we can just click on save And then we'll put this in our pink daisies folder. We'll just add that to the file name. And then we can save this one in here. And then that has saved a nice small quick to upload image that's perfect for uploading as your class project. It would also be really nice to see an image of just your pattern for your class project. The best way to make this image is to create a new document. So come up to File New. And the dimensions for this document should be 1,000 width and 690 height, 72 pixels per inch, and you can leave all these settings as they are. This is the perfect size for a skill share project. So we're going to create a layer above this one, then you can come up to your patterns panel and apply your pattern to it. Now, this document is only 72 pixels per inch, whereas your pattern should be 300 pixels per inch. So this is going to import huge. You'll need to double click on this thumbnail here, and then you can change the scale down to whatever you would like it to be. You could make it really small and zoomed out like that, or you could make it a bit bigger, something like that. Then you can go to File Export, Safer Web, as we did before. And we're going to leave these dimensions as they are. We've already made it in the correct size for uploading to Skillshare, so we can leave those and we can just click Save. We'll just call this one Project class project, and then we can save that one. And then you can see that's made a really nice, small, quick to upload copy. Both of these are perfect for uploading to your project gallery for your class project. To upload to your class project on a web browser, just navigate to projects and resources tab, then you can click on Create Project, and then you can upload a cover image for your project. This rectangle one here is a perfect size for a cover image. You can give your class project a title, and then you can write anything you like in here. You can also add in your images by clicking on this little icon here, and then you can select your image. You can add more text if you want or add more images in there. And then all you need to do is go ahead and click Publish up here at the top. And that will then publish your project to the project section. I can't wait to see what you come up with. 22. Thank You! : Congratulations and thank you for completing this class. I really enjoy making these for you and sharing my workflows with you. My favorite part is seeing your projects and hearing your stories of how you're implementing what you've learned into your own process. I'm really looking forward to seeing all your beautiful patterns in the project gallery. Don't forget you can find more info and any links I've mentioned in the cheat sheet which you can download from the resources section. If you have any questions, thoughts or tips, please jot them down in the discussions tab. I love hearing from you, and you guys are also really good at helping each other out with tips and positive feedback, too. So don't be scared to jump in on someone else's question. I'd also love it if you could leave me a quick review if you've enjoyed the class. Reading these always makes my day and keeps me inspired to make more classes for you. Reviews also help other students find my classes, too. If you share your work on Instagram, please tag me so that I can share your projects and my stories. You can find me at Becky Flahaty, so feel free to stop by and say hi. I host a weekly Tip swap there and also a front drawing challenge with weekly prompts to help strengthen our creative muscles. If you'd like to know more about me and my work, you can find me at becaflaty.com where you can read my blog, sign up for my newsletter, and get access to my freebie library. I also have a YouTube channel where I've got a growing collection of mini tutorials for Procreate and pattern design. Lastly, if you want to see more of my classes, then be sure to follow me here on Skillshare, and then you'll be notified whenever I publish a new class. Take care. Happy creating, and I will see you next time.