Transcripts
1. Welcome to Class!: Ever wonder how to create those beautiful OG designs that you see all over social media. Maybe you've been wanting to add OGs to your design portfolio, but thought they might
be too complicated to create Mina designer. It's not as difficult
as you may think. In fact, in this class, I'm going to show you three ways to create OG patterns and designer that aren't
difficult at all. Hey everyone. I'm Tracy, an illustrator and designer
from the Chicago area. And welcome to the next class in my pattern tool kit series, where we focus on
a specific pattern or theme of patterns in a
variety of applications. With each lesson,
you'll walk away from class with a new design
for your portfolio, as well as experience and
tools that can expand your creativity and surface
pattern design and beyond. Designer is packed with tons of amazing tools,
but in this class, we only need to focus
on a handful of them to make beautiful OG
shapes for our designs. Throughout this
class, we'll look at how to break up an ellipse into multiple curves and put it back together as a
single OG shape. Next, we'll turn a
single straight line into a versatile OG grade that stretches top to bottom and can easily be tied
across the canvas. We'll follow that
up by harnessing the power of the
shape builder tool to create any size OG from a
series of six simple ellipses. With all three shapes, we'll talk about how the
size of the shape that you start with helps determine
the size you end up with. As well as how to set up your Canvas and your initial
shape for efficiency. Because when you think
ahead to what you want your final outcome to be and set everything up
with that in mind, you can quickly and easily
create tons of OG patterns at any scale for your print on demand needs and
design portfolio. Now, I'm going to be using the desktop version of
Designer version two. Most tools in the
class are available on both the iPad and
desktop versions with the exception of the
move data entry feature. But for those of you on
the iPad, don't worry, you can still follow
along and use the traditional power
duplicate method. I do want to know While this
class is beginner friendly, it assumes some familiarity
with designer version two and the overall surface
pattern design process. We're not going to be reviewing the interface in this class, so it's really
important that you know where the tools are
located and are comfortable with the
basics of how designer works so that you have a
successful time with the class. So are you ready to add ODs
to your pattern tool kit? If so, come join me in class, and let's get started.
2. The Class Project: The project for this
class is to create your own OG design using the
methods taught in class. Try one or all of the following to create your own OG motif. Breaking up the single ellipse, creating a single
stroke and an OG grid, or using the shape builder tool. Whichever method you decide, have fun with it and make
your design your own. The easiest way to share
your project is to take a screen grab and
load it here on the projects and
resources section. I've shared a step by step instructional on how
to share your project, as well as some
additional information in the guide
provided with class. I'd love to see what you create. And sharing your
project not only helps future students see what to learn when they take the class. It, along with leaving a review, helps more students
find the class. Next up, we'll dive into
creating our first pattern, taking a look at
how to break apart a single ellipse and put it
back together as an OG Motif. I'll see you there.
3. Ogee Shape 1: Using a Single Ellipse: In this lesson, we'll create an OG shape using
a single ellipse. We're going to start out taking
a look at how the size of that initial ellipse determines the overall scale
of your design, and then move on to creating a tileable OG motif by breaking up the ellipse
into several parts. Let's get started. I'm
going to start with a 4,000 pixel Canvas
set to 300 DPI. This will allow me versatility when it comes to using
my final design, as it gives me options
when it comes to export and the various print on demand sites
that I use it on. Now, all of my sites
ask for RGB files, so I'm going to leave
the color space as is. If I need to, I can always
create a copy that's CMYK. And finally, I want to make sure that I have an
artboard in place, so I'll check this
off and click Create. With the Canvas setup, let's talk about the ellipse
that we want to start with. One of the reasons I chose a 4,000 pixel canvas is because it gives me a number of options
for the size of my OG motif, which will ultimately determine the scale of my final design. I want to create a
shape that's going to easily divide into my Canvas. So that means I could
work with a 250 501,000 or 2000 pixel motif. If I start with a
250 pixel G shape, the scale of my final design
will be relatively small. If I start with a
2000 pixel shape on that same size artboard, it's going to be much larger. Now, I want to create a design that's somewhere in the
middle of these two, so I'm going to use
a 1,000 pixel motif. Much like the size
of your OG shape determines the scale
of your final design, the size of the
ellipse you start with will determine the scale
of your final OG motif. A 250 pixel ellipse is going to create a 500 pixel OG motif. A 500 pixel ellipse
creates a 1,000 pixel OG. And finally, a 1,000 pixel ellipse creates a 2000 pixel OG. So as I want to create
a 1,000 pixel og Motif, I'm going to start with
a 500 pixel ellipse. I've created a 500 pixel ellipse with no fill and a
ten point stroke. The color and width ultimately
don't matter because I can change them after
I create my final shape. I need to break this
ellipse into three parts, a half circle and
two quarter circles, and I'm going to use my
node tool to do that. In order to be able
to access nodes, I'm going to select my shape and convert to curves up
in the contextual menu. Now I can use my node
tool to click and drag to select the top
and right most node. I'll right click on one of the selected nodes and
choose break curve. I could also select it from my contextual menu at the top. So I'm going to
click and drag to select the bottom
and right node. And this time I'll go up to the contextual menu and
choose break curve. Now, if you look at
my layers panel, I have three shapes, a half circle on the left, and two quarter
circles on the right. So create my OG shape, the first thing I
want to do is make sure that snapping is
on in the top here. That's going to make this
next step a whole lot easier. The next thing I'm
going to do is select one of my
quarter circles. I'm going to hold shift down on my keyboard to keep this
straight while I drag it. And I'm going to drag
it up to the top until it snaps into place with
the top of the half circle. I'm going to do the same thing with the other shape
this time moving it down until it snaps into place with the bottom
of the half circle. And now I have half
of my OG shape. Now, I don't need to
repeat all of that. All I need to do is
select all of my shapes. I'm going to command
G to group them, and then command J
to duplicate them. I'll go up to the
contextual menu at the top, and under the transform options,
choose flip horizontal. So now all I need
to do is, again, with my shift held down
to keep this straight, I'll just drag this across
until it snaps to the middle, and I have my full OG shape. Now, from here, I could
connect all of these strokes, just using the reverse of what I did to break up the ellipse. I could select all of
the nodes and go to the contextual menu or use the drop down to join
all of my nodes. Instead, what I'm
going to do is just select all of my layers. I'll select the vector
flood fill tool, and I want to choose
one of my fills. I'm going to go with
this off white color. It's important that you select
the fill before you use the vector flood fill
tool because it's always going to remember
the last color it used, or on the very first
time you use it, it's going to give you
a very bright red. So with the selected, when I have the vector
flood fill tool, you can see it's lighting up. And this means I
have a drop zone where I can place my fills. I'm going to click and add that. Now, I don't need these anymore. If I want to, I can group them up and put
them in my assets. I already have one
saved to my assets. So I'm just going
to delete these. And now I have my shape, and I can begin to fill
it before I tile it. I want to add a ten point
green stroke to my shape. So I'm going to
select my stroke. Use that green swatch, and I'll go to my stroke panel and change this to ten points. Also going to turn on
scale with object, just in case I decide to
scale this up and down. I'll make sure that the
stroke scales with it. And then finally, I
just prefer to have a miter join on my OD shape,
so I'm going to change that. It's not necessary
because this is ultimately going to be
tied. It's just preference. What I want to do with
this shape is create sort of a peacock
feather grouping of colors that gets
clipped inside. So I'm going to set this
shape aside for right now. I'm going to select
the ellipse and turn off my stroke and
grab this dark gray fill. I want to drag out
a tall oval shape. Now, again, this is a shape. It's not a curve, and I want to be able to make the top pointed, so I'm going to
convert it to a curve. I'll select this top most node and click, Convert to sharp. So I don't need to
keep doing that. I'm just going to duplicate
this shape and use the contour tool to continue to make the
peacock feather shape. So I'll select my shape with my move tool and
command J to duplicate. I'm going to select
that green color and then my contour tool. And I'll click and
drag to the left. Until I bring this down
to about -50 pixels. I can also key in -50 up
here in the contextual menu. Now I want to make sure that I bake the appearance
of this shape. This is basically going
to set the curves or the nodes of this shape so that if I do scale
this up and down, the contour is locked in place. So I'll go up to the top here
and choose bake appearance. I'm going to keep doing this. I'll just command
J and duplicate. This time, I'm going to
choose the off white color. And again, just
drag this down to -50. Bake my appearance. And then one last time, I'm going to command J and select this sort of
grayish purple color. And again, I'm going
to scale this down. Now, I want all of
my shapes to be at the bottom of
that first shape. So I'm going to select all
of the curves in my layers and select my move tool I'll go to my alignment options
up here at the top, and I'm going to choose
align vertically to bottom. That's going to bring
everything down, and I'll click Apply. Now, I feel like this shape
is a little too small. Kind of losing
itself in the rest. I'm going to make it
a little bit taller. Alright. I'm going to
group all of these up by selecting them and hit command G. I'll bring it over the edge here and
then clip it inside. And I feel like the entire thing could be a little bit bigger. There's an awful lot of off white there in the background. So I'm just going to hold my command key down and drag out, and then
I'll bring this up. And there's my final OG shape. So I'm all set to tile this across and down my canvas
to create my final pattern. Now, before I tile this, I do want to note
that you can take this final motif and
turn it into a symbol, either by opening your
symbols panel or going up to the layer options and
choosing create symbol. That would allow you to create multiple colorways
pretty quickly. Also have the option of using the select same functions once you've created
your pattern. Now, I'm not going to do
that here in this class, but I did want to
mention it because it is an option to consider when creating any of these patterns. I want to create
my first two rows. My top row is going to have
a total of five shapes with the first and last motif hanging off the
sides of the canvas. That's going to
prevent any gaps from these curves here as I
tile down the canvas. I'll use the shapes
that I create in the first row to
create the second. I want to place this shape at zero degrees on both
the x and the y axis. So right at this top corner, and I want it to be placed
in the middle of my shape. So I'm going to select the shape and go to my transform panel. I'm going to click
in the center of this anchor point
cluster to make sure that this middle
one is the largest. That meanest designer
is going to do everything from the
center of my shape. Now, while I'm in the
transform studio, the easiest way to move
this exactly where I need it is to just key in zero, zero, in the x and the y. You could also drag it, but this is more precise
and ultimately quicker. Now, I'm on the desktop version, which means that I can use the
move duplicate dialog box. But for those of you on
the iPad, of course, you can do the same thing
I'm about to do with the Transform panel
and powered duplicate. I'm going to select my
shape and hit Enter. And I want to move this 1,000
pixels on the horizontal, the exact width of my shape. So I'll key in 1,000. I'm going to click on Duplicate. And I can either
click and drag to complete the row or I can key in the number
of copies I need. So I have a total of five
shapes. I'm going to click. And I'm going to use four of these to create the second row. My second row is not going
to hang off the canvas. It is actually going
to tuck itself into these empty spaces left by the curves on
the OGs above them. So I'll select the first
four shapes in my first row. I could select all five, but I would end up with a motif completely off the Canvas,
so there's no point. I'm just going to click Enter. And this time, I want to go half the width of
my shape, so 500. And then I want to go 500 down. So again, half the height. I'll click on Duplicate, and you can see it's
tucked itself in. Now, I don't want
to keep going here. I don't want to create
any more copies. I'm just going to click. If I kept going with
what I did there, it would continue to offset
it on the horizontal. I no longer need to offset
these shapes horizontally. I have everything filled in. So I'm going to select
all of my shapes, group them up, and
now I can tile these down vertically
to complete my pattern. So once again, I'll hit Enter. And this time, I'm going to
key in one and Hip duplicate. And again, I'll need four copies to complete my
pattern. And I'm all set. If you've taken the other
classes in my pattern series, you've seen me do this
next step before. For those of you who
are new to the series, we're going to talk about using the gradient tool to test our patterns right
here in designer. The first thing I want to
do is with my move tool, select the artboard layer. It's really important
that you're at the artboard layer and not
the child layers underneath. I'll go to my assets, and I have a category
setup called Pattern Hub, where I have all of my
vector patterns placed. And I have subcategories
under that, including one for OG patterns. So with this selected, I'm going to click
on the subcategory under OG patterns and
choose ad from selection. It might take a beat
or two to add it, but I'll add it right down here. The next thing I
want to do is add a new artboard that's going to become my testing artboard. So I'll go to my artboard tool. And I have Size set to document, and I'm just going to
click on Insert rdboard. That's added number
two right here. I'll grab my gradient tool, and I'm going to click to make sure that I have
ardboard two selected. Let me just move over so
you can see what I'm doing. And with my gradient
tool selected, I'm going to click on that
asset that I just added. Now, what this has
done is created a bitmap version of this asset. In place here in
my assets panel, this is actually the
original vector file. If I were to pull this in, it would have all of
the original layers. But when I place it like this
using the gradient tool, it's a bit map, which means
it's pixels and not vectors. So I'm only going to use
this to test my design, especially because I'm about to scale it up and down
and move it around, and it may not tile correctly if I don't get it back to
where it's supposed to be. So I'm going to
grab these handles, and I'm just going
to scale out just to see if I see any
issues. I'll scale up. I'm going to grab this handle, and just drag it around. And this is the main reason that I don't want
to export this. This is no longer going to tile correctly because
it's not seamless. You can see that this shape, for example, is much
bigger than this one. This doesn't
complete this shape. So I want to discard this one. I'm done. I can either
delete it or just ignore it. When I go to export it, I want to make sure that
I'm exporting artboard one. So let's go ahead
and take a look at how to export this next. As I mentioned earlier, you could create multiple color ways from this
if you had turned your shape into a symbol or if you want to
use select same. You can do that within
the same canvas simply by adding
additional artboards. Now, for the purposes
of this class, I'm going to stick
with this one. So I'll head up to file
and down to export. And the first thing
that I want to note is that it's automatically
selected Artboard two, because that's the last
one that I was in. Make sure you check this
each time you export and actively select the artboard
that you want to export. Remember, I moved this
one around and scaled it. So if I accidentally
export this one, it's not going to
tile seamlessly. So I need to make
sure that I choose Artboard one and
export the original. The format that you
choose is going to depend on the requirements of the site you're using it on. For example, my print on demand site allows
for flat vectors, so I could export
this as an SPG, but spoon flower requires
P&G JPEGs or TIF files. If you work on different sites with
different requirements, you can always export
more than once. Just make sure that you know
what each site requires. Now, from here, I
could change the size. I'm going to leave the
preset as best quality, and I can just hit export and choose where I
want to save this. Now, I've already
saved this one, so I'm going to cancel it out, and we can move on
to the next lesson. In the next lesson,
we're going to take a look at how we can
take a single stroke created with the pen
tool and turn it into an OG design.
I'll see you there.
4. Ogee Shape 2: Single Stroke & Pen Tool: In this lesson,
we're going to use the pen tool to create
a single straight line, which, along with some
help from the No tool, will turn into a beautiful
and versatile Oz design. Till let's get started. I've created the same size
Canvas as the last lesson, 4,000 pixels by 4,000
pixels at 300 DPI. I also want to set up a grid, which is going to make it
a lot easier to create the additional
nodes I'm going to need to create my OG shape. I'll go up to the top and choose view and then grid and axis. And I'll click to show the grid. Now, this is automatically going to give me the automatic mode, which means if I zoom in
and out on my canvas, it's going to change
the spacing on my grid, and I actually don't
want that to happen. I tend to zoom in and out a lot. What I'll do is click on basic. And I'm going to key 500 pixels into this so that
it's locked in place. Now as I zoom in and out, it's not going to change. Now, the scale of your grid
is going to help determine how many nodes you can add and ultimately the size of
your final OG shape. I wanted to create one
that's got spacing at 500 pixels because I'm going to create nodes that I can pull out to the side
and create an OG shape. That's 1,000 pixels tall, so 500 plus 500. If you create a
much tighter grid, in other words, the spacing
is much lower, say 250, it's going to give you
more opportunities to add more nodes, which means you can create
a much smaller scale. It's totally up to you
what you want to create. You can follow
along with what I'm doing or have fun
and play around with different settings
that easily divide into 4,000 and create
whatever size you'd like. With my grid in place, I'm going to select my pen tool. I also want to make sure
that snapping is turned on, and that under settings, I have snap to grid on. This is going to make it much easier when I go
to add my nodes. Now, if you took the linear
pattern class in this series, we're going to
approach this the same way that we did
with the wavy line. I'll go ahead and bring my
pen tool up to the top here. And because snapping is on, when I get to the intersection between the x and
the y at the top, I get this yellow dot. So I'm going to click
and add a node there. I'll go down to the bottom holding shift down
that's going to give me a perfectly straight
line and do the same thing. As soon as I get
that yellow dot, I'll place that bottom node. Now, my straight
line is in place, and I no longer need the penal. That's pretty easy, right? So I'm going to switch
to the node tool now. I'm going to go ahead and
add a stroke to this. I don't need to fill. I'll
just pick this gray color. The color really doesn't matter. You can always
change it. And I'm going to set the points to ten. Again, this is something
that I can change, but I want you to be able
to see what I'm doing. Now, with my node tool, I want to add nodes to my stroke so that I
can pull them out horizontally to create the
first half of my G shape, which is going to look
like a wavy line. I'm going to add a node at every intersection between
the top and bottom nodes. And once again, Snapping
is going to make this a lot easier because on
the desktop version, it's going to show me that same yellow dot just much smaller. Now, I will admit on the iPad, this is a little
bit more difficult because it's not
quite as obvious, but again, Snapping can
come in handy here. You can also go to your settings and change your
screen tolerance. The higher the screen tolerance, the more easily it'll snap. You just want to make
sure that you change it back so that it doesn't
keep doing that. So I'm going to hover over each intersection until
I get that yellow dot. I'll click, and I'll just keep adding until I get
to the bottom. Alright, now I have multiple
sharp nodes in place, and I actually need to change
these from sharp to smooth. Otherwise, if I drag them out, I'm going to get
more of a zig zag, and I actually want
a smooth wave. So with my node tool, I'm going to click
outside the canvas and holding the button down to
drag to select all of them. I'll go up to the context
menu and choose smooth. Now I have smooth nodes, which means if I drag them out, I get a nice smooth line. Now, because I want
1,000 pixel, shape here. I'm going to select every other node between the top and the bottom
starting with this second one. So I'll click and then shift, click to select every other one. And the amount that
I drag this out is going to determine
the width of MOG. So if I drag it all the
way out to this 500 point, I'm going to end up
with 1,000 pixel wide Shape. I actually
don't want that. I'm going to go ahead and
command Z to bring that back. What I'll do instead is go
up to my transform studio, and in the X axis, I'm going to click
and add plus 250. That's going to move all of
my selected nodes halfway across this cell so that
they've moved 250 pixels. What that means is
that my final shape is going to be 500 pixels wide. You can go ahead and make yours whatever size that you'd like. Now, I have my first
line in place, and I don't need to repeat that. I'm going to do the same thing that I did in the last lesson, and I'll command J
to duplicate it. I'll go up to the
contextual menu and choose flip horizontal, and then holding my
shift key down and I want to drag this
over until it snaps, and I have my
completed OG shape. Now, I could leave the
Sazz and just group it up, but I'm actually going to take these two curves and create
one big shape out of them. So I'll select both of them. Grab my node tool, and I want to connect the top
nodes and the bottom nodes. Now, it's really important
that you don't just click on the top node because it's only going to select
the top most node. I actually want both
of them in this case. So I'm going to click outside
the campus and drag across, and that's going to select both because I have both
layers selected. I'll go up to the top
here and join curves, and I'll do the same
thing at the bottom. When you click and
drag to select both and then join the curves. And now I have one shape
rather than two layers. Something to keep in mind
is that you don't have to use this stroke
within the final design. You can also use it as a
guide to create an OG design, but remove it from
the final pattern. An example of that would be this scanty floral
design I created. You don't see the
original stroke, but I used it to make sure that my flowers were sized
and spaced correctly. So even without the stroke, you can still see a very
distinct OG pattern throughout. So all that to say is that
it's a very versatile shape. You can use it
however you'd like. For this class, I'm going to
stick with geometric shapes, but I did want to show
you that you don't have to use the stroke
as we created it. It can solely be
used as a guide. The first thing that
I want to do with this new shape is I want to change the stroke
color and width. I want it to be thinner,
so I'm going to go to my stroke and change
it to five points. I'm also going to make sure that scale with object is turned on just in case I change the scale of
this for some reason. Now I want to change the color. I'll change it to
this off white, and I know it's hard to see, but I am going to
add a fill as well. I'll just use this green color. Now, what I'm going
to do is create sort of an onion
shape with this. I'm going to
duplicate that curve. And go to my transform panel. I want to make sure that
the width and height are unlocked because I don't want to change the height,
just the width. Let me zoom in here so you
can see what's happening. I'll go to my width,
and I'm going to change my pixels to 400, and that's bringing in
in even on both sides. I'll duplicate it again. Now, it automatically did it
because of power duplicate. But one thing about
power duplicate is that it starts to
depreciate the number. It's showing 400 here. I actually want to
change at 2300, and you can see it's going to
bring in a little bit more. I'll go ahead and command J to duplicate and
change this to 200. And I'm going to keep doing
that until I get to 100, and then I'm going to stop. The reason that I'm
stopping is because the next number would
technically be zero, and it's not going to
let me have a shape that's zero width and
4,000 pixels height. So what I'm going to do
is just step out of that. And no longer want to
duplicate that shape. I'm going to grab my pen hole and just tap at the
top to add a node, hold shift down and add a straight line
right down the middle. Now that everything's in place, I feel like the stroke is
a little bit too thick. You can't see much of the fill. So what I'm going to do is
select all of these shapes, and I'm going to try
three points instead. Actually, I think that
looks much better. Let's just see what
two looks like. Alright, I'm going
to go with instead. I like the thin stroke with
that green fill behind it. With everything
selected, I'm going to command G to group this, and this is the final
motif that I'm going to tile horizontally
across my Canvas. I want to start by bringing
my shape to the zero mark on the x axis while keeping it in place on the y or vertically. So I'll go up to my
transform panel, and again, I have my
anchor set to the middle. I'll key in zero on the x axis, so it brings along
that left edge. Now, unlike the last lesson, we're not dealing
with a single shape that's the exact same
height and width. We're working with
one that's 500 pixels wide by 4,000 pixels tall. And the nature of this shape being We V means
there's going to be several gaps across the Canvas unless it's tiled a certain way. I'm going to use the
move duplicate box again, so I'll hit Enter. And just like the last time, I'm going to tile
it or offset it horizontally half the size
of the width, so 250. Going to turn on duplicate so you can see what's happening. So there's four waves here, but there's five gaps here
that need to be filled in, which means I'm going to need to create two of these
to complete that. So for this first one, the way to determine how much
I need to offset this is to take the size of one of
these shapes and half it. So if you remember, I
used a 500 pixel grid, and these shapes span two
of those 500 pixel spaces. So these are 1,000 pixels tall. So I want to go half of that. On the vertical, I'm going to
key in -500, and I'll hit. I'll select that shape. And this time, I want
to duplicate it and offset it down so that I
fill in this final one. Well, now I want to choose the entire amount or the
entire size of this. So I'm going to hit Enter. I don't need to offset
it on the horizontal. On the vertical, I'm just
going to offset it 1,000. And that's going to move it down just so that it
fills in that space. Now, there's actually two here that are
overlapping one another, but I'm not worried
about that in this case. I'm not going to be
changing any blend modes or opacities or anything that would show that
there's an overlap. The most important thing
in this case is that I filled in that final
space, and that's done. That math that we
just use is going to apply no matter what
shape you create. So if I had created a 2000 pixel shape I would have offset it up 1,000
and down 2000. So always take into
account whatever the size of one of your
individual OG shapes is. And that's going to tell
you exactly how much to offset it up and down to
fill in all of those shapes. Now that I have my first
two columns filled in, I'm going to select all of
my layers and group them up. And now I can go ahead and
tile all the way across, and I just need to
move horizontally. I don't need to move anything vertically. So I'll hit Enter. And I want to key in
500 on the horizontal. Again, that's the original
width of my shape. I'll click on Duplicate, and now I can just
change the number of copies until it's tiled all the way across,
and I'll click Okay. Now, it looks like I
added one additional one, so I'm going to delete that. Sometimes the move duplicate dialogue box
gets out of control. Just go ahead and remove it. But at this point, my
pattern's complete. So I just want to test it just like I did with
the last lesson. So I'll select the artboard
and go to my assets. I'm going to go to
my OG subcategory. Add from selection. And I want to add in an
artboard so that I can use my gradient to test this
once it's in place. So I still have that selected. I'll just go to the artboard
tool Insert artboard, and I want to go to
my gradient tool. Click into that ard board, and under my assets, I'll just add that shape. Let's see how it looks. I can scale out. I'm not seeing any
problems. Let's just see. Sometimes you might
get little anomalies with some white lines showing. Don't worry about that
because if you zoom in, you'll see that it's
not actually an issue. I can scale up and see
what it looks like there. And of course, move
it around and see if there's anything concerting. When I pull this in, it looks
like everything is great. So unless I want to make
changes to the fills or strokes or to create different colorways or
entirely different designs, perhaps changing the
stroke width or color, I'm all set to export this and move on to
the next OG design. In the final lesson, we're going to take
a look at how to create an OG motif using a series of ellipses and the shape builder tool.
I'll see you there.
5. Ogee Shape 3: Shape Builder Tool: In the first lesson, we
took a single ellipse, broke it up with the node tool, and put it back together as
an entirely different shape. In this lesson, we're
once again going to lean on the ellipse to
create our final motif. But instead of breaking
down a single shape, we're going to use a
series of them along with the shape builder to create our OG motif. Let's take a look. Once again, I've
created a 4,000 by 4,000 pixel canvas
set to 300 DPI. I'm going to start out by
creating a series of ellipses. And just like the other lessons, the size you start with will determine the size
motif you end up with. I want a 1,000 pixel OG shape, so I need to start with
500 pixel ellipses. Specifically, six of them. I'll grab a stroke, so I have
a five point stroke here, and I'm going to set it
to this dark gray again. I can always change
all of that later. I want to make sure
that my stroke is set to a line to center. Otherwise, this won't
work correctly. Now, I need to
repeat the ellipse across one column
and down three rows, so I have a total
of six ellipses. I'll do that with my
moved duplicate tool. So I'm going to go ahead and
choose my ellipse shape. Command click and create
the 500 by 500 pixel shape. And then with it
selected, I'll hit Enter. And I'm going to keep 500 in the horizontal and hit duplicate.
Then I'll click Okay. I'll select these two shapes
and once again, hit Enter. And on the vertical,
again, I'll go 500. And this time, I need
two copies and click. Okay. And now I'm my total of six ellipses that are all meeting up at the center
of the Aligned stroke. Now, you might
already be able to spot the OD shape that we're
going to create from this. So let's go ahead and grab the shape builder and
create the final motif. I'm going to select all of my shapes and choose
my shape builder tool. Now, I'm not going
to go into all of the specifics about how the Shape Builder tool
works here in this classes. I've covered it multiple
times in previous classes. And sad I'm going to focus on the specific settings
I need for this one. So I have a couple of approaches that I
can take with this. If I want to maintain
these six ellipse shapes, I can go up to the top here
and choose the action, create a new shape
from a selected area. When I do that and click and drag through these
shapes to create my OG, it's going to create a separate layer with
that new shape, but it maintains all of the
ellipses that I created. I don't need that. I don't actually need
to maintain those, so I'm going to
command Z and back up. Instead, I'm going to
choose this first action, which is create new shape and basically remove all
the unused areas. Now, so that I don't have to clean up anything afterwards. I'm also going to go
to clean up here in the contextual menu and change this to all unused geometry. Now when I do that
same move where I click and drag through
all four of these shapes, I'm left with my
1,000 pixel OG shape, and everything else is
automatically deleted. So just like in
the first lesson, I can go ahead and fill this
in and then tile it across. I'm going to use
this as a guide for a floral illustration
that's set inside. The very first thing
that I want to do is change the stroke color. So right now I have
this dark gray color. I'm going to change
it to this green and I want to make
this into leaves. And I'm going to
change my stroke to something like 25 points. I can always change
it to something higher if I want, but
I'll start with this. The next thing I want to do is something similar
to what we did in the first lesson where I
broke apart the shape. I'm going to grab my node tool, and I want to break this
into four segments. One here, one here,
here, and then here. So I'm going to
select this shape, I'm sorry, this node,
and choose break curve. I'll do the same thing here. I'm going to break
this bottom one and then break this side one. And now I have four layers here that are these
four segments, and I'm going to turn
these into leaf shapes. So the way that I'm going to do that is to select one of them. I'll select this one right here. And I'm going to use the new stroke width
tool to do this. So I'll select that.
And if I zoom in here, you can see that I get this
little red.in this line here. I'm going to start to drag out. I'm clicking and dragging out, and then I'm going to
pull it into the center. That's going to make
that pointed leaf shape. And I'm going to pull this
one all the way in as well. Now, I have this node already in place here
because of that curve, so I'm going to go right here, click and just drag out. I'm going to make
that nice and wide. Now, I don't need to repeat this with the other
three shapes. Instead, what I'm
going to do is select my style picker tool over here and just pick this
style and add it to these. So the way that I'm
going to do that is to select one of
the other curves, and I'll go up to the top here. Now, what I want to do is set my stroke to match this one. So I'm just going
to click on none, and then just choose stroke. With that selected, you'll
see this blue box around it. I'm going to click on the shape, and it's automatically going to change it to match
the other one. Now, I can do that
with the other two, but before I do that, in between each one, I need
to first select the layer. Then click on Unload. You'll see the box form. And again, I can click on
the one I want to mimic. And I can keep doing that
until all of them are done. So now I have my leaf shapes. And what's going to
end up happening here is I'm going to
add a flower in here, and these are going to be
the leaves for this flower. These two up here
are going to come together and form the OG
shapes as I tile across. Let me show you what
I mean. I'm going to select my pen tool, and I want to make this
probably about five points. I can always make it
bigger if I want. I'll just start here. Hold my shift key down. And I'm going to click here to give myself a straight line. I'm going to keep this
very basic because this ultimately isn't about
what I'm adding here. It's more about creating
the overall shape. But what I'm going to do is grab my cloud tool here in my shapes. I'll escape to
deselect that one. And I'll grab this purple color. I don't need a stroke, but I do want this to fill. And I'll just start here
and hold down command and shift and just
drag out floral shape. Now, I'm already thinking that these strokes might be a little
bit too big for my leave, so I might change that, but we'll see. All right. I think I'll change the
number of bubbles or petals, if you want to call it that 28. And then I'm just
going to go ahead and convert this to a curve. I don't need to make any
other changes to it. I think what I'm also going
to do is command J to duplicate that and change the duplicate to this
off white color. And I'll just use my move
tool to scale that in. Alright. And then I also
want to add a middle here, so I'm going to grab my
ellipse and find the center. And I think I'll make
this orange ops. Make sure you deselect
the last shape. I'll change my filled orange. A hold down command
shift and just drag up. And I want to add a dotted
stroke around this. So I'm going to
go to the stroke, and I think I'll
make it this dark, kind of gray brown color. I want some contrast here.
Everything's kind of light. So I'll go to my
stroke settings, and undertyle, I'm going to change it to a dash lion style. And then I'll get these
little boxes down here. The first thing I want
to do is make sure that my cap is set to round cap. That's how I'm going
to get the dots. Now, you can see that these
are more pill shaped here. And that's because this box
right here is set to one. If I click and drag
that down to zero, it's going to make it rounded. This particular box is going to change the spacing between them, so I'm going to keep
that at about one. And I think I'll make
this just a little bit maybe 6.5 points. And I'm just going to click on Scale with
Object just to make sure if I scale this
up and down for any reason, it
doesn't change that. In fact, I want to
make sure that I do that with all of my strokes. So I'll select these
and change them. Alright, I'm thinking
that I want to add a little bit of
something to these leaves. I think the size might be fine. Let me just see what happens if I scale them down just a touch. What I want to do is command
J and duplicate those, and I'm going to go to
my swatches and change the stroke on those
duplicates to the off white. I'll go back to my stroke panel, and I'm going to make a
center for these leaf shapes. And just bring it to
right about there. Now, you can see that my stem
is sitting on top of that. So I want to make sure
this is underneath. So this is it. This is what I'm going to create as my shape. So I'm just going to
group everything up here, do a command G, and I'm ready to
begin tiling this. So this is going to
work the exact same way that it did in the first lesson. I have a shape here that is the exact same
width as height. And in this case, it's 1,000, so it evenly divides into
my 4,000 pixel canvas. I have my anchor
set to the middle, so I'm going to keen 00
and set it to the corner. And then I'm going to follow the same process that I
did in the first lesson. I'm going to create
the first row. I'll hit Enter, and I want to send this 1,000 pixels
on the horizontal. I'll click Duplicate, and it's going to end up
being four copies. I've created that first row, and now I need four of these
to create the second one, and they're going to tuck
themselves into here. So I'll hit Enter again. This time, I want
to go 500 on the horizontal and then 500
down. I'll hit duplicate. And you can see
that those leaves are overlapping one another, so it's creating
a complete shape. I'll go ahead and
hit, and then I can group everything up and
complete the entire Canvas. So with that group
selected, I'll hit Enter. And on the vertical, I want to choose 1,000. I'll hit duplicate. And again, I'm going to add four copies to
complete my canvas. You want to make
sure that you have that last piece in there because that completes this flower if this is the design
you're creating. And I'll click Okay.
Now, right now, I have nothing in
the background. If I export this as a PNG, it would end up
being transparent. I'm going to go ahead and add a rectangle in the
background here. So I want to take the stroke
off. I don't need that. I'm going to make it
the off white color. And I'll just move it
down to the bottom. I think I might make that
actually a little bit lter, too, so it doesn't quite
match the other off whites. I'll go ahead and just go to my color, and
under the luminosity. I'm just going to bring
that up, just a touch. It's slight difference, but it's enough that you
can see a difference. Alright, so this is
my final pattern, and I'm ready to test it. So just like the others, I'm going to grab the artboard, I'll go ahead and add
this to my assets. And one set's in place, I'll add another artboard and use the gradient
tool to test it. Alright, my asset is in place. I have a new art board. I'm going to click to make
sure that that's selected. And with my gradient tool, I'm going to click
on that asset. Move over so you can see it. And I'm going to scale down and make sure there's no issues. I'm not seeing any problems, I'm not seeing anything cut off. And I'm just going to scale
up and see how it looks. I like how that's looking. So I'm going to call this done. And at this point, I'm ready to go ahead and
export my original tile. In the next video, we
are going to wrap up the class with some final
thoughts. I'll see you there.
6. Final Thoughts: We're at the end of class, and I thank you for trusting me with your time
and creativity. I hope you enjoyed
this installment of the Pattern Tool Kit series and had fun creating
your own OG designs. I'd love to hear your
thoughts on the class. So please consider leaving
your review as it lets me know what I'm doing well and where
I might need to improve. And leaving a review and
sharing your project not only helps future students what they'll see when
they take the class, it helps more students
find the class. If you share your
project on Instagram, don't forget to tag me at
the handle on the screen. In addition to my
Skillshare channel, I also have a YouTube channel, where I share short
form tutorials that compliment my
suite of classes here. You can find the link to it in my profile and in the
guide provided with class. Speaking of my profile, I have lots of classes in the
works here on Skillshare, including many more in the
pattern toolkit series. So if you're not already, be sure to hit the follow
button on my profile, so you're always kept in
the loop on what's coming up and when new
classes are published. Finally, I welcome you to join my free community for digital
creators, the creator Cage. We're a group of creatives
of all skill levels with experience in a wide
range of digital applications. You can ask questions,
share your work, learn new tips,
or share your own all in a friendly non
judgmental environment. You can find out
more at the Link in M Profile or in the class Guide. If you have any questions about what you learned
in this class, please don't hesitate
to reach out to me, either in the discussion below
or at the e mail provided. Again, thank you so much
for joining me here in class and happy creating. O
Tracey Capone, Illustrator, Photographer & Designer
