Surface Pattern Design in Affinity Designer V2 | Scallop Motifs Three Ways | Tracey Capone | Skillshare
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Surface Pattern Design in Affinity Designer V2 | Scallop Motifs Three Ways

teacher avatar Tracey Capone, Illustrator, Photographer & Designer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Welcome to Class!

      2:48

    • 2.

      The Class Project

      1:10

    • 3.

      Scallop 1: Single Ellipse

      18:39

    • 4.

      Scallop 2: Vector Flood Fill Tool

      11:08

    • 5.

      Scallop 3: Cloud and Shape Builder Tool

      18:06

    • 6.

      BONUS LESSON: Create an Ogee Motif from a Scallop

      6:05

    • 7.

      Thank You!

      1:44

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About This Class

Creating scallop surface pattern designs in Affinity Designer is a fun way to add a touch of elegance and whimsy to your portfolio. By mastering the use of simple curves and repetition, you can create beautifully balanced patterns that are perfect for everything from textiles to wallpapers.

The best part? Creating scallops is not as difficult as you may think, in fact, in this class, I'm going to show you three ways to create scallop patterns, in Designer, that aren't difficult, but are super fun!

Hi everyone! I'm Tracey Capone, a designer and artist from the Chicago area. Welcome to Three Ways to Create Scallop Patterns in Affinity Designer!

Welcome to the next class in my series of surface pattern design classes, called "Pattern Toolbox!" In this series of classes, we'll focus on a specific pattern, or theme of patterns, in a variety of applications: the Affinity suite, Adobe, and Procreate. With each lesson, you'll walk away from class with a new design for your portfolio, as well as experience in tools that can expand your creativity in surface pattern design and beyond.

Affinity Designer is packed with tons of amazing tools, but, in this class, we only need to focus on a small handful to make beautiful scallop shapes for our surface pattern designs. Throughout the class, we'll looking at:

  • How to break up a single ellipse and put it back together as a scallop motif: I'll show you how you can break the ellipse in to a few single strokes and, with a few simple tweaks, and the Shape Builder tool, put it back together as a scallop. I'll also show you how choosing the size of the original ellipse can impact your final shape and it's ease of tiling across the canvas.
  • We'll look at how to use the Vector Flood Fill tool and multiple ellipses to create a scallop: We'll harness the power of the Vector Flood fill tool to quickly change the color of specific motifs in our pattern, as well as add transparent bitmap patterns on top of those motifs. I'll also show you how to use the Style Picker to add your transparent pattern to multiple motifs while maintaining a seamless design.
  • How to turn a single cloud shape in to a unique scallop motif with some help from snapping and the Shape Builder tool: Because of it's unique shape, using a cloud to create a scallop can be a bit of a challenge. I'll show you what to look for in order to ensure you have a perfectly tillable motif each and every time.
  • How to set up your canvas, and your initial ogee shape, for efficiency: When you think ahead to what you want your final outcome to be, and set up your initial shape with that in mind, you can quickly and easily, create tons of ogee patterns, at any scale, for your print on demand needs and portfolio.
  • How to test your patterns using the Gradient tool: I'll show you how to save your artboards as assets and use the bitmap feature in the gradient tool to test your designs quickly, right inside Designer.
  • As a bonus, I'll show you how to take a single scallop motif and turn it in to an ogee: With a quick duplicate and rotate, as well as some help from a horizontal and vertical flip, you can create two motifs from one!

  • Affinity Designer V2 (desktop or iPad)
    • Please note, there are tools used in this class that are only available in V2 of Designer

I'll be using the desktop version of Affinity Designer V2. Most tools used in the class are available on both the iPad and desktop versions, with the exception of the Move Data Entry feature. For those on the iPad, you can still follow along and use the traditional power duplicate method. 

Please note, while you can create the same patterns in Affinity Photo, there are some tools used in this class, such as the Shape Builder, that are only available in Affinity Designer.

While this class is beginner friendly, it does assume some familiarity with Affinity Designer V2 and the overall surface pattern design process. Please note, we will not be reviewing the interface in this class so it is important that you know where all tools are located, and the basics of how Designer works, in order to have a successful time with this class.

Hi there! I'm Tracey. I'm an illustrator, designer, and  photographer located in the Chicagoland area. You can find more information about me, and my work in my full profile. (find the link above) I've been a full time artist for over a decade, after leaving the corporate world behind in 2011. In addition to teaching, I am a full time creator who sells my work on my own site, as well as print on demand sites like Spoonflower, Etsy and more. 

I've been using Affinity products for the last several years and love to learn as much as I can about the tools so I can not only use them the way they were intended to work but make them work for me; and I love sharing that knowledge with my students! I've had the privilege of being spotlighted by Serif, the company who created the app, twice as a go to teacher for their apps. You can find links to the spotlight articles, as well as a Creative Session I've created for their YouTube channel, on my profile page.

If you have any questions about the class, or would like feedback on your project, please feel free to let me know in the Discussion section of class, or by emailing me at hello@traceycapone.com.

I look forward to seeing you in class!

Music Credit: "Passionate Choices," by Mansij on artlist.io

Meet Your Teacher

Teacher Profile Image

Tracey Capone

Illustrator, Photographer & Designer

Top Teacher

Hello and welcome to my Skillshare channel! I'm so happy you're here!

My name is Tracey. I'm an illustrator, photographer, teacher and self-proclaimed digital art nerd who loves all the apps, and sharing everything I know. Being able to help students understand more complex applications, like Affinity Designer, and hearing about that moment of clarity when everything came together for them is truly satisfying.

not just the how, but also the why... I believe understanding why I take certain approaches, or use particular tools, will help you absorb what you learn and better prepare you to work on your own later. to embrace the perfectly imperfect... in my mind, it's the best way to develop that sometimes elusive creative voice!

and finally... See full profile

Level: Intermediate

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Transcripts

1. Welcome to Class!: Creating scallop motifs in affinity designer is a fun way to add a touch of elegance and whimsy to your portfolio. By mastering the use of simple curves and repetition, you can create beautifully balanced patterns that are perfect for everything from textiles to wallpaper. The best part, creating scallops is not as difficult as you may think. In fact, in this class, I'm going to show you three ways to create your own scallop patterns in designer that aren't difficult at all. In fact, they're super fun. Hey, everyone. I'm Tracy, an illustrator and designer from the Chicago area, and welcome to the next class in my Pattern toolkit 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 in surface pattern design and beyond. Designer is packed with tons of amazing tools. But in this class, we're going to focus on a handful of them to make beautiful scallop shapes for our designs. Throughout class, we'll look at how to break an ellipse up into multiple curves and put it back together as a single scallop shape. Next, we'll use a group of ellipse shapes and the vector flood fill tool to create a perfectly sized scallop ready to use as a template or to fill in with solid shapes. We'll follow that up by creating a wavy scallop using a single cloud shape that's already built into designer. As a bonus, I'll show you how to take a single scallop shape and turn it into a fun OD design. With all of our shapes, we'll talk about how the size of the shape that you start with helps determine the size you end up with. We'll also talk about how to set up your canvas and your initial motif. For efficiency. Because when you think ahead to what you want your final outcome to be and set up your initial shape with that in mind, you can quickly and easily create tons of scallet patterns at any scale for your print on demand needs and design portfolio. Now, I'll be using the desktop version of Designer version two. Most tools used in the class are available on the iPad version as well with the exception of the move data entry feature. But for those of you on the iPad, you'll still be able to follow along using traditional power duplicate methods. I do want to know, while this class is beginner friendly, it does assume some familiarity with designer and the overall surface pattern design process. We're not going to be reviewing the interface in this class. So it's important that you're comfortable with where the tools are located, as well as the basics of how designer works in order to have a successful time with this class. So are you ready to add some scallop patterns to your pattern tool kit? If so, come join me in class, and let's get started. 2. The Class Project: H. The project for this class is to create your own scallop designs using the methods taught in class. Try one or all of the following to create a scallop motif, breaking apart a single ellipse and putting it back together as a scallop. Using the vector flood fill tool or using the built in Cloud shape. Try your hand at the Bonus motif. I show you how to create at the end of class, creating an OG from a series of scallop shapes. Whatever you decide, have fun with it and make your pattern your own. The easiest way to share your project is to take a screen grab and load it here in the projects and resources section. I've shared step by step instructions on how to share your project. As well as additional information in the guide provided with class. I'd love to see what you create. And sharing your project not only allows future students to see what they'll learn when they take the class. It, along with leaving a review, helps our students find a 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 a scallop motif. I'll see you there. 3. Scallop 1: Single Ellipse: In this lesson, we'll take a look at how to break up in a lip shape into three parts and put it back together as a scalp motif. We'll also talk about how the size of the shape that we start with determines the size of the motif we end up with. Let's get started. I'm going to start with a 4,000 by 4,000 pixel canvas set to 300 DPI. This allows me versatility when it comes to using my final design because it gives me options when it comes to export and the various print on demand sites that I use. Now, the sites that I use all ask for RGB files. So I'm going to keep my color format as RGB. If I need to, I can always convert one to CMYK or create a new file with that color space. Go ahead and set yours up to whatever you need for the print on demand sites that you use. And finally, I want to set up an artboard, so I'm going to make sure that this box is checked off, and I'll click Create. With the Canada setup, let's talk about the ellipse that we want to start with. One of the reasons that I chose to work on a 4,000 pixel canvas is that it gives me a number of options for the size of my scallop motif, which is ultimately going to determine the overall scale of my final design. I want to create a shape that's easily divisible into my canvas. So I could go with a 100250500000 or 2000 pixel scallop. Remember, the size of the initial shape determines the scale and how dense the final design is. Take a look at these two examples. If I start with a 250 pixel scallop shape, the scale of my final design is going to be rather small and very dense. If I start with a 2000 pixel shape on the same size artboard, it's going to be rather large and very open. I want to create a design that's somewhere in the middle, but not too small, so I'm going to start with a 500 pixel shape. Much like the size of your scallop shape, will determine the scale of your design. The size of the ellipse that you start with is going to determine the scale of your final scallop shape. In the case of the scallop shape, it's a one to one match because we're just adjusting the shape within the bounds of the original ellipse. We're not moving anything outside of it. So if I create a 250 pixel ellipse, for example, I'll end up with a 250 pixel scallop motif, while a 1,000 pixel ellipse is going to create a 1,000 pixel scallop. Since I want a 500 pixel scallop, I'm going to start with a 500 pixel ellipse. I've created a 500 pixel ellipse with no fill and a five point stroke. The color and width ultimately don't matter because I can change them after I create my shape. I need to break this ellipse into three parts, a half circle on the top, and two quarter circles on the bottom. Because this is a shape, I currently can't use my node tool, and I need that to break this apart. So the first thing I'm going to do is select it, and I can either go up to the top here and choose convert to curves or go to my layers menu. But I can also right click and choose convert to curves from the dropdown menu. And now I have the ability to use my node tool on these four nodes. What I want to do is click and drag to select the right and bottom most node. And I can either go to the contextual menu and choose break curve, or I can right click on one of the selected ones and choose break curve there. I'll do the same thing on the other side. This time, I'll go up to the top here and just choose break curve. And if you look at my layers panel, now I have three layers. There is a half circle on the top, and then the two quarter circles on the bottom. Now, to create my scallop, I want to take these two quarter circles and flip them both horizontally and vertically so that they form the triangular shape at the bottom of the scallop. However, if I select both of these, and with my move tool, choose horizontally and vertically flip at the top here, because they're flipping together in the same bounding box, they end up upside down, and that's not what I want. So I'm going to command Z and back up. What I need to do is flip just one of the shapes and have the other follow suit. The way to do that is to go up to the contextual menu with the move tool engaged and choose transform objects separately in the contextual menu. For those of you on the iPad, you can find it when the move tool is engaged under the arrow at the top, in the contextual menu. Now, if I zoom in, you can see that the bounding box is over one of my shapes, but I still have a blue line through here, which means that's also selected. Now, if I flip horizontally and vertically, it's going to do exactly what I need. And now I have my scallop shape. I want to fuse these three shapes together so that I can use toes my template for my overall design. And I can do this two ways. I can select all of my curves, make sure that transform objects separately is off. And with my node tool selected, go to the contextual menu and choose join curves. The other option is with all of the shapes selected, going to my shape builder tool, selecting this plus here at the top, create a new shape from the selected area, and simply clicking on the inside of the shape. That creates one shape as well. It's really up to you what you find easier. I'm going to go ahead and stick with what I've created here with the Shape Builder tool. Now, a third option would be to use the vector flood fill tool, but that would also leave you with an extra shape. Before I move on to filling this in and tying it, I want to talk quickly about saving your motifs as assets. One thing I recommend, and this is the case with any of the motifs that we create as part of this pattern toolkit series is to create an assets library of all of the shapes that you create. By creating a library of shapes that, you have at your fingertips. You save yourself tons of time by not having to create the motifs from scratch each time you want to create a new design. Additionally, most of the time, like here with the scallop, you don't have to save them in every size you might need for multiple scales of single patterns. Remember, you're working with vectors. When you pull an asset in, it's creating a fresh copy, and it leaves the original alone, which means that you can easily resize the copy and create a pattern at any scale without concern that you might lose the original. So just go to your assets, create a category, and you can create multiple subcategories under each of those. Remember, the more efficiently you create, the more time you're going to have to create. Let's move on to filling this in and tiling it. When it comes to filling in the motif, I have a couple of directions that I can go with this. I can use the template for a secondary illustration that has its own scallop shape. For example, this very simple floral illustration that takes on the shape, and I've added this second stroke here in a dash pattern at the top. When it's tiled, it creates this. Now, obviously, this is a very simplistic illustration. You can get as detailed as you want. It doesn't even have to be in a scallop formation, but you could use this as your overall guide. The other option that I'm going to use in this class is to just create simple fills that I clip inside. I'm going to create a linear pill shape that I can clip in. And the first thing I'm going to do is change this to a red fill. And I have this pallet all set up. So I'll go ahead and change that. Now, I'm going to create the pill shape in gray so that you can see what I'm doing, but I'm going to change it to the off white here once I'm ready to clip it inside. Easiest way to create the pill shape is to use the rectangle tool and draw up my first shape. So I'll go ahead and grab that. And I want a great stroke. I'll command click on my Canvas. I'm on the desktop, which means I can do this. If you're on the iPad version, of course, you can just draw out the rectangle and use the transform tool to set the size. Already have 250 by 500 in here, which is what I want. So I'm going to click Okay. I can change the corners here while it's still a rectangle, but I'm just going to convert this to a curve in case I need to use the nodes for any reason. I'll select all four of my shapes and grab the corner tool here. I can also hit C on my keyboard. Now, I have a 250 pixel wide shape, and I want this to be a pill shape, which means my corners need to be half of that size. So I'm going to set the radius to corner type round, and then each of these 2250. That's going to give me my pill shape. Of course, I need to set this because if I don't, if I don't bake the appearance here, if I scale this up and down, it's going to continue changing the corners. So I'm going to click bake appearance here. For those of you on the iPad, just look for a triangular shape up here at the top. That's convert to curves. It does the same thing as bake appearance. The next thing I need to do is duplicate my shape. I'm going to go ahead and do that, so I'll command J to duplicate it. And I'm going to grab my contour pole. And I want to start bringing this down, so I'm going to click and drag to the left. And I'm going to key in the radius here at -25 pixels. I want to set the exact same size for each shape. So I'll go ahead and hit Command J. And once again, with my contour tool, I'm just going to start dragging down. And in this case, I want -50. I'll do it once again. And do -75 and one more time. Let's do -100. Now, I need to do the same thing I did with the Corner tool. I need to bake the appearance. And again, on the iPad, you'll see convert to curves. I'm just going to select all of my duplicates here, and I'll go up to the top and choose bake appearance. That's going to set them so that the contour that I just set stays in place, even if I scale this up and down. Now that I have all of these in place, I'm going to go to my palette here and change everything to off white. I'll group this up by hitting command G just so that everything stays together. And I'm going to bring it over the top of my shape here and just see where I want it. And then I'll just drag it and clip it inside. All right, one final thing I want to do is to add an off white stroke around the shape itself. And I'm going to keep that set to five points. And this is it. This is what I'm going to stick with. I'll keep it pretty basic because overall, the class is more about creating the actual scallop shape, not so much what I feel inside. But go ahead and create whatever type of scallop you'd like to do. Now that we're all set with our final shape, let's take a look at how to tie this. Now, if you want before you tile your motif, you can change this shape to a symbol, or you could use global colors. Either way, that's going to allow you to quickly create multiple colorways with your designs. I'm not going to do that here, but it is an option to consider when creating any of the designs in this class. What I want to do is create the first two rows. The top row is going to have a total of nine scallop shapes because the first and last motif are going to start and end off the edge of the canvas, and they need to complete each other on the other side. The second row is going to have eight scallops, which divides evenly into my 4,000 pixel canvas, those are going to tuck themselves into the empty spaces left by the top row. By creating the first two rows, I'm ensuring that I don't have any gaps as I tile the shapes all the way down. So I'm going to take this, and I'll go to my transform panel. And the first thing I want to do is make sure that my anchor is set to the center of my shape. So by clicking on this middle shape and making sure that's the largest square, everything is going to work from the center of this bounding box. I need to set this to zero degrees on both the x and y axis right from the middle of that motif. Now, I could drag it up to the top and use snapping to place it, or I can simply key in zero and zero in the x and y axis in my transform panel. Now, for my first row, I'm going to hit enter on my keyboard. On the desktop. This is going to engage the move duplicate dialogue box. For those who eat in the iPad, of course, you can do the same exact thing using the transform panel and simply power duplicating the shape. So this is a 500 pixel motif, and I want to send it 500 pixels on the horizontal. So I'll go ahead and key that in and hit tab. I'll click on Duplicate. And remember that I said I need a total of nine motifs. So I'm going to change this number to eight And you can see that it's giving me a nine total all the way across with the first and last one ending up off the Canvas. So I'll click Okay. So that's my first row. And I'm going to use this to create my second row. I'll select the first eight shapes. I could select the last one, but it's only going to end up off the Canvas, so there's no point. So I'll go ahead and click Enter. I want to send this 250 pixels on the horizontal, which is half the size of my shape. And then I want to send it 250 pixels down because remember, it's going to tuck itself into those curves left by the top row. I'll click on Duplicate. And I want to click, Okay. I don't want to create any duplicates, because if I do that with this row, it's going to keep offsetting itself 250 pixels on the horizontal, and that's not what I want. Now that I have the first and second rows in place, I'm going to select all of my shapes and group them up, and this is going to be one large motif that I now tile all the way down the Canvas. So again, I'll hit Enter. I don't need to move horizontally. I've done all of that by creating these first two rows. So I'll go right to vertical, and I'm going to key in 500, which is the size of my original motif. I'll click and duplicate. And for a number of copies, I'll just click and drag until I fill out my Canvas. Now, something really important to note here. If I go to the top here, You can see that this part of my stroke is cut off. If I don't complete it on the other edge, I'm going to have a gap in my final pattern. So you need to make sure that if you see anything cut off at the top or on the side, you complete it on the other side, even if it's something as small as this, because you will see it in the final pattern. So this is in place. My pattern is done, and I'm ready to test it. We're going to take a look at how you can use the gradient tool on a second artboard to test your pattern right inside designer. The first thing I want to do is add a new art board. This is going to be the Test Canvas. So I'm going to select the original, go to my Artboard tool, and I'll just click on Insert Art Board. It's going to insert an art board the same as my original one. Now I want to go back and make sure that I select that original artboard. I'll go to my assets, and I have a category set up here called Pattern Hub, and each This has multiple subcategories underneath it for each of the patterns that I make. In this case, I'm working on scallet patterns. So with this artboard selected, it's really important you selected at the artboard layer and not the child layers. I'm going to go ahead and click on the Burger menu in the subcategory and choose ad from selection. It's going to take a Batter two to go ahead and add it. But as soon as it's there, I'll be able to use the gradient tool to test it here on Artboard two. So it's in place. I'll click on Artboard two and select the gradient tool. I can also hit G on my keyboard. And I'm just going to click on that new asset that I just added. You can see that it's filled in there. It also gives me these handles. So I can scale in to see if I see any issues. I can scale up and take a closer look. I can move it around. And I don't see any problems. Now, there are a couple of things that I want to note about this. First, this is not a vector fill. It's a bit map, which you can see here at the top. Therefore, it's rasterized, and it's no longer infinitely scalable. In my case, one of my print on demand companies allows me to load SPG files. If I were to export this, even if I saved it as an SPG, it's not actually infinitely scalable. Additionally, and this applies to any print on demand site. As of right now, this is no longer seamless because I move this around. For example, you can see that this shape here is not exactly completed on this side. It might look like it, but it's not necessarily. Your safest bet is to set this aside and only use it as your tester and make sure that you export the first artboard. This leads us to the last part of this lesson. Let's take a look at how to export this. Now, as I mentioned earlier, you could create multiple color ways from this. For the purposes of this class, though, I'm just going to stick with the one that I created here, so I'm ready to export it. I'll go to the Top and choose file and export. And you can see that because I was just working in Artboard two, it's automatically selecting it. So I want to make sure that for Aa, I'm selecting Artboard one, because that's actually the artboard I want to use as my tile. At the top, I want to choose my file format. The format that you use is going to depend on the requirements for the site that you're using it on. For example, the print on demand site that I mentioned allows me to use for flat vectors, so I could save this as an SPG. But spoon flour requires PNGs, JPEGs, or tiffs. If you work with different sites with different requirements, you can always export more than once. Just make sure that you check to see what each company needs. So I'm going to keep this as a PNG, if I want to use say on spoonflower. I could change the size here if I want, but I'm going to leave this as 4,000, and I'm not going to change anything else. From here, I can just hit Export, and it's going to allow me to save my file in a all set. Now, I already have this one saved, so I'm just going to hit cancel out, and we can move on to the next lesson. In the next lesson, we're going to look at how we can use the vector flood fill tool to create a fun, multicolor scallop design. I'll see you there. 4. Scallop 2: Vector Flood Fill Tool: In a previous class, we looked at how to use the shape builder tool to create a single motif out of a series of ellipse shapes. In this one, we'll instead use the vector flood fill tool to create a filled motif from three ellipses. We'll also take a look at how you can stack fills using the Vector flood fill tool and add them to shapes across your design using the style picker while maintaining your seamless design. Let's get started. Once again, I've created a 4,000 by 4,000 pixel Canvas set to 300 DPI. Now, before I got started, I'm going to give you a disclaimer. This is not my go to approach for creating simple single motifs. I love the vector flood fill tool. It has lots of amazing applications, some of which will cover in this class. But in this case, it's not the most efficient tool to create a simple motif. For that, I would actually use the shape builder tool because it's going to delete all of my access curves, leaving me no cleanup, which I'm going to show you with the Cloud scallops in the next lesson. Unless there's a reason that I need to keep my original shapes, I'd rather get rid of them as soon as the motif is created, and the vector flofel tool is not going to do that. Where it does shine in creating shapes is when you're working with more complex motifs with a lot of overlapping curves that you want to use to create fills. While the motifs that we're creating this class aren't complex. I am going to show you a superpower of the vector flood fil tool that the shape builder doesn't have. While I wouldn't normally use the vector flood fil tool to create a single simple motif, I am going to do it in this class, just so you can see the basics of how it works, and we'll go from there. I'm going to start out with a 1,000 pixel ellipse so that I end up with a 1,000 pixel scallop. I want to take this shape, and I'll do command J twice to duplicate it so that I have three ellipses. With snapping on, I'm going to hold my finger down on the shift key and drag one of the ellipse shapes to the right until it snaps to the vertical middle of the original shape. I'm going to do the same thing with the left side, so I'm going to drag it until it snaps to the vertical middle of the original shape. Then I'll select both of those. And once again, with the shift key held down, I'm going to drag both down to the horizontal center of the original shape. Now you can see my scallop shape right there. I'll select all of my shapes and select the vector flood fill tool. Now, the first time that you select the vector flood fill tool, when you open a new Canvas, it's going to give me this red color. So it's important that you select the tool first and then pick whatever fill that you want. I'm going to choose this red color here. And I'll hover over. And by Zoom in, you can see that that is lighting up in blue, which means that's a drop zone. So I'll click, and it's going to create my shape. This is why I prefer to use the shape builder tool. You can see that I have my new shape, but I also have these three ellipses leftover. And in this case, I don't really need them. So I'm just going to deselect this one. And then delete the three ellipses. I'm going to keep the initial motif relatively simple. The vector flood fill toll is going to help us after we tile it to make some changes to it. So I'll select the curve. I'm going to keep the red fill. And I'm going to set the stroke to this off white color and keep it set at ten points here. So this is the one that I'm going to tile. Now, tiling it is going to work the same way you did in the last lesson. I want to go to my transform panel, and I'm going to make sure that my anchor is set to the middle. I'll set the X and Y axis to zero and zero. Now, in this case, I'm working with 1,000 pixel shape on a 4,000 pixel Canvas, which means I'm going to have a total of five shapes, because, again, I want the first and last one to go off the Canvas and complete one another. So I'll hit Enter. Select it again and hit Enter, and I'll key in 1,000. I'll click on Duplicate. And I can just key in four here. You can also click and drag until you finish it. I'll click. Okay. So there's my first row. I want to select the first four, and again, use these to create the second row that's going to tuck itself in. So I'll hit Enter, and I'll key in 500 in the horizontal and 500 in the vertical. I'll click Duplicate, and k. Remember, I don't want to keep going and duplicating because it'll continue to offset itself 500 pixels. So I'm going to select all of these shapes and command G to group this up. And now I can tie this all the way down. I'll hit Enter. I don't need to put anything on the horizontal, so I'll go ahead to the vertical and key in 1,000 the size of my motif. And then once again, I'm just going to key in four. And remember, you want to make sure that if anything's cut off at the top here, it's finished here at the bottom. And I'll click Okay. Okay, I'm left with a very basic single color motif. And I'm going to mix it up a bit by grabbing the vector flood fill tool and changing some of these shapes to off white and gray. Remember, you want to make sure that you select the tool before you select your fill, because it's going to remember the red that I chose last time. So I'm going to select all of my groups here. And I'll go up to my swatch, and I'll start with the off white color. So you can see it's changed the fill there. And I'm just going to fill in some of these shapes so that they're a little bit different than the red. So I think I'll just click here. And maybe here. Now, if I do any that are off the Canvas, I want to make sure that I'm finishing it on the other side. So I just click here, and you can see this bottom part, which means that's up here. I need to click and change that off white, so it's completed there. And I think I'll do this one, which means I need to complete it on this side. And one final one, I'm just going to change that one. So I'll grab my gray color. And I'm going to do the same thing. I think I'll change this corner one. Now, if you change one in the corner, you need to make sure that you're changing every single corner. So I need to change this one, this one, this one and this one, and that's one complete shape. I'm going to click on this one here, which means I need to complete it over here. And maybe this one, this one and this one. Now that I have those two additional colors in place, I want to show you one of my favorite features of the vector flowed fill tool, which is the ability to stack fills. This is especially cool when you're dealing with transparent or partially opaque ones. So I could add a partially opaque texture, but in this case, I'm actually going to use this seamless transparent dot pattern that I created and save my assets. This is just a full circle, and then four quarter circles at the very edges of the canvas so that it tiles seamlessly. I want to use this with my vector flood fill tool rather than this single off white dot because I need space between my dots. If I already use this one, they're going to bump up against each other with no spaces in between. This lets me control it a little bit better. So I'm going to select my vector flood fill tool. Remember, select the tool first. You can see that it remembered the gray pattern or the gray fill that I just used. And then I'm going to click on that seamless dot pattern in my assets. Now, it might be difficult to see, but it's showing the fill as the off white dot here in the middle. And when I click in one of the shapes, it's going to tile that. I'm going to add the dot pattern to one of these red shapes using the vector flood fill tool, and from there, I'm going to add it to the rest using the style picker. The reason I want to do that is because I want to add the dot pattern to each shape in the exact same scale with the exact same placement of the dots. That way, if I decide to add it to any of the outer shapes where I have to complete it on the other side, I know that it's going to tile seamlessly. Can't get the same accuracy by adding it individually with the vector flood fill tool. I'm going to add my dot pattern to this red scallop right here. What I want to do is make sure that Max fit is selected here in the contextual menu. It's important that you do that because it might cause an issue with the style picker later. I'll go to my shape. And with the vector floodll Hill, I'm just going to click inside. Now you can see that it's not a dot pattern to sand. I'm just getting that really large dot. So I'll go to my gradient tool, and I'm going to hold shift down to keep these handles upright and just drag down until it's where I want it to be. So I think I'll just go right about there. Again, I don't want to keep using the vector floodfll tool because it's not necessarily going to add it at this same size and placement, and I need to make sure each one matches. Instead, I'm going to switch to the style picker tool. Going to select the next shape that I want to add it to. So I'll just click into this one. And I'll select my style picker. Now, I want to make sure at the top here that I don't have to unload it. The style picker is very much like the Vector floodfll tool. It's always going to remember the last thing that you picked in this case within that same document. Now, in this case, I haven't used it yet, so I don't need to do that. But if you've used it previously in the same design, you're going to want to make sure that you unload it so you don't accidentally use the last pattern that you were trying to pick from. The other thing I'm going to do is just check these. Now, in this case, none of these apply. The biggest thing that I need to do is make sure that I'm selecting the fill. I don't need to deselect these, though, however, since they don't actually apply, it doesn't really matter. So what you can see is I have this blue bounding box around the shape, and that means that the style picker's ready to go. So I can just click in here, and it's automatically going to apply it at the exact same placement and the exact same scale as the other. Now, I don't need to do anything from here other than add this to the others that I want to. So I'm just going to keep clicking. In the shapes. Because remember, I don't need to unload this. I'm using the exact same thing with each one. So I'll just click and add it to certain shapes. I think I'll go to this one. Now, because I've added it to this one, I also need to make sure I'm adding it to the top, and this is where using the style picker is important. You can see that it has the exact same placement as the rest of these, which means that this will seamlessly tile with this one. That's it. I don't want to go overboard with the dot, so I'm going to call this one done and test it. And then once I'm done doing that, I'll export it. Since I showed you both of those in the first scallop lesson, I'm not going to do it here. Let's go ahead and move on to our next one. Coming up. We're going to create our final scallop motif by using the built in cloud shape. I'll see you there. 5. Scallop 3: Cloud and Shape Builder Tool: In this lesson, we'll use the Shape Builder tool to create a cloud shaped scallop that works great as a fillable motif or a template for an illustration. Because of their unique shape, they work a bit differently than the basic ellipse. So we'll look at how to use snapping in combination with the shape builder tool to easily create a tileable motif. Let's take a look. Once again, I have a 4,000 by 4,000 pixel canvas set to 300 DPI. Now, while there are some differences, when it comes to creating the final cloud motif, the beginning of the process is the same as that with the ellipse. I'm going to create three cloud shapes and pull my final motif from there using the shape builder tool instead of the vector flood fill tool. Before I do anything, I want to go up to the top and make sure that snapping is engaged. But more importantly, I want to go into the settings for snapping and make sure that snap to object bounding boxes and its two additional options are turned on. For those of you on the iPad, you can find this next to the preview at the top and the contextual menu. This is really important because the placement of the duplicate shapes isn't the same as that with an ellipse, where they're going to always snap to the vertical and horizontal center. In some cases that's not going to happen with a cloud shape. Let me show you why using these two shapes before I create my final motif. So I have 21000 by 1,000 pixel cloud shapes here, one with eight bubbles, and one with five. They both have a ten point stroke. On this one, though, this has an exact opposite directly across from each bubble, whereas this one, the five bubble shape does not. So, in other words, this top shape doesn't have an exact duplicate on the other side. For that reason, the bounding box does not sit directly on the stroke here at the bottom and hug the shape like it does with the eight bubble shape. Even if I convert this to a curve, which is going to bring the bounding box and slightly closer to the shape, it's still not going to sit directly on the stroke. This is why it's important to have snap the bounding box turned on in your settings, because instead of snapping the duplicates to the stroke of the original shape, we're going to instead snap the duplicates to their bounding boxes. One other thing that I want to note, and I'll go into greater detail in a bit is that not every bubble count is going to work to create a tileable scallop. There are some amounts, even those where the bounding box sits directly on the stroke that do not snap to a point that can give you a tileable shape. There's a til tale sign that you'll see when you know you're not going to get a tileable shape. So I'm going to start by creating my motifs, and I'll show you what to look for. So I'm going to set this eight bubble shape aside. And we'll work with the five bubble shape first. This is one that will actually work. This is where I want to mention one of the first differences between using a regular ellipse to create a scallop and a shape like this cloud. Well, the size of the ellipse that you start with is always going to be the size of the motif that you end up with, that isn't always the case with the cloud shape. In fact, most of the time, it's not. For example, this five bubble cloud is starting out at 1,000 pixels by 1,000 pixels. But once I'm done creating the scallop, it's actually going to be smaller than that. Not only that, but the width and the height are no longer going to match, but I'll still be able to tile it the way that I need to. So I'm going to start out by duplicating this shape twice so that I have three clouds. I'll select one of those duplicates and holding shift down on my keyboard. I'm going to drag this diagonally down into the right. And you can see that yellow line because I have shift engaged. And that's telling me that it's dragging it a perfect diagonal and not moving out of alignment. For those of you who are on the iPad, I would recommend using shift in the command controller because sometimes finger modifiers can be a little wonky, and you want to make sure it stays in alignment. Now, here's the thing. The first snap that's going to happen is going to be to the exact horizontal middle of the original shape. So the top of this bounding box is going to hit that side, and I'll get these two horizontal red lines. Now, that might seem correct, but let me show you what's happening here at the bottom. Even though it's aligned here, if I select these two shapes and zoom in, you can see that my stroke here is not on the vertical middle of my original shape. That's going to cause an issue with how the strokes of these shapes line up and overlap one another when I tile it. When it comes to the alignment of these cloud shapes when creating scalp motifs, the vertical alignment always takes priority over the horizontal. Now, in some cases, like the eight bubble cloud that I created earlier, both the horizontal and vertical alignment will happen. But the only one that really matters is the later vertical. And let me show you why. I'm going to leave this one as is and drag the other one down. I'm going to create the scallop incorrectly before I create it correctly, so you can see what I mean. So I'm going to bring this to the exact middle. If I select all three of my shapes and zoom in, you can see that because they're not aligned vertically, it's creating this little loop here. If I grab my shape builder tool and under action, make sure that the plus is selected to create a new shape and under clean up all unused geometry is selected. If I hover over this and click to create that scallop shape, it looks like it could work. But if I select it with my moved hole and choose option shift and drag down to create a duplicate, it's going to snap. But when it does, you can see it has this really thick line. It doesn't match the stroke of the other shapes. And that's because if I zoom in, you can see, even though it's snapped into place, these strokes are not over the top of one another. And if I try and move this one up to align it, then it's out of alignment here, which means I'm not going to be able to tile this correctly across and down my canvas. Alright, so let's back up. I'm going to start all over again, and I'm going to align these correctly. So I'll just take it back to where I have three shapes. Once again, I'll hold down my shift key. And this time, I'm going to go slightly past that horizontal center. So it's going to give me the two red lines first. I'll go slightly further, and I'm going to get the two green vertical lines. And what that means, if I zoom in and select these two, now this shape is hitting the exact vertical center of my original shape. So I want to do the same thing with the other one. I'll select the other duplicate, drag it down. I'm going to go past the horizontal center to the vertical. Now, you can see two red lines in this case, and that's because the shape that I'm currently moving is lining up with the other one here, don't worry about that. As long as you have those two uprights, you're good to go. Now, here's the difference. If I select all of these, you can see that I get this nice point down here. There's no loops. So now, if I grab my shape builder tool, and again, make sure that the action is set to plus, and all unused geometry is set under cleanup. If I click on this shape, Again, I have a scallop shape. But this time, if I option shift and drag, it's going to snap to where it's sitting right over the top of the stroke of the other one. If I select these two and zoom in, you can see there's no space between. There's also no space between here. So let me go ahead and create another one. Drag this down. It'll snap. These all online nicely. And this is going to tile exactly the way that I need it to. Now, this is the final motif I'm going to use when I tile my pattern, but I'm going to set it aside for right now and show you one that doesn't work. Remember, I mentioned that there are going to be some cloud shapes where the amount of bubbles you have selected are not going to create a tile pattern no matter what. So I'm going to command click, and I'll create six bubbles again at 1,000 by 1,000. I'll do the same thing. I'll duplicate my shape twice. Now, you can see the bounding box, in this case, is actually hugging it quite nicely. It's just not here. But I'm going to grab my move hole and holding shift down. Drag this down until I get the horizontal center first, and then I get that vertical. So I have those two vertical lines, which means that this stroke is technically at the vertical center of this one. But here's the problem. Let me go ahead and grab this one, drag it down to the same spot. I'm not getting that nice point that goes down to the bottom of this original shape, and that's what I need. In this case where I'm using six bubbles. The second I engage the shape builder tool, it's going to tell me it failed because it can't do anything with this. Now, I'm going to go ahead and back up, and I'm going to change this to seven. So let's go ahead. I didn't convert this to a curve, which means I can just go up to the top here and change this to seven. Now, I can duplicate this twice. And in this case, I'll start dragging it down again till I get those two verticals. There's the horizontal. There's the vertical. I'll drag it down. And again, you're right about there. Now, in this case, it's going to let me use the shape builder tool. But look at the bottom. I have this shape here. It's not giving me a nice point. So if I grab my shape builder tool, this is not a shape that I can get rid of. I only get zones here. So if I click this and get rid of everything else, I can try to tile it. But what's ultimately going to happen is I'm going to have some gaps. So even if I tried to get it to sit over the top, which I can't using snapping, if I tried to sort of jimmy it in there, I'm still going to end up with these weird gaps, and that's not going to give me a tileable pattern. So what you really want to look for is what we saw with the five bubble, and what we could see was something like this eight bubble shape. So let me duplicate this twice, and I'll show you again. If I drag this down, Now, in this case, because of the way this shape is created, I'm going to get both vertical and horizontal alignment. So that's actually correct. And you can see when I select this, I get this nice point that goes all the way down to the bottom of my original shape. There's no gaps. So if I use my shape builder tool on this, it's going to tile perfectly. I'm not going to have any problems where I have gaps in between my shapes. So there we go. Everything is lining up very nicely. There's no little loops or gaps that I'd have to fill in. When it comes down to it, just test out the different bubbles and see what works. I find that things like five, eight, 12. Certain numbers like that work really well. There are just some that simply cannot tile correctly. Let's go ahead and fill in the original motif and tile that up. I'm going to keep filling this pretty simple. The first thing I'm going to do is change this to a fill, and I'm going to create an ellipse that I'll turn red. And bring it over the center here. I think I'll just make it a little bit bigger. And I'll clip that inside. And I want to add an off lit stroke to that. I'll just make that a little bit bigger. Maybe bring that up to 20. And what I want to do is also add a stroke around the edge of this So I'll make that a little bit smaller, though. I think I'll make that five. And I'm just going to add sort of a dash line pattern here. So the first thing I'm going to do is grab my pen toole, and I'll start in the center and just click and hold my shift key down to get a center stroke here. I'm going to change it from a solid line to a line. And I want to change the cap to a butt cap so that it's squared off rather than round. I'm also going to play around with the settings down here. So I'm going to bring this up to something like Maybe three, and I'll change the gap here to two. Now, these additional boxes are going to let me create a different pattern. So I'm just going to drag this up to maybe 1.5. I'm just doing this randomly until I find something I like. And this is going to let me add another kind of pattern. I think I'll also bring the width down a little bit. Now, what I want to do is sort of create a sunburst here. So I'm going to with my move tool, engage the transform origin point, and I'll bring that down to the bottom because I'm going to create the right side, and then I'll duplicate that and create the left. I'll hit Enter. I'm just going to click Duplicate and start rotating it to the left. Be right about there. And then just change the number of copies to 12, and I'll click Okay. So now I just want to take these and sort of make them random. I don't need to recreate this. What I am going to do though is make this a little thinner. I think it's a little thick. So I'm just going to select all of them and bring the width down. And I'll deselect the up right one. So that all I have is the the right ones selected. So everything to the right of that center one. I'll group that up, and I'm going to command J to duplicate it. Go up to the top, flip it, and I can just bring it over here. And that's gonna snap into place. And I want to clip everything inside behind that circle. So I'll just select all three shapes and group it. And I'm just going to clip it inside and drag it behind the ellipse. And I think one final thing I'm going to do is add another ellipse here. So I'm going to hit Command J and remove the red fill and remove the stroke. I'm just going to bring this down. Maybe make it smaller. Alright, so this is my final motif, and I'm going to go ahead and tile it the exact same way that I did the other. So, again, this is actually not 1,000 by 1,000 anymore, but that's not a problem. I'm not worried about the height. What I am worried about is the width. I need this to tile exactly within my 4,000 pixel canvas. So I'm going to lock this so that my aspect ratio stays the same, but I'm going to change my width to 1,000. The same would apply if you want to work with a 500 pixel or a 250 pixel, change the width to whatever that number should be. If you lock the aspect ratio, the height is going to follow suit. So, again, I'm going to make sure that my anchor is in the middle here, and I'll change my x and y axis to zero. And now because this is set to 10,000, I can tie this across easily. So I'll select it and hit Enter, and I'm going to key in 1,000. I'll hit duplicate. And I can just keep number of copies four. So that's my first row. I'm doing this the exact same way I did the others. Now, even though my height is not exactly 1,000, I'm going to use 500 for my horizontal and vertical, and that's going to work just fine. So I'll key in horizontal 500 and vertical 500 and click Duplicate. And it's going to tile just fine. I'll click, Okay. And now I'm all set to group this whole thing up. And tile all the way down. So again, I'll hit Enter. I don't need to go on the horizontal, just 1,000 on the vertical, and I'll key in four. And there I have my final pattern. And you can see this is cut off at the top, but I have this here completing it. So I haven't tested the other patterns, but let me show you how this test just so that you can see that this is going to work just fine, even though we didn't have the width and the height being exactly the same. So I'll go ahead and save this to my assets here. And then I'll add another artboard and test it. Alright, with that in place and this selected, I'll go to my artboard tool insert an artboard and then grab my gradient tool. And I'll just click this. And you can see that I can scale this down. And because I changed the width to 1,000, and I stuck with the size of my original motif. It tiled just fine with no issues. I have no gaps that I have to worry about, and I'm all set. This is tiling just fine, so I can go ahead and export this and call this done. Coming up, we're going to have a bonus lesson, where I'm going to show you how to take a scallop shape and turn it into an OG in just a few steps. I'll see you there. 6. BONUS LESSON: Create an Ogee Motif from a Scallop: In this bonus lesson, I'm going to show you how to take a single scallop shape, and by rotating it and duplicating it, turn it into an OG shape that can easily be tied across and down your entire Canvas. Let's take a look. Alright, so I've already walked you through creating a scallop shape, so I'm not going to do that here. I'm starting out with a single 500 by 500 pixel scallop shape that I created using the process in the first lesson. When it comes to creating an OG shape from a scallop, whatever size you start with, just double that, and that's going to be your final size. So, in this case, I'm starting with a 500 pixel scallop. Which means I'm going to end up with a 1,000 pixel OG shape. What I want to do is take this and rotate it around. So I have four total shapes. The very first thing I want to do, though, is engage my transform origin because I want it to rotate around this point on my scallop. So normally it would start up here. I mean it's drag it down to here if it's not in place. Now, again, I'm on the desktop version, so I can just hit Enter and use the move duplicate dialogue. If you're on the iPad, you can also use the power duplicate function and the transform panel. So I know that I need to rotate this 360 degrees and duplicate it three times. If I didn't know the exact rotation, in this case, it would be 90, but if I wasn't sure, I could simply go to the rotation and key in 360, the circumference of a circle, divided by the number of shapes that I wanted to create, in this case, four, and it's going to tell me that the rotation is 90 degrees. So now I can just hit duplicate, and it's rotating around the center. Remember, I mentioned I want four total. So in number of copies, I'm just going to key in three. Now, I'm left with this quadrafoil pattern, which isn't what we're aiming to create, but again, this is another bonus. This is how you can very easily create a quadrafoil like this. I want to turn this into an OG though. So what I need to do is take this top and bottom shape and flip them vertically and horizontally so that they're coming to the inside of my shape. So I'm going to select both, so I'll click, and then command click to get the other one. Now, they're all in the same bounding box. I'm going to turn off the origin point since I don't need it. Right now, because they're within the same bounding box, I I flip this vertically and horizontally, nothing happens. It's the same as the previous lesson where we talked about needing to use the transform objects separately option. I need to flip one of these vertically and horizontally and have the other follow suit. So I'm going to go ahead and engage that. It's putting a bounding box around this one, but it's maintained the selection of this one. So now, if I flip this horizontally and vertically, it's created my OG shape. So before I tile this, I just want to create a basic design that I can add to this top and bottom one. I'll grab my ellipse tool, and I want to fill a no stroke. I'm just going to create a small red ellipse. I'll grab my pen tool. I'm going to start right about there. Just make a small stroke. And I have my pressure setting set, and I think I'm gonna keep it like this. I could either use my width tool to change this. Maybe I'll just play around with this a little bit. I'll do something on that. If I want, I could maybe round it up a little bit. I have my cap set. Just play around. You can create whatever design you'd like. What I want to do is, with my origin point engaged, I'm going to bring this down to here to the center of my circle. I'm going to bring this down slightly. I want it closer to the circle. I going to need to bring this up a little bit now. I'll use my move duplicate dialog box, and I'm just going to hit duplicate and start rotating this. And just bring it to maybe right there. I'll click, Okay. I don't need to redo that. I'm just going to group these up, duplicate them, flip them, and bring them here. And the first thing I want to do is make sure that I hit scale with object. These are all strokes. If I scale them down to fit them in here and I don't turn them on, it's going to get a little funny. So I'm going to turn these two options off. I don't need them anymore. I want to scale the entire thing down. And fit it inside here. And then I'll group these up. Duplicate them, flip them and bring them up here. So I have my shape. I'm going to group everything up. So I have one motif. If I go up to my transform panel, remember, I started with a 500 pixel scallop shape. And because I duplicated it and rotated it four times to create the OG, I end up with double that 1,000. If I wanted to, I could scale this down, but I think 1,000 is fine for this. So I'm just going to tile it the way I did all of the others. So I'll do that really fast. I'm actually going to speed it up, and I'll see you on the other side when I'm done with that. Alright, there's my final pattern. Again, I started with a 500 by 500 pixel single ellipse that I rotated and duplicated to create a 1,000 pixel ji shape that I added some designs to and tiled across and down. I'm all set to add an artboard and test this and export it if everything looks good. In the next video, we're going to wrap things up with some final thoughts. I'll see you there. 7. Thank You!: We're at the end of class, and I thank you for trusting me with your time and creativity. I hope you enjoy this installment of the Pattern Tool Kit series and had fun creating your own scallop 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 your 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 on my profile, I have lots of classes in the works here on Skillshare, including many more in the pattern tool kit 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. And 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 my 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.