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.