Surface Pattern Design Masterclass : Paisley Theme

1. Intro : Hi, guys. This is Willie here. So welcome to my surface pattern design master class. The themes is Paylet for today. And in this class, you will be learning a lot. I'm going to teach you everything right from the basics. If you are a graphic designer, a textile designer, or just someone who wants to learn how to make patterns digitally, this is the right class for you. Everything that you see over here, these patterns are created by myself. I have sketched them on paper, digitized it, and drawn it on Illustrator. So if you feel that you will not be able to create patterns and you feel very intimidated by the Adobe software, then you do not need to worry because this master class, you'll be learning everything from the basics, and then I'll be teaching you advanced techniques also. So let's get started. I'll be teaching you everything from scratch. You know how to set up the file or what the basic file setup in Illustrator is, how to set up your essential tools in respect to surface pattern design, which takes a little time, but it's very easy. Trust me on that. We'll be learning how to make a mood board for a team that we have in mind here, obviously being paisleys. I'm going to teach you a little bit about the history of it on how the motif came into existence, and then we'll be learning how to create block prints and seamless patterns using the tile methods. I'll also be teaching you how to iterate out the motives using various tools. So stay tuned and watch my lectures. I hope you'll enjoy this master class. 2. History Of Paisley: Today, I'm just going to teach you a very short brief about what a paisley is known as the Buti or the Buddha in the Hindi language. That is, it's the national language of India where I live. If you talk about the history of paisleys, you can trace it back to the Babylonian age. If you talk about Indian paisleys and its history, then it came from the Moghul invasion from Persia. So it originates kind of like if you Google paisleys, then the proper ethnic ones which are old, you'll be able to trace it back to Persia. And with the Mogul invasion in India, it became popular in the form of Kashmir shawls that you see today. Apart from that, during the British colonial rule, what happened is when Indian goods were exported to Scotland, the motif, the Buta, the booty, it became so popular among the Royals that Scotland, a town called Paisley, they started manufacturing the fabric for the middle class also. And that is how it got its name. Slowly, it became world famous. If you talk about the types of paislees, there are mainly two. One is the Indian ethnic one, also known as the Persian. The Persian pastries, you'll see it in, like, shawls and all. And the Persian one usually it has an undefined border. The Indian one also. The second type is the foulard fabric paisley, which is also called as the modern paisley. Now, coming back to Indian paisley or the Persian one, they usually do not have a defined border. So if you see this paisley that I've drawn by hand, these ones, this one and this one. Such motives, you'll observe it in cashmere shawls. This motif, you'll be able to see it in fabrics, manufactured in Indian mills and all. And the rest of this one and these, they are commonly used in block print methods to produce fabrics. Modern fol arts are so basically, like I told you just a while ago, that it got its name from the town Paisley. What happened is apart from that, during the hippie movement, and when dark metal and metal music started becoming popular, there's this well known singer called Prince through whom the patterns got manufactured, not manufactured, but it became so popular that it became in demand. And then, you know, it they started giving it a defined teardrop shape like this. And that is how it became widely produced in the Western world. Now if you see it was widely in demand for fold fabrics is because if you see this image on the tie, the paisley is something similar to that. But if you see the fold over here the fabric, the scarf, it became very popular because of the hippie movement. And if you closely look at the smaller ones, these are actually what is called as the booty which is popular in Indian block prints. Coming back to these ones, this is a modern variation of the pasty shawl. So this is like how, you know, Western shawls are or somebody like me or young people of this world, they will prefer shawls like these. But if you see the same motif and replicate it in this shawl, it becomes a cashmere shawl. The difference being the viewers and the artisans, they actually hand embroider it. So the price is high because of the time taken. So these are just a few examples of how a pasty pattern looks and the type of fabrics and applications it has. 3. Tool Setup: In today's lecture, I will be teaching you how to set up Illustrator essentials for surface pattern design. So the first step will be coming here, click on File and then New the next step is to click on Create as of now, as we need not need to worry about how the document setup should be. I will be teaching you those details in the coming lectures. So if you closely observe towards the right side, I already have my panels aligned because that is the essential setup that I have. For you, what I'll be doing is I'll click and drag on each of them individually and then close it. Okay So now I do not have anything here towards the right side. I will go to Windows and click on Workspace. Before we do that, I'll just teach you about the existing interfaces here. For example, let's say, click on typography. What happens is all of the upper part and the right side that you see, this is in reference to a typography graphic design that take one. So all of the changes that you see right now, it is in respect to typography. Let us say that you are designing a project related to website design as briefed by the client, so you can choose this particular engial at that point of time. That, I can just come here, click on web and the panels related to that will be visible. I will drop this down, come back to Windows and click on Workspace after clicking on surface pattern design essentials. The wspace that you see is empty since we removed it manually. I'll come back here, but this time, make sure you click on new workspace and rename it. You can name it as Pattern Design or surface design and click on Okay. I'll click on Cancel right now. Repeating the same step, let me rename this as setup for now. Come back to Windows workspace. We have our new essential that we just named as a saved one. Now I'll just come back to my original essential setup ones. You see the align and appearance. I will click on each of them here, and for now, let us just place it on or near the output area. I'm going to repeat the same steps for the other panels as well. We have a line appearance and art pots. Now I want brushes, watches, and color guide, so I'll just click on them respectively. This is an important step, so please pay attention. I want my brush, color, and color guide to act as one groove. So what does that mean now? I will click here and bring it to the brushes panel. So you see this rectangle blue highlight. Once it appears, you just drag and drop it. I will repeat the same step here now and what happens is, I'll click here and all the three panels that you see have been successfully grouped. Coming back to Windows, you have a look at the gradient panel here, right? So you only use this for patterns when the client specifies it. I want image trays, as well, so I'll just place it here for now. Layers. We need Pathfinder and Pathfinder options as well. We need to repeat the same step. I mistakenly told it as Pathfinder. It's pattern options. I'll just group Pathfinder and pattern options together now. After this, I'll just click here to untoggle it so that it minimizes and we have space left for the other panels to be kept here on the interface. I need properties stroke swatches and symbols. I will be grouping them together and treating them as a subpanel itself. And then we need transform, I'm going to keep transform with my swatches and symbols. I need transparency. I'll just toggle this here and bring it here. I'm going to keep my transparency panel with my layers over here. When it comes to the Type tool, it does not align with the panels that we want to create. So every time you need to use it, you just need to come to Windows and click on Type. I use type for my patterns which have text. I'll just scroll up towards the upper part of Windows one and brief you on the tools. The panels that I've used is align appearance and artboards. Brushes, color, and color guind. Image trays and layers, pathfinder and pattern options. Apart from this, I have properties and stroke, forges, symbols, transform and transparency. Now that we are done with the tools of the surface essentials, I'll just snap this I'll just pair up my stroke and align over here together. Match my appearance to align and stroke. Image trace and artboard. This will be together in one group. So the first thing I want is I want my colors here to be on the top of my panel. So you click here. You see the lines. So I'll just use my brush tool once. It's like this. You see the lines over here, place your mouse cursor here, drag and drop it over here. When we expand it, we can see our respective brush, color, and color guide that we had previously grooved. Let me just see which one this is. This is my property s panel. I'll keep it below this. I want this to be over here. Now we just need to start snapping our sub panels and panels to the main panel over here to the right side. I'll just delete the four lines that I drew previously. If I come down and click on the Layers panel, then I have a Layers document open up here. This way, what happens is when we work on any type of seamless pattern or block print, we will use the panels and tools combination. Not every time, but this always comes in handy. And what happens is with this pattern setup under a tight deadline, instead of clicking on Windows here and navigating our way, this is easier to use. Initially, I had really not planned to include this lecture in my master class. But then I realized that, you know, I've been learning Illustrator for three years without any guidance. So I thought if I include this one, for those who are very new to it, it will save you a lot of time. Now that we are done with this lecture, I'll see you in the next one. 4. Handy tools : In this lecture, I'll be teaching you the different type of handy tools that comes to save us in respect to Sophie's pattern design. I'm just going to place the image of the guitar onto my artboard, and then I'll be teaching you how to develop a color palette right here on Illustrator. The reason I took this image of the guitar is because it has a lot of color options, so it's easy for me to teach you regarding the color palette topic. Now always remember any image that you have on your artboard, you always name it. You name the layer and you lock it because that's going to be your base layer. After taking another layer, I'll just rename this as color palette for now, or you can give it a name that you wish to. I'll head over to my shape tool, and this time, I'm going to take the hexagon tool just for fun. I'll hold shift and Alt on my keyboard to make sure that the shape is even from all the sides and copy paste it a few times. Don't worry about the stroke. When we choose the fill, the stroke disappears automatically, or you can manually untoggle the stroke also. So now what I'm going to do is you just select the again using your selection tool and then click I on your keyboard. So what does that do is automatically eyedropper tool pops, and then you go and click on the color that you want. For example, here, I'm going to choose yellow. So you saw when I clicked on the color, the stroke disappeared. Now I'm going to continue the same steps and fill in my color palette. Another option is you can really zoom into the image where you can see the pixels and then choose the color. This option, I leave it onto you on how you want to choose the colors. That really depends on your free will. I'll just come back to my layers and lock this color palette because if I'm going to show you the other handy tools on Illustrator, I don't want this part to be disturbed. Now, starting with the very first tool that we have on the right side or the right panel of Illustrator here to begin with is the brushes part. I want you to explore the command is B on your keyboard. Once you click that, your brush automatically appears. I have the round tool selected and a plain brush. If you explore, then you'll understand that the type of brush you choose, that is the type of effect you get. This is the drive brush that I have here. That's why the effect looks like this. Now, if I choose the opaque one, then this has a little texturized effect here. I just want you to explore this part and understand how this works. Now, if you untoggle this, then the visibility goes. So when it comes to the color panel, we learned how to create the color palette using the A Dropper tool. But that was in reference to the image of the guitar. But you can choose it from here also, if you're working for personal patterns. If it's a client, then you need to work on the colors of the image provided by the client or the moodboard that you have personally made. When it comes to color, Guide Illustrator has pre loaded shades, tins and tones here. Now if you click here on the rectangle, there are a lot of other options. So for example, click on food and suites. Once you do that, Illustrator will load the color options in reference to suites. So it depends if you're creating a pattern in regarding to foliage or nature, you can choose that thing. Properties panel, again, if you want to, for example, let's say from inches, you want to change it to pixels, then you can do that also. You also have the option of changing the number of artboards that you want. Now, over here on the properties panel, I want you to remember that these two the first and the third one, you have to select it. And for this, only the first part will be selected. Swatches, we are going to understand how this works when we are creating patterns. Symbols, ideally, we rarely use it for patterns unless and until you know you want to create a pattern in the form of a brush. Then you have your transform tool. Again, you'll be learning this in the pattern making part. The Pathfinder is one of the most interesting tools that Adobe decided to inculcate inside Illustrator. It's very fun. I'm just going to place two hexagons and blend it, not blend, but unite. So you have a shape that has been produced. Just copy paste it and rotate it. You can take any shape, even a circle again select all of them and unite it like this. So you have a a shape, sorry, not a pattern, an extremely new pattern that you've just made. I'm going to repeat the same concept, but I'm going to tap the circle tool, align both of them together, and just subtract it. That is the second option we have on the Pathfinder. So this is how it looks. Now, what I want you to do is the same way I used two hexagons, selected them, and united them to create a very unique shape over there that I've placed on the right upper part, which looks like Mocantile. I want you to explore what happens if you click on the other parts of the Pathfinder tool. Just a reminder, if you're using the tools that is in the down part, you have to ungroup the motif only once. This one, the Mrocantes I'm going to inculcate or teach it to you in the next master class that's going to come in a few days. So do wait for that. Now, after the part, find a le we have over here is the Layers panel. I think I've already explained it to you, but I'll do it again once more. Layers is very basic. You always work in multiple layers. And see, for example, if you want to add a layer, you click on the plus sign. If you want to delete a layer, you click on the Dusbin sign that is there. Then you double click to rename your layer. If you want to lock an image, you click on the Tagalog sign, and if you want to untoggle it, you click on the I that is there on the layer. Transparency is important. I'll just take a shape here, draw it on my hardboard ones. Head over back to transparency and this t I'll just reduce the opacity to 38, it becomes less opaque basically. Now, if I just copy paste this towards the right ones, you see the portion in between is a little dark. Now, if you explore with all of this, it really doesn't make a difference because this is illustrator. If it would have been Photoshop, then yes, you would have seen a difference. Remember that transparency, the setting should always be to normal, not any other blending mode. Image trays, I've not inculcated that in this master class because I'm going to teach you step by step on how to make motives and patterns via the artist's method traditionally. I'm going to use image trays in my upcoming master classes, so stay tuned for that. Don't worry about that. If you know how to use the pen and the brush tool, you really do not need image trays because even if you use image trays, there is a lot of editing that you need to do to your motif. So ultimately, you're going to do the same hard work. Artboards, again, if you want to add an artboard, you just click on the plus sign. Then we have the align tool here. Again, this is important. So I'll just change the shape of the smaller circle here, and then I'll bring them both together. But now if you want to align it to the center, you just select it and click on align with center, top and bottom here. This is useful when creating backgrounds for a pano. Stroke, you use this when you need to change the width of the stroke of any shape or motif. You can do it from the upper panel over there also. Appearance is basically a summary of your stroke, your fill and opacity percentage. It's just like a dialogue box with all the summaries shown over here. You can also see the percentage value. So with this, we are done understanding how the tools we just snapped over here to the illustrator part in reference to pattern making works. I hope you've understood this because understanding all of this is important only then we can move further on towards pattern making. Now with this, I'll see you in the next lecture. I 5. Moodboard: Hi, guys. In this lecture, I'll be teaching you how to develop a mood code for your themes and patterns. The first thing that I would like to tell you is, if you want images like that I have chosen, which is royalty free, there's a website called pexels.com. Now, let's say I just type in Paisley ethnic here. I've used this image over here on my moodboard. The same way, you can just type in the keyboards that you want and whichever image you feel drawn to, you feel inspired, you can use that for your Moodboard. This child is so cute. However, coming back to our moodboard, what I've done is I've just saved those images such as JTAG. So it's like, for example, let's come here. And then you have the option of free download, right? You click there. And this gen, just save it wherever you want to on your laptop or PC. I'll take another file here. I'm just going to teach you the basics because I make my mood boards on Canva. That way is very easy. Illustrator, making a moodboard on Illustrator is very time consuming. Sometimes we need to take the road of smart work, right? So if you come to designs here and you click on templates, there is a lot of preset templates regarding moodboards on Illustrator. However, what I do is, I usually hold on just a minute. Let's type moodboard here, and you get basically in styles, what happens is in reference to moodboards, you don't have an option, but I usually refer to all of this. So for example, let's say you like this one, then you can go ahead with such a setup but you'll need to have those images for inspiration accordingly, right? Now, I'll just select all of this and hit delete on my keyboard. Coming back, you just come here on uploads. Click on Upload Files, and wherever your images have been saved on your laptop, you upload them. For example, I have my documents here already, right? Now just for now, what I'll do is I'll just copy paste all of the moodboard that I have over here and delete this ones because this is how my moodboard looked initially. So if I come back to design here, then let's say I choose this one. Okay? So what I do is individually, I delete all of this like this. And then if you want to fill in colors, you just come here to elements. Let's say you want cal, you'll type that, click on that. Adjust it here and then bring it here like this. Copy paste is simple. The command is Control C, Control V. So then you can place your color palettes, however you wish to. So this is how initially it looked like. Now, what I've done is, if you want text, you just come here to Text tool, and then you have various options. So you click on subheading, and then you type Moothboard or like inspiration board if you want to. If double click here, then you can come here and change the font and you can also increase the font size. This is regarding text. Now, like I told you, the colors that I've chosen here, we'll come to that part later on. I'll come down and I'll click on this image. What happens with that is it comes on the board here. You just bring it here and leave it. So it automatically gets snapped into those squares here. I'll bring my lemon and snap it here. Same. I'm going to do it with my other images as well. So now, this is the inspiration that I took, right? So if you see the motifs, the images that I have provided you the closed motive, the paisley shapes like these are inspired from the shawl and the basic motif here. However, if you see the other paisleys which have a little open or they are basically non defined paisles, they are inspired by this. So here, I'll re some them. They are inspired by this paste here and the shawl pasleys that you see, they have undefined pastes. For color, what you do is I just explained how to make the circle shape here. You just click on the circle and you can come here and choose any color that you want. However, if you want a custom color, then you click on the plus sign, the eyedropper tool here, and you hover over here and click on the color that you want to. I'll just press Control Z, which just undo on my keyboard here. The same way, I've just copy pasted all the circles here and chosen the colors individually. After this, what you do is you just come here, click on share, and then download and then choose the setting that you want, and automatically, you'll be able to save it on your PC. But for this master class, I've already provided you with the images and the drawings. If you want, what you can do is I've also given you the image of the smooth board and the PDF. You can take that and draw your own pasty shapes and use that to create a pattern. You're open to that, also, but I thought I'll provide my own personal patterns to you so that it's of ease and your time is saved initially. Now, with that, our moodboard making kinds of ends over here only, and I'll see you in the next section of, I hope you had fun. 6. Fun with the Pen Tool: In today's lecture, we will be learning how to use the Pento. I've already placed the image here onto my Illustrator artboard. I'll just hit P on my keyboard, which means that I have my Pent ready. Now, how do we draw the straight line here? I'll click here on whole shift and leave my cursor over here like this. For the curve, what I'm going to do is I'll keep my cursor here. Let me just zoom in a little. After I place my cursor here, I'll drag it like this. I'll just click once over here. Click the second time and drag. Now, before you click over here for the third time, you just click here once more, and then repeat the same step. So for example, let's say that you do not click here and instead, you just click here. Then your alignment will go out of the dotted lines. Always click once and then drag. For the entire curve, you just need to keep repeating the same step. Now, if you observe closely the curves that we've just made, it's not proper in shape. There are certain points, so I'll just head over to my smooth to select this and adjust the curves here. Now, I'm not complete this because it's easy and I want you to do that. Regarding the square type shape that we have here, it's very easy. You just need to hold Shift on your keyboard and start tracing all over it. H. So what I'll be doing right now is I will start tracing on the curves. I have not done the triangles because it's very easy. I want you to do that. Again, if you forget to double click when you're using the Pen tool, then your shape distorts. Remember always click once, drag, click again, and then you drag it. Now, if you want for this particular type, you can always copy paste what you've made. I'm going to leave the rest as homework and also remember that you're supposed to smoothen it out. The wave that looks like this shark, again, while tracing with the Pen tool, you're going to apply the same concept. Always remember after you're done, just select it using the selection tool that is on the keyboard and then use your smooth tool to smoothen it out. Now, I'll just copy paste the curve ones just to show you how to do that. It's Control C and Control V on the keyboard. And then the spiral that you see, I'm going to give that as homework. You do not need to upload this on Skillshare. It is just for your practice. So keep practicing. This will help you understand and it will smoothen your hand regarding the penty. Now I'll start drawing the sun over here. For that, we'll just need a Ellipse tool first. After I have adjusted this, I'll copy paste this and then resize the s. Now, using the Pentool again, I'll start tracing onto it. I'll just group I just bring it here so that you understand how show it to you We just used our pentol and with basic shapes and triangles. You have just made proteins. With this, we've just learned how to use a Pentool and I basically wanted to teach you a very simple method. Now you see the flower and the bee that's there over here. What you have to do is apart from the sun, you can take any of the three and trace it using the Pentlu. After that, if you want, you can upload it on Skillshare or you can let it be because this is just for your understanding and practice. On the second artboard, where my cursor is, we learn how to draw a motif using the Pentoola. Now we'll be learning how to generate or iterate out this motif. I've just cropped it out, and what I did is, I have placed it on my hardwod not sorry. But just to avoid confusion, I've taken another new plon Illustrator. Always remember to reduce the opacity of the base file that you're working on. And then on a new layer, you will start constructing your modus. Now I'll start it from this point and start drawing out my motive with the pen tool. Another point I want you to remember is two things. When you're drawing a motif using any type of tool, the brush or the pen tool, remember, the base where the main motif is Always reduce the transparency to avoid confusion. And now the part where I'm iterating out using the tool, that should always be on a separate layer. If you want, you can always name it to avoid confusion. Remember, whenever you trace anything using the pen tool to smoothen it out after selecting the motive using the smoke tool so that the curves look genuine. Now I'll start drawing the base part of paisley and remember that whenever you're constructing such shapes, which is a little complex by nature, using any type of tool, there should be a point outside the main motif. So I have kept my point outside the boundary of my paisley motif, so that later on we can use the shape builder tool. First, I'll rather curve top the same step, keep my point outside the paisley, curve it, and then place the endpoint outside the paisley again. So now that I've drawn all of them, I'll select everything using the selection tool, head over to the Shae Builder tool. Also, one more thing. If you do not see the Shape Builder tool on your tool section, you can click on the three dot and locate it here on the panel. Then you can just add it. So don't worry about that. Now using the Shape Builder tool, I'm going to click on the objects separately on. And again, this is the entire petal that I want select. This shape now, I think now you understand is I drew from here, this one starting point to the second here. So you have this particular shape. How do I show it to you? Let me just trick the brush tool one. So we started from here and I'll take another color one. We started from here because if I take another color, After I'm done selecting the individual shapes that I want using the Shape builder tool, it's time to remove the extra protruding nodes that we have outside and inside the PC. I'll just keep deleting them once. Now, what I'll do is I'll just separate all of them and show it to you how it looks so that you get a visual understanding of what we've just learned. The upper curve that you see, I'm going to repeat the same steps that I just did right now. Drawing it above nodes, which looks like petals, it's easy. You just need to trace it with the panko. For this part, you don't not need to use the Shapero. It's just simple tracing. Finally, I'll just separate this group it and then keep it separately so that you have a visual appearance of how this looks like. Now finally, we're going to learn how to color the motive. For that, what I'm going to do is I'll just head over to my rectangle shape tool, draw in three to four shapes, and as of now, I'm going to take random colors which will suit each other. I'm not going to follow the color palette that we have in the mop. I just thought I'll take different colors because it will help you get a better understanding. Again, how do you choose colors for this? You use the Eyedropper tool on your keyboard and select the colors that you want. Now, what I'll be doing is I'll select all of the petals together once, group them, and then give it a color. Finally, I'll just group all of them and delete the color palette or keep it aside. You can choose any option. And this is how a beautiful pasty motif looks. So I'm happy that we have finished this lecture. You've learned how to use the Pen tool, the basic applications of it, and how to use a Pen tool to iterate out a pasty motif. Then we also learned how to color it. Now I'll see you in the next lecture. I hope you had fun. Bye. 7. Assignment 1: Hi, guys. So welcome to your very first assignment regarding this master class. This is related to your brush and the pen tool that you just learned a while ago. And now I'll be explaining furthermore what you need to upload in your assignment. So let's begin with that. Your first assignment, what you will be doing is you have to take the paisley shape that you iterate out using the Pen tool. You'll keep two copies like I have kept here on the dput. But the difference is you're going to color the second paste and then export it as a JPEG image. So file export, export as JPEG, and then save it on your PC and then upload that finally to the Skill Share website. I have not colored the second paste here because I want to see how F understood the concept. So please do the assignment, and I'll beat giving you positive criticism, and I'll be waiting for you to upload them. Thanks for watching this. 8. Brush Tool Upload: In today's lecture, we will be learning how to iterate out this paisley using our brush tool. I've already taken a paisley motif here from the images that I provided. I've kept it on Layer one, like you can see. I'll just name it once. I'll just select the image and head over to transparency ones. I'll reduce the pact of 42%. Now I'll just lock this layer. Come over to layer two and mit as pasty for now. I save my file once that is Control S on your keyboard. Now there are two options. You can manually come here and click your paint brush tool or you can just Press B on your keyboard and you'll get the pain thrush too. Now, the points that I have is at five, so this is the thickness of my line. On your keyboard. Next to the letter P, you will have two keys. On your keyboard. Basically, this is your keyboard and you have keys on your keyboard. One of the key will have this symbolism that is the bracket like this. Now, what happens is if you click on this bracket, then the size of your brush reduces. However, if you click on this bracket on your keyboard, then the size of the brush increases. So this is how you increase and decrease the size of your brush. Let me just delete this. I'll just start drawing out the pasty now. We can also adjust the shape of this like we do when we trace our motif using the pen tool. So for example, I'll just bring it here. And if you closely observe this part, it's not a little smooth. So is this part. This O hard looks a little bulgy, right? I'll just select this, head over to my smooth tool here. And now I'll just start smoothing the shape out a little by little. Now, I'll place this over here. Now comes the interesting part. We'll do this one later. I'll zoom in a little. We're going to use the Shape Builder tool to achieve our outer petals here. So what I'm going to do is I'm going to draw this petal in respect to the shape. So this part will be outside. And then you'll select both of them. Come to our Shape Builder tool here, select only this. Now I can just delete this I'll repeat the same step once more. I'll draw it like this and select again. This part is overlapping a little bit. In order to achieve that, what we'll be doing right now is I'll have to take it a little apart from the corner like this. This way, using the shape builder tool, the same method you're going to use it for creating all the outer petals over here, and that is what I'll be doing here. I'm going to show it to you in detail so that the process registers to you in your mind. Remember, when you're drawing your petal, so for example, let's say this is our pasty motif, right? This is how our petal has to be. But the second petal that you draw, make sure it doesn't overlap like this. It goes adjacent to the next This is how a paisley motif looks as of now. I'll just head over and take my ellipse tool from the tool section, draw over here on the circle ones, and then I'm going to repeat the same step for the petals. You I'm just going to make a very minor change to my design. I'll draw it like this and repeat the same on the opposite side. Now we just need to group and copy paste it. So this is how our final motif looks. Now I'll just copy paste it once here, and for now, I'm going to just show you how you color a motif when you're using a rush tool to iterate them out. So for now, I'm just going to take random colors on my palette, which will go in contrast or in color harmony. So I think for this, I do not need so many colors, four will work. Let me just see which one will look good now. Also, if you see when you click here and you have Color Guide, if you come down to this rectangle grid type box, you see a lot of different options, right? So for example, for my swatch or pasley, I'll just dry nature, and I'll come to flowers. So Illustrator has these pre loaded ones. Now, what I'll do is I'll just use my eyedropper tool and not eyedropper tool, sorry. I'll just select it and select the color that I want here. These will go in contrast now. I need only three colors for this, so I'll delete this also. I need to choose a color which will match these both. So each will look good. I'll untoggle this. Now what I'm going to do is I'm going to take another layer. Then give it the name you want to. I'll probably name it color and then or you can just name it as color also. That will not be an issue. So now I'm going to log this and bring it here. I I'll click on my color panel, untoggle this. Now what I'll do is first, I'll color these ones. So this is our main pastly motif, right? I'll just name this as pasty main copy this, Control I'll cut it, take another layer here, paste it, and lock the main layer. Now I'll just write pasty color so that we know that this is our pasty and color panel. Now why we did this is, if I untoggle this sorry. Then we have a main motif son, another layer, so we can always edit this, and we have a colored one also. Always better to keep backup. Let's just click on these and give them a color first. Since we have already made these shapes using the Shape Builder tool here, you just need to select them. Click I, that is the eyedropper tool on your keyboard, and I'm going to give it this very beautiful each color. For the circle, I'm going to give it purple. And I'll just zoom in and adjust the shape here. I'll rename this as paisley shape. Underscore C. You know why I have done this is because we have two options of coloring, right, which I'm combining when I'm using the brush tool. So the objects are the part where we used our Shape Builder tool to construct the motive. That you're going to color it just by clicking and drop in the color. But the parts like these, where there is not a defined set, or, for example, this one, where you can't use a Shape Builder tool to construct it and you only have to use your brush tool, The you'll be coloring on the color panel. So the Shape Builder tool will be paisley shape C and rest of the colors will be on the color panel. Now, what I'll do is I'll just select these and reduce the size. Zoom in a little. This time, I'll come to the color panel, take my brush tool. And then I'll just fill in like this. The same applies to this paisley over here that we have, right? So I'm going to take this aqua. It's a beautiful color. Zoom in and start coloring. So once you draw a border here like this, the way I am doing, then what you can do is you can increase the size and fill it. Just be a little careful when you're coloring over here. Don't go over it like I did. Otherwise, the purple color will also, you know, the blue will overpower the purple one. So be careful when coloring. So now we've just finished coloring our main pasty shape. I'll again go back to my pasty shape C. That is a shape builder tool we used, and we'll select all of these together and color them. A I just group at once so that I don't have to select them individually every time and Now, what you do is pay attention to this step. How do you increase or decrease the size of this motif? Also, I'll just copy paste it because we can click this and just group the panel also if you want. Now, This motive that you have, I'll place this here. Before you expand it in size, you come here to object, cm, expand appearance. With that, what happens is, for example, let's say, I take my brush tool and I draw a random shape like this. All right. Then let's just fill it with a random color for now. Now let's say without expanding the appearance, I reduce its size. So this is our original motive, this one. What happens is if we reduce the size without expanding its appearance, the shape distorts. The stroke also becomes thick. You will tell that, you can reduce the stroke by coming here. You can, but the originality between this and this will be lost. Again, if I copy paste this here and I expand it like this, let's just keep it here. Then what happens is the stroke over here, it becomes thin in comparison to this one. Hence, we always first, select our motive, come here to object, and I've already clicked on Expand Appearance, so you do not need to repeat the same step. You can either click on Expand Appearance or expand. Now, if you're going to click on Expand, then you have to make sure that fill and stroke. You see the tick mark that is there and just click on. Okay. With this, what happens is if you copy page this motif three times, I'll just enlarge this one. So I made sure that the size is big here. But if you compare this motive and this motive, the stroke is the same in respect to this one. And let's see, we reduce the size of this. Let me just zoom in. So again, you see the stroke is not distorted. With this our lecture ends over only, and I hope you had fun. See you in the next room. 9. Bonus 1 : Motif Speedpaint: Welcome to the bonus lecture. This is entire compilation, which is a speed thing on the process of how I iterate out my notice. So please enjoy. 10. Bonus 2 : Motif Speedpaint : [No Speech] 11. Bonus 3 : Motif Speedpaint: Welcome to the bonus lecture. This is entire compilation, which is a speed thing on the process of how I iterate out my notice. So please enjoy. 12. Bonus 4 : Motif Speedpaint: Welcome to the bonus lecture. This is entire compilation, which is a speeding on the process of how I iterate out my notice. So please enjoy. 13. Straight Block Print: In this lecture, today, I'll be teaching you how to create a very first straight block print. So I've already placed my colors over here outside the artboard in the previous lectures regarding how to choose colors, you had learned it via the Eyedropper tool, right? Now, what I have done is I've repeated the same steps. What we learned in the eyedropper lecture on how to select colors. That is the thing. So I've taken my circle tool and filled in the colors respectively. To begin with, I'll just click over here and decrease its size and group them. After this, I'll bring it here towards the right part of my motif. I want a very simple basic look for my paisley block print. Let's just ungroup it once. Whenever we make motives or patterns, we usually do not have a border for those. And I'm going to use the same rule over here. You can use any color from the given one that you have over here. The choice totally depends on you. I've taken the steel light blue. Let's just assume saying that, you know, you want to keep the border for this paisley. Then I leave that choice upon you. I'll just double click and select the black color. Sometimes I have to do it twice. I don't know why my illustrator does that. This is how our colored paisley looks with a border. A general thumb rule, remember, we do not use borders for patterns, and I'm going to follow that. What I'll do is I'll just zoom in and adjust the small notes that are there because it was in respect to the border previously. And since we don't have it, it's just a little, you know, awkward or it looks a little odd. So adjusting or tweaking it gives a better impact. Now I'll just group the motif altogether. I'll just click on my colors here, zoom out and place it outside the artboard because we're done coloring right. Whenever we work on any type of block print, we usually refer it to as inches. So it's two, four, six, and the max goes up to eight by 8 ". I'll head over to my transform tool once. Now, when I actually opened the document, I set it up in inches. Somehow it's showing points over here. So that's not an issue. Don't worry. About that, I'll just head over to Chrome and type inches to points or points to inches converter. Click on the calculator side, and now you see the black arrow, click there to reverse the inches and points part. And then I'll just type two and hit on convert. Now we have 144. So basically 2 " is 144 points. I'll head over here to Illustrator and select not select, but I'll type 144 by 144. So basically what happens is, once we press Enter, we have a motive as a two by two inch setup. Now, before I did this, I forgot to have a copy. So I'll just click on Control Z, that's Undo, and then take my original paysly, place it outside the artboard, and have a copy inside the artboard. And then I'll repeat the same step by heading over to transform. But this time instead of 144 by 144, I'm going to keep the height as 144. That's 2 ", right? And the width, I'll be keeping it anywhere 80-100. Don't make it more than 100 otherwise it will distort. I thought 110 will work on the wit, but it did not. It just distorted my peace further. So I resorted back to anywhere 80-100. So now, how does the straight pattern work, right? I'm just going to select my motive, hold shift and art that is to copy it. And this time I'm going to copy it. Horizontally first, just once. So we just need to keep repeating the same step horizontally and vertically. But before I do that, I'll take my rectangle shape tool, and 2 " is 44 points, I'm just confirming it once. So I'll click No click, but I'll write 144 by 144 and press on Okay. Now, what we'll have to do is we'll have to align the pastey and the square together. So I'll just select that and come over to align and click on align to the middle on both the parts. So now, I'll just group the square and the pastey together, control G on my keyboard and paste it towards my right ones. I'll select both of them again and copy paste it one more time. So we have four pastes horizontally. So the repeat style is first, we repeat it horizontally, so we have one row altogether. Now what we are going to do is they're going to repeat the same step, but just this time, I'm going to do the same step vertically. I'll select copy and paste it once as of now and align it properly. Sometimes you have to zoom in to align it. That is a better approach. So again, the repeat this time is vertical, so I just drew a arrow so that you understand the visuals. Again, repeat the same step, copy, paste it, and properly align the squares together. So previously, what happened is I forgot to group all of them together. So you have to group everything together and then paste it vertically so that when you align it, you don't have to individually align everything together. It just saves your time. So with this, now we have learned how to actually create a straight blockprint, right? This is the manual version of creating a straight blockprint. So this is how you're actually supposed to create a blockprint repeat. 810 years back when there were previous versions of Illustrator, we did not have the pattern tool in built. So this is a manual method that I as a designer, I used to, you know, use it for my personal designs or for the company else to work. Now, why I taught you this step is because sometimes, let's say you work for some particular studio company and they have an outdated Illustrator version where the pattern tool is not there, then this particular the manual repeat always comes in handy. Now what I've done is just ungrouped all because I just want this one single paisley over here, and I will keep it on my second artboard because this is a focus right now. I want my now, again, we have to color the background, right? So after I ungroup my paisley over here, I'll click my rectangle shape tool, and from the colors that we have, I'm going to take the top deep, reddish tint that I really like because I think it will go in combination with the teal color. You click on a range and send it to back so that the paisley is visible and the background is behind. Again, I'll click on the paisley and just adjust it like hardly a millimeter so that it's not very cut to cut and then again, align both of them together. Now comes the actual fun part. You click on the motif, first group it, and then go to Object, Pattern and make. So this is what I was talking about in previous versions. We do not have this. Now I'll just click on Okay. A thumb rule is always name your pattern first. In this case, I'm going to name it as straight block one because this is the first pattern that we are learning. Always use underscore while you name your patterns, do not use a dash. It kind of looks unprofessional, and using an underscore is the industry standard. Now, if you see or observe closely, you have moved tile with art, right. So basically, what does that mean? First, I'll just group my paisley to my background ones. Now if I move it. So the blue part that you saw that also moves with my paisley. If you untoggle it like I just did, the blue square is visible, but paisley is outside it. So always remember for block prints, you have to click on make visible tie. Make sure that tick mark is on. The next part is very simple. Make sure that for block print, a straight print is always in a grid format. That was default selected. For example, I'll just select Hex by Row once. Now I'll click on Grid again. So this is our straight block print. It's just that instead of copy pasting it horizontally, vertically, we have just selected it and clicked on M and then we have a motif, right? Now, if you observe the copies, I've set it to seven is to five, which means that I have Even, you know, seven columns and five rows. Sorry, I think I told it so sides five columns and seven rows. Usually I prefer it as nine by nine because, you know, the better I mean, the more the pastries you have or the more the pattern coverage, the better the visual is. If you want to keep it five by five, three by three, it depends on you. Again, the choices, yours. So this was just exploring what copies is. Now, if you see the percentage here, this is our main motive, and let's see you click on 60, 40 like that. So the lesser the percentage, the more transparent the pattern look. I'll just change it back to my default ones. Finally, the last step is to untoggle and click on Done. Now I'll select the pase, bring it to the first artboard, take my rectangle shape tool or the square shape tool and place it on the entire second artboard. I'll keep the stroke as maroon or the red color that we have as of now, head over to swatches this time. And if you come down, and you'll be able to see the pattern that we just saved. If you hover on it, don't click on it. See, now I'm just keeping my cursor on the pattern, right? So once you hover, you get the name. So if I'm hovering over it, I have my block print them, and then I just click on it once. By default, it takes a stroke, so you just need to come here and swap it from stroke to fill. I'll untoggle everything in a while. Finally, today, we have learned how to create our very first straight blockprint. I'm so happy because we were still stuck on the basics, and this is the very first lecture. Even I was excited to film it because I wanted to teach you patterns, and we have our very first straight block print ready today. Now I'll just copy paste it again towards the right. I don't need an artboard for this, but this time I'll right click come here to transform and click on scale this time. Make sure that it is always uniform and you have your transform patterns as your tick mark box. Now, this type I am teaching you is so that you can understand how to scale a pattern when you make it. So let's say if you type 80%, and then click on Preview, then 20% is reduced. So your overall paisley from 100, it just scaled down to 80%. The lesser the percentage, the more tinier your paisley looks. So I'm just trying to explore different percentages. Ideally, I would suggest you don't go overboard, don't make it less than at least 60 because, for example, if you keep it at ten, 20, 30, it's becoming very tiny, and it will look like, you know, a typical industrial shirt print, which we really do not want. We want our motif to be visually visible also. After that, you just take on Okay, and now we have just learned an additional step, which is scaling a pattern that we just made. Our lecture kind of ends here only because we have learned how to create a block print. But now what I'm going to do is I'm just going to go to file and save this as a JPEG. So how do you do that? Again, click on File once. And once you do that, you come down to export Export as not PDF, but a JPEG image. And then we have to click on range because our main paisley is on the second artboard, so I'll re type and click on two. For now, just to show you, I'll save this in my desktop and click on Export this time. Make sure that whatever the visuals is here, you have the same document. So that's CMYK quality is five. PPI should always be about 300 and rest all should look like, basically what is on your PC should match to what my document setup was just right now a few seconds ago. Now, I'll just minimize all of this and show you how this looks as an image. Just give me a second for that. See, this is how image looks. So I'm finally happy that I was able to teach you this because we just took a hand wrawn motapon paper, iterated it, and now finally we have made it into such a beautiful repeat pattern. Now I'll see you in the next lecture and thank you so much for watching this. 14. Alternate Block Print: So today, I'll be teaching you how to create a very beautiful, alternate, pacely block print. I've taken this particular shape. I mean, not shape, but pacely motive for you. And in this tutorial, I'll also be coloring it because it will not take much time. So just have a look at the coloring process also so it's clear for you. Now, I'll just repeat the step on how I've taken the color swatches from the moodboard. I'm not going to place the mode board here. I'm going to repeat this step using the Eyedropper tool. So it's actually very simple. You just need to take a shape tool. You can take any shape tool you want your rectangle or star also. Press I on the keyboard, and then you can take the respective color. Then what I've done is I've just grouped all of the colors together, and now I'll proceed with coloring this motif. I'll just take the color swatch and place it outside the artboard once. After that, I'll just group my motive Control G on the keyboard. First, we'll learn the manual method on how to create the pattern. Before that, I'll just take another output towards the right side of the existing one. Always remember whenever you're creating any type of pattern, have multiple pods. The first one where you have your original copies and the manual tile, the second, third and fourth respectively for the seamless or the block print pattern via the Illustrator pattern tool, and for your scaled on patterns as well. After copying the pattern, I'm going to take my rectangle tool and make it two by 2 ", which is 144 by 144 points in terms of pixels or point measurement. For the background color, I'm going to take this very beautiful light blue or aqua that we have on a color palette. I'll just right click on this and arrange and send to back, which means that we have just placed our pattern tile background behind the paisley motif. Now I need to reduce the size of a paisley motif. There are two ways you can do this. You manually come to transform and type in the points or the inches that you want, or else you just hold Shift and Alt on your keyboard and adjust the pasty according to how you want it to be. It is just that it should be lesser than the tile that we have here. Always remember to align a pastel to the background on the align tool that we learned in the Illustrator essentials and then just group it. I'll just keep a copy of this also. Now, how does an alternate pattern work? As of now, I've not grouped it because first, I'll just copy paste the background towards the right part, shift and lt. The pasley that you see here will not repeat over here on the second tile. The first tile that we have is a pasty tile, so that's P, and then you are leaving one. So that is L one because you have left one tile, then we'll repeat the pasy that's R. Then again, leave a second tile, which is L two, and then repeat it. You just copy paste both of these and paste it towards the right side. Again, the same step repeats the blank tile that is there on L one. We are going to copy paste it beneath the original pasty tile. So one copy paste it beneath P tile like this and then align it. Same way, the motif on the P tile, that is the paisley repeats on the L 1 second row. Then again, you copy paste both the tile towards the right part. So it's Ps the original tile and L one is here on the left because we have a blank square. Again, the same method repeats, so you have R as your tile and L two also as your blank tile. I've just repeated it so that you understand it properly. Now what you do is you'll select all of them together and copy paste it below. And then just make sure that if your tile is not aligned, zoom in and align them once. With this, you have just created your very first alternate block print. So now the next step is to learn how to create an alternate pattern using the pattern tool and Illustrator. For that, the pasty tile, the original this, I'll just copy it here on the first pot itself once, and then we'll start creating a pattern. So now, if you remember, our entire tile size is two by 2 ". So in order to create the pattern tile, what we have to do is we'll have to take a rectangle, which is four by 4 ". So that is double of 144. 144 into two will be 288. So our box will be 288 and by 288 points. And then the stroke color, you can choose it according to you. So now, again, we are going to repeat the same steps that we did for the manual alternate pattern. Place my motif here, copy phase this, but alternately. So this will come down. After this, I'll just ungroup my pattern once, any one of the tile, and then copy page the background on the second and the third area. Now what I'll do is I'll just remove the square tile that we had and group this entire motif. So we have our four by four inch proper tile setup. Now we have to go to object pattern and MI. Make sure that you always name your pattern with an underscore mark. And also, since you've created this tile manually here and then made it into a pattern like you came to object pattern and make, the tile type for this also is going to be grid. Since I've set my copies to F B five, I'll just zoom out and show it to you on how it looks with the copies in respect. Now I'll just untoggle this because I'm done with my settings on pattern options. And then finally, what we'll be doing is we'll just click on done. Now again, we're going to repeat the same step where I'm going to take my shape tool, draw it all over my artboard here, head over to swatches, click on the swatch that I just created, and then reverse it because I don't know why, but Illustrator always catches it as stroke for some reason. So finally, this is how a very beautiful alternate block print on Illustrator looks like. I'm just going to export my image and remember to choose the range whenever you have multiple artboards here. Also, the JPEG options that you see here on the screen should match with what you have on Illustrator when exporting your pattern. So this our lecture ends here today, and I hope you really liked it. Finally, this is how pattern looks as a JPEG image. You can print it out on a paper also to have a look at the physical copy. I hope you had fun, and now I'll see you in the next one. Bye bye. 15. Half-Drop block print: In today's lecture, I will be teaching you how to create a beautiful half draw block print. We are going to use both the pasteles. You can see here on the artboard. I've already colored them, and let's get started now. I'll just group my motifs individually. Like the previous lectures, I'll just keep my color palette and the motif outside of my artboard and then copy one of them inside the dboard I'll take my rectangle shape tool. With then height will be two by 2 ", and then I'll just press Okay. I will just change the background color to this very deep prescient blue that we have on a palette here and align it with the pasty motif one. You can use shift to reduce the size or also reduce it using the transform tool and manually also adjust the width and the hive. Just make sure that the width of the motif, if you're adjusting it on the transform aspect, don't give it a lot of don't make it 1.8 " two or 3 ". Otherwise, the pastele will distort. I'm just going to align this one, but I'm not very sure that the Prussian blue is going to work, so I'll just change the background color to maroon again. I'll just select this motif that I've grouped, copy paste it, holding alt and shift on my keyboard and paste it towards the right side of a pasty motif, and then I'll just drop it by half an inch. So you see this pink line. When you see that, you just snap it and leave it there. Now I'll repeat the same step but vertically. So we have two column, and in the second column, we'll have two pasles. The first column that editing right now, we will have a total of three pasles. It is just the same like we did for a brick pattern, but this is vertically. And then similar way, we'll take another rectangle shape tool for our clip masking method, group all of our paisleys, place the rectangle over it and align it like this. I'll select both of them, right click, make clipping mask. So we have our half drop block tile ready. So now if we just keep pasting it once towards the right, group it, and then paste it on the bottom part, and then repeat the same continuous steps, we will have our half drop block print ready, but this will be in a manual essence, where we are manually clicking on copy paste and editing it. So this is a manual method in which we are learning how to create a half drop block print. I'm going to come towards my artboards panel and take around two artboards for myself. And then what we'll be doing is keep the pattern tile close to my pattern print. Now, just come to object pattern and make. Once you do that, remember a thumb rule is width and height should be the same as the pattern tile. Then move tile with should always be cross check with a tick mark. You can name the tile according to what you want it to have. And then the thumb rule that you should never forget is if we are going to create a pattern tile manually and then make it into a pattern over here on the pattern option section, the tile type will always be grid, and then you can click on done. Now the easiest method to create a haddra block print is to just select the single tile. For that, I'll have to release the clipping mask once in order to show you how it will be done. Now, I'm just going to select this single pasty tile. This one over here on the bottom, select it. Object, pattern, make the same step. But this time, what we are going to do is instead of grid, we are going to choose brick by column. When we choose brick by column, it automatically creates a half drop block print. Then you can name your pattern. After this, the method is the same. I'll just head over to my rectangle shape tool once and then draw a box all over the second blank artboard that we have over here. Once I do this, again, I'll go to my swatches panel, select the pattern that we have just made. And then this is how our half drop blockprint looks as of now. Now I'll just copy paste both of the pasty motives on the third artboard here because we are going to learn how to make a half drop block print with two pasty motifs. I'm just teaching you variation so that you have additional patterns to include in your portfolio. Again, the same method, first, we need a background for both of our paisleys, which will be four by 4 ". The four by four inch square will be our main clip mask tile. We'll need another square of two by 2 " for our paisley background. I'll just fill it with the background color ones. So for this one, I took Prussian blue here. And then, again, the same method where we send it to the back. We come to arrange and send it to the back. I keep going to transform. Sorry for that. Always remember to align your objects and then holding Shift andalt you can readjust your pasty size. Repeat the same step for the second one also. Now, the same method we are going to use to create a half drop block print that we used a while ago. I'm going to place my green colour pasty motif first onto the four by four inch rectangle. When you see that intersect option, it means you can snap it properly. And then the maroon one, I'm going to place it at half. You see the intersect. Once that appears, you place it, and that is how you understand that it's of proper alignment. Now, again, you'll be repeating the same steps. We are copying the maroon motif thrice and the green one over here twice. Always remember that whenever we are creating a hard drove block print, either the first column will have two paisleys or three paisleys. I'll just zoom out and show it to you over here. We have three to two where the first column has three pass and the second has two. But in this one, the first column has two and the second one has three. After that, what I'll do is I'll group all of my motives together once I forgot to do that, and I'll just place it outside the artboard so that we have a copy. Then we'll align the square and our motives together, right clip, make clipping mask. So this way, we have our two pasty tile ready. And now, again, we'll just go to object pattern and make. But since this tile is being created manually, your tile type will always be grid. I'll repeat myself if it is a single paisley motif with a single background, then the tile type changes. However, if it is manual, then the tile type will always be grid. I just showed it to you when I made it brick by column so that you understand the difference. Now I'll just rename my pattern once and then click on Done. I'll take my rectangle shape to draw it all over the artboard and select the swatch of the pattern that we just made. So this is how two paisley motif looks in reference to a half drop block print. I just come back to my first artboard here. Click on this paisley with the single background. Single paisley with a single background. Come to object pattern and make. And then here in the tile type, you click on Brick Bye column to make a half drop pattern. This method, you only use it when you're using a single paisley with a single background. For this one, there are two paisleys where we have made the pattern tile manually, clip masked it, and then we went to object pattern and make. I'll just click on the clipped mask tile one, go back to Object and show you the method once more so that you don't get confused. This time, tile type will be grid. Why? Because we have two paisleys with a single background, but we created the tile manually on our artboard first, clip masked it, and then we are creating it into a pattern swatch. Do not get confused between both of them. So with this, our lecture ends over here only today. I hope you had fun, and I'll see you in the next one. Bye bye. 16. Brick Block Print: In this lecture today, I'll be teaching you how to create a brick repeat pattern, and I have taken two pasteles this time. What I'll be doing right now is I'll just place both of them outside the artboard with the color palette also. Always remember, keep copies of your paisleys. It always comes in handy. Now I'll just take another layer and a artboard also. So I'm already taking three artboards this time. You can take how manyever you want, but ideally, the maximum you'll need is four for this particular tutorial. I mean, lecture. I'll just take my rectangle tool and make a square of two by 2 " here. I'm going to take maroon as my background color so that it goes in contrast. After I do that, I'll select both of them and align them horizontally and vertically. Then again, you repeat the same step where we send background tile towards the back of the peasy motif and adjuster motif accordingly. So now in order to create a brick pattern manually, I'll just copy paste the same motif down once holding Shift Alt, and then I'll shift it by half an inch. When we're shifting the tile, a red line appears always. So make sure that once that comes, you place it properly. Here rep the same step for the first row also. But this time, you'll notice that in the first row, there are three paisleys, and in the second one, there are two. Just group them once. And with this, we have just learned how to create the basic tile for a brick block print. Now, what I'll do is I'll just take my rectangle tool and make it four by 4 ". Make sure that you only have the stroke visible, align both of your motives and the square with the line tool, and then you just select both of them again once, right click. And click on Make Clipping mask. I'll just keep it on the upper part of my artboard. Now, what I'll do is I'll come over here on our main panel and head over to Object Pattern and make the standard rule of creating any type of pattern. Within height should be four by 4 ", and the rest of the property should match to what my pattern option shows on Illustrator. Now we are going to repeat the same step of pattern making where we'll take our rectangle tool, head over to our swatches panel and create the swatch of the pattern that we just made. With this, we have our brick repeat completed, but this was in the manual essons. So if you click on single pasty tile over there where my cursor is, and then you head over to Object Pattern and make this time, instead of grade, you click on hex by R. So automatically, you get a brick pattern. There are two methods to achieve the same brick pattern. One was the manual method in which the pattern was in the grid aspect, and the second one was a single tile where we chose the hexbyro. Now we will be doing the same but with two different paisleys. So for that, I'll just copy paste it here on the second artboard ones. I'll take my rectangle tool again and the size will be two by 2 ". After this, the same method is supposed to be followed. You just pick a background color from the color palette that we have. I'm keeping it between so that I understand which color will act as a common benefactor for these two paisleys. I've taken Aqua as my choice, and I'll also delete the color palette. Now I'll place the background behind both of the pastes. So the same step, you transform and send it to back and adjust the pasty motif inside the square background or the square time. Always remember, after you do this, align your pasty and your background square so that when you create a pattern, it does not overlap or there is no white line in between the pattern. When we are using two paisleys, we have to do it first manually. Since we are using two pasty types, we'll have to do this manually. We do not have the option of, you know, selecting a single pasty tile and just selecting hex by row on a pattern option. But again, the same method is to be copied. For the second row, I'm copying two pasty blue tiles. I've already copied it, and for the first row, I've copied it three times. After this, you group it take a rectangle shape tool again and then clip mask it. So the method is going to be the same. Make sure that the inches is four by 4 " because your tile is two by two. So the clip masking will be four by four. The method is the same. It is just that we have two paisleys over here instead of one. Now, you see the clip mask did not apply properly is because I did not group my pasty tiles properly. I'll just ungroup these ones and adjust it and then repeat the clip masking step once more. Now that I've grouped them properly, I'll just clip mask it once and we have a tile pattern ready. Again, we'll select it, head over to Object Pattern and M. You remember to adjust the tile size, and it should be grid. You're not going to select on xbyro I'm repeating myself again, name it and click on grid, and then done. Since you have two paisleys, it will be grid, not hex by row. Now, again, we repeat the same practice method where we take a rectangle tool, copy it on our artboard, not copy it. Sorry, draw it on a artboard, and then head over to watch panel, select the pattern that we just made and la. We are done with a two pasty brick pattern. I'm just going to organize everything. I'll keep my tile patterns on one artboard. So again, in order to adjust it, I'll take my selection tool and draw it on the entire artboard like this and repeat the same as well for the second swatch. Now, for this particular tutorial, where I've taught you the brick pattern, I've not scaled down my pattern because I know you'll be able to do it yourself. Just to give you a quick recap, we did two types of brick patterns, one pattern being with a single tone paisley that is up over there, and the other one being we made a brick block print using two different type of paisleys. Always remember, I'll repeat myself again. Whenever you're using two paisleys, you'll have to create the pattern tile manually, clip mask it, and then in the pattern tool, you'll have to choose grid. If you're using a single paisley, then you just click on the pasy, go to Object, Pattern, make, and then you can click on Hex By row. You have the freedom for the single one. With that, if you have any doubts, you can always ask it on Skillshare, and I'll answer it to you. Our lecture today ends over here only related to this particular block print, and I hope you were able to grasp it. I'll see you in the next one now. Thank you for watching. 17. Foulard 1 : Speedpaint: Welcome to the bonus lecture. This is entire compilation, which is a spin on the process of how I iterate out my notice. So please enjoy. 18. Foulard 2 : Speedpaint: Welcome to the bonus lecture. This is entire compilation, which is a speak pin on the process of how I iterate out my notice. So please enjoy. Welcome to the bonus lecture. This is entire compilation, which is a speed thing on the process of how I iterate out my notice. So please enjoy. 19. Foulard 3 : Speedpaint: Welcome to the bonus lecture. This is entire compilation, which is a speeding on the process of how I iterate out my notice. So please enjoy. 20. Foulard 4 : Speedpaint: Welcome to the bonus lecture. This is entire compilation, which is a se thing on the process of how I iterate out my notice. So please enjoy. M. 21. Vertical Seamless : Today, I will be teaching you how to create your first vertical seamless pattern. Now I have already colored my motives, so creating a seamless pattern is actually fun once you get the concept of it. Again, there are two ways you can create the pattern. One is the manual method. Let me just group this properly by checking the layers. Sorry for that. Okay. So coming back to my topic, let me just do the needed here, take another layer. First, I'll just get this part sorted. Apart from the manual method, we can create with the pattern tool as well. That is the second option. I will just show you the manual method once. Let's say, for example, we take the boundary box here as six by 6 " in respect to the motive size. Previously, I had mistakenly taken it as four. We do not need the fill. We just need the stroke to be of any random color. A vertical seamless pattern is a print that repeats itself vertically. For example, if you keep this here, then it repeats itself over here. Now, grouping them or holding shift, you copy paste it on the bottom part of our tile. In respect to the square, we repeat our pattern vertically. I'm going to do the same, but I'm going to place it in between this. Sorry for the deep pause. Now, if we just select all of the motives here, first we group it. I'll take this and bring it to front. Now that our square is on top of the grouped vertical pattern, we will just select it and click on make clipping mask. Now if you closely observe and you just simply copy paste it like I am doing, again, I'll repeat the same step. So basically, now what you see here is a vertical repeat pattern. The only difference being that we have done it here manually. I'm going to save this tile for your future reference. But since we already have a pattern tile, what we need to do is I've taken another artboard over here because this is the motif we created manually. However, now we will click over here, come to object, pattern, make, basically repeat the same step. I'll zoom in a little. The blue tile that you see has to be 656 inch in size. I'll just untoggle on move tile width art over here. For seamless patterns, you do not click this. What I will do is select all of them and group them and bring it over here. The difference between the pattern tool and the manual one is that if you place it here, it automatically repeats on the four edges. When we do it manually, we have to place it, take a square here, copy it once or twice, which is very tedious. But the knowledge of creating it manually is important. Okay. Since this is a vertical repeat pattern, I'm just going to decrease its size a little, copy paste it over here again and copy paste it over here like this. Now, I'll just select both of them. Bring it here in respect to the center point. Okay. So now you will have a doubt in your mind that why does this look like a straight block print? Correct. So there is a difference and it being Ideally, this is a digital version. So when you are printing this pattern on fabric, this is how the vertical pattern repeats itself. Now, I'll just hit on create and leave the white space as it is as of now. Because I just wanted you to understand how a seamless pattern looks like. Since this was the very first type of seamless pattern that we learn today, I have not used my filler motives. In the coming lectures where you'll be learning about horizontal and all over, I've incorporated them in my motives. I'll just come over here for now and name this as vertical pattern. And click on. Done. I'll just take the shape tool over here, fill in the entire art board with it, and I don't want to border for this head over to this watches panel and select on the newly saved pattern over here. Switch the stroke here. Now what you see is a vortical seamless repeat pattern that you yourself have created. Had we used our filler motives for the white space that exists here in this pattern, then the output would have been a little different than what it is right now. 22. Horizontal Seamless: In today's lecture, we will be learning how to create a beautiful, horizontal, seamless pattern. The methodology and the concept is the same like that of the cal. I've already colored my motives so here. So now what I'll be doing is I'll just select all of them. Come here to object, pattern, and make. I'm going to keep the tile size four by 4 ". I just realize that it's more than four. So for this particular one, I'll keep it six by 6 ". Don't forget that the format should always be in grid for seamless patterns. I'll just rename this ones. So now what I'll be doing is. I'll just take them inside the tile so that it's easier. When we are making a horizontal seamless pattern, always remember that the motives should be in respect to the X axis, that is the placement. I'll just bring the space lee and keep it here for now. Now, let us just use our filler motifs and try and experiment with which place it will look good. Now, what I'll be doing is I'll just head over to Object ones and click on Expand. Why we are doing this is to understand that whenever we reduce the size of the motif inside the tile, the stroke does not distort. I'll just bring this here for now, and let me just check if I misplace not misplace but adjust my pasteles how it will look. I think this works. I'm going to remove the leaf for now. Copy paste. And reflect it. I'll delete the original one here. Now I'll just take the film motif that's there on the corner inside the tile. Be very careful because we are editing our pattern in respect to this tile. So Illustrator becomes a little slow. For example, I'm clicking on this motif. You wait for the output command. What I mean by this is that give one command and then the other one so that Illustrator does not hang. I'll adjust the filler and rechange its position. This part of the pattern tile looks empty. I'll just bring the leaf motif, rotate and try experimenting if it looks good or suits the pattern. What I'll do is I'll delete this filler because I'm not happy with how it's complementing. Also, it is not looking good. Let me just check if these paisley suit each other. Sometimes what happens is anything we visualize unless and until we do it over here on the tile, only then we understand the actual look of it. For example, when I was in the process of coloring the motif and the fillers as well, I thought that, oh, well, the leaf will actually look very good with the pattern and it will complement it. But no, now that I'm actually making it or creating it, it really does not suit on the tile, so I have to make peace with it and let this leaf go. Again, I feel that the pattern looks empty because there's quite a lot of white spacing here. So the filler motive that I've kept towards the right on the axis, I'll just bring it inside. On the contrary, I'll just delete the nee leaf on the left side. Sorry for that. I'll copy paste the wine from the right to the axis. But then what will happen is both of them are clashing, so I'll just reduce the size of it once. Now I'll just reduce the size of the filler motif. But before I do that, I also have to expand it. I forgot that I'll just click on Expand and once that is done, I'll reduce and adjust it. Now, it's a very simple step. I'll just keep on copy pasting it. At home. You can just copy paste this one as well. I'll just delete this for now and also delete this one. I'll just keep the leaf over here in the center. Also, I'll just take this paisley and shift it. But in respect to the X axis. Just be a little patient with me. I'm just trying to adjust the paisleys here and there and see how it or which output looks better. Now, what I also wanted to tell you is that make sure that most of the times the motif is on the X axis. However, if you see the bigger paisley is on the X and the Y, but it's towards the corner so that works. And if you're using filler motives like I am, make sure that half of them are inside and partial of them repeat in a horizontal format, irrespective of the filler being on the X or the Y axis. I'm going to delete this also so sorry to do this to you, but it's not looking as good as I thought it would. I'll just bring this over here. Thanks for bearing with me so long. I'm just going to try and rotate this paisley. Always remember, again, when you're rotating, if you want it to be crisp on an axis, you can use Shift on your keyboard for that. And I'll just place it here as of now. Both of the paisleys are clashing, so again, we'll have to adjust it. So finally, I am a little happy with the output right now. I'll just increase the size of the pasty here. Let's just copy paste the wine filler over here. Okay it just needs a little tweaking and adjustment. I'll come to transform by right clicking on my mouse. After reflecting it, I'll just click on Okay. I do not need a copy. I just need the original one in a transformed format. So I'm happy with how this looks, but I want the same to be here as well. So I'm going to keep the small circle filler here only, and again, copy paste it, change the position. It got copy pasted here on the other motif. I'll just click on it, but this time, what I'll do is when I adjust it, I will adjust it from all the four sides and not adjust it in even way. I'm going to distort it a little according to the pattern. What I'll do is I'm just going to take the filer motifs here, resize them or adjust it and play with them, copy paste them. There are multiple methods. You can copy paste it to the back or just hit Control C and V, and I'll just see where it looks better. Now I need to balance the motifs. So let us just keep it here. The visual looks like it's traveling in a semicircle form. So I'll probably need something here also. Also one more thing I would like to share with you all is whenever I'm designing any type of ethnic Indian pattern or be it for ethnic team, like here, it is past less. I like to follow the format of Kitch. In Hindi, it is known as it. So it's K H ICH, like that. It goes. Basically, Kitch means something not something, but Kitch is a pattern format where there is less white space, and there is a lot happening within a given type. So you can call it a cluster, maybe. Again, I'll just copy paste the fillers and try adjusting them on the pattern tile. The two areas over here, this and this part look empty, so we'll just adjust that part. Sorry for the silence in between, but I was visualizing something. Let me just see if I keep experimenting with the circle fillers, how they look on the tile. We'll place this over here, and what I'll do is holding Alt on my keyboard, which is a command for copy, I'll just copy the filler motives and see where should I place them once. Again, thank you for being so patient and putting up with me. I'm just trying to see that the cute circle fillers, if I just experiment and see or place them in different places, which place looks the best for the paisley pattern. So let me just visualize that and follow my steps. You'll also understand why I keep editing my pattern within the same tile before I click on Done. I am actually literally pressing just one command at a time because no matter how good graphics your laptop has or RAM for this part on pattern making in Illustrator, whenever you have intricate patterns like these and you color them with individual layers, it takes time to render. So if you give multiple commands, it might crash. Now, what I'll do is I'll just finally finally, I'll click on done because I am happy with how my pattern looks. Y P. Let's take other artboard. Where did that go? Oh, here it is. I'll take the rectangle tool. Build it up over here like this. Now I need my swatches panel. Ideally, we just need to follow the same steps. Click on the swatch. It takes a stroke, so you just swap it on the fill and nullify the stroke, and we have a pattern. So now the next step will be adding a background to a pattern. I'll just take the colors over here, make it bigger in size, draw a shape on my artboard again. I mean, just copy paste it. I'm going to take aqua as my background color. So one of the reasons for this pattern, I took aqua blue as my background colors because that is the only color. I have not used in any of the motifs, be it filler or the pasty one to color it. Now we'll just click on Arrange and bring it to front. So this is how a beautiful seamless horizontal pattern looks when we have filler motives also combined in it. Now I'll just group this right click. Again, now I'm just going to scale down my pattern, so the step is going to be the same. You have to make sure that the scaling is always in a uniform method. I'm going to keep it at 72% this time. What I wanted to tell you is why I always scale out the pattern to understand the look. Now you'll be wondering why I used 72 this time when I was scaling my patterns down is because I felt that objectively it looks better. Now, what I want to tell you is that once you start practicing and making patterns, once you get the hang of it, even you will intuitively understand which percentage for your scale down pattern will work. So don't fret about it. So I really hope you learned something in this lecture. And with this, our horizontal seamless pattern ends here. I hope you had fun also. Now I'll be seeing you in the next lecture. Bye. 23. Allover Seamless: Today, we will be learning how to create a very beautiful overall seamless pattern on Adobe Illustrator. Like you see, I've already colored out my motifs here. The method to create the seamless pattern is the same. You go to make and pattern. I think I told it the opposite side, you go to pattern and then make, and I'll just make sure that the width and the height is six by 6 ". Always remember that when you're creating a seamless pattern of any type after you name the file, make sure that the tile type is always set to grid. I'll just zoom in a little so that the tile is clearly visible for me, also. This time I've not taken any filler motives. I'm just going to explore and create all over seamless pattern using two different paisleys, one being the defined and the other as the undefined. Now, what I want you to remember is that ideally for a vertical and a horizontal seamless pattern, what we do is we usually keep our pasty on the X axis for horizontal or on the y axis for vertical respectively according to the seamless pattern, correct? But the concept is somewhat similar, but the only difference is the motives that we use here. When we place it on the axis, you rotate or transform it accordingly. I'll just reduce the size for this. Always remember that you need to click on Expand when you want to reshape or resize your motives so that the stroke doesn't mess up. So now what I'll do is I'll take this motif and rotate it a little diagonally and place it over here to the corner part. I have just placed one of the paisley on the X axis and the other on the corner, but rotated it because it's an all over pattern. That is the concept. Now, let us just adjust this paisley on top here. Now I'm going to take this blue color pasley and I want to reduce its size and copy it. So I'll just expand it first after copying, hit Okay, and then now what I'll do is after I place it here, I'll right click Transform, but this time I'll reflect it. I've not copied it, but I clicked on Okay because we need the original format. I'm going to repeat the same step that we just did with the red pasty over here that is right click, transform, reflect, and then click on. Okay. I'm just repeating the steps twice or thrice so that it registers in your mind. So now, since we are making a all seamless pattern, the red paisley on the X axis here where my cursor is, we just took it, reduced its size, copy pasted it, and rotated it. So it's like we're either rotating our paisleys or transforming and reflecting them and then manipulating them alongside the X or the Y axis. I'll select the biggest pasty over here again, expand and copy paste it to reflect or rotate it because we need to fill in the whiter parts of our pattern tile. Otherwise, it will just look empty. Also, one more thing that I forgot to mention is that once you've already expanded your motive, when you copy paste it, you do not need to expand it again. So now, just bear with me because there will be a few seconds of silence. But I am trying to, you know, adjust the motives in between and make it look like a good pattern. He Finally, I'm at a stage where I like how this pattern looks so far, and I will finalize this for now. Now what we need to do is we'll just untoggle our pattern options, select not select, but click on the small arrow key that you see just next to the pattern options here on Illustrator. And then finally, I'll click on done. But before I do that, this time, what I'm going to do is I'm sorry I told you to untoggle it, but I'm just going to make sure that I expand the copy. So basically, I'm going to keep it nine by nine, zoom out, and just have a look on how the pattern itself looks. I'm going to dim the copies and make it to 100 because I want to have a proper idea of how it will look before I just click on Done and add it as a swatch. This looks perfect. Now, after I click on Done, again, we'll repeat the same step where I'm going to take a new artboard. And this time I've taken two. I'll again take my rectangle shape tool here, draw it entirely over the artboard. And this time, what I'll do is I'll just fill it with a very cream or beige base color because one artboard, I wanted to have a background. This one, I'm going to keep it as white. I've just selected my swatch, and the right side that you see, I'll copy paste it so that you understand how the pattern finally looks with a background in reference. Press right click Transform and scale. What I'm going to do is I'm going to nullify the transform objects and see if it works at 60 or 55. Let me just review it once. I think the 55 works better, so I'll just click on Okay, and this is how the proper scaled down version of a pattern looks like. Now, like I told you, once you start developing your own patterns and you have a practice of it, intuitively, you'll understand what percentage your pattern should be scaled down to. Always remember thumb rule whenever you're creating any type of pattern, make sure that you have multiple artboards with the original swatch here like the white one I have and the Bige part over here with a background, but in a scaled down manner so that you get a sense of the pattern saying that how it looks in different versions or types. With that, I'll lecture ends here today, and I hope you were able to grasp it and get some knowledge out of it. So as of now, I'll export this particular seamless pattern and show it to you how it looks as a JPEC version. So, finally, this is how our allow seamless pattern looks like. Honestly, if you ask me, this is one of my favorite seamless patterns to go to because you have multiple options. It is just that you take some motors, repeat it on the axis, and then transform and reflect it respectively according to your own will. This is one of the widely used prints or patterns in the industry. With that, today, our lecture ends here, and I hope you've learned something from this, and you had fun today, so see you in the next one. Bye. 24. Assignment 3: Hi, guys. So in your fourth assignment, you're going to create seamless patterns. Now, we have learned how to make three different type of seamless patterns, right? So again, like assignment, the previous one, where you created three block prints and you uploaded them, you have to follow the same format. You see, I'll just adjust the camera. This one where you see the white color, this is a seamless pattern and this one is a seamless pattern. So you can take three seamless patterns that you want to make place it on your artboard and export it as a JPEG image and upload it on Skill Share. And I will definitely give you a feedback on what works in the print. Also make sure that you use the filler motives that I've given you. So in this particular motive, we did use our filler motives, right? So I leave the freedom onto you that how you want to combine your pasteles, if you want to use two or three pasteles together, you can do that, also. That completely depends on you. I'll be waiting that you'll share your assignments on SkillShare, and I'll definitely give you positive criticism for that. So see you there. Bye bye. 25. Filler Motif : Speedpaint: So this is just a bonus lecture of how I have, you know, or how I draw out the filler motifs. I have made sure that I filmed it in a speed paint version so that you have an idea. Also, one more thing is, I'm not going to draw all the motifs present on this JPEG image that I have provided you. I have drawn, I think, half of them. The rest of them is homework for you. You need not upload this onto the Skillshare website, but if you iterate them out, you can use it for your personal patterns also. So enjoy the video now. 26. Final Thoughts: Hi, guys. Welcome back. This is Vinnie here. I hope you were able to learn a lot through my master class. If you have any doubts regarding this, like, motif creation, pattern creation or paisleys as the theme because I am sure that I also made a presentation so that you understand a little historical background about it. If you're doubtful, then you can always leave your doubts on skill share. And if you want to reach me personally, then I have an Instagram account called Po and Patterns. You can reach me there, also, DME there and I'll approach you whenever I'm free, or you can leave me an email on Po and patterns at the rate gmail.com. Also, my upcoming master classes will be based on different themes and patterns. I'll be teaching a lot more and covering a lot of more topics in those classes as well. Now, if you as a designer, you want that you know, if you like my class and you're saying that, you know what, Vinnie if can you teach me all of these regarding these patterns, then I will make sure to take your feedback. And next time when I'm creating those classes or lectures, I will take your feedback and create the course curriculum accordingly. So do make sure that if you're leaving feedback regarding this master class of mine, apart from how you liked it, you also tell me that what type of lectures do you look forward to, you know, learn yourself through me so that I can work on that also. So I'm so happy that you chose me as a mentor here on Skillshare, and you actually sailed through the hours and hours of this class. But thank you so much for watching this, and I do hope that you will connect to me soon. Bye.