Surface Pattern Design with Smart Objects in Photoshop | Melanie Stimmell Van Latum | Skillshare

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Surface Pattern Design with Smart Objects in Photoshop

teacher avatar Melanie Stimmell Van Latum, Illustrator and Surface Designer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Pulling in your Motifs


    • 3.

      Create New File


    • 4.

      Placing your Motifs


    • 5.

      Creating a Smart Object


    • 6.

      Using your Smart Object


    • 7.

      Duplicating your Pattern Tile


    • 8.

      Making our Final Repeat


    • 9.



    • 10.

      Thank you & Project


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About This Class

Hi Everyone!

I created this class because I know how difficult it can be to create surface pattern designs that keep 'Your' signature look when vectorizing.  As a painter, I really struggled with this and know how hard it can be to find your place when you don't think the artwork really looks like you created it. 

So, In this class, I'll show you how to take your hand painted motifs and turn them into a surface pattern design in Photoshop using Smart Objects.  This is the perfect way to create while retaining all your beautiful hand painted texture, gradients, and detail that represents 'Your' signature style.  

I've included a Photoshop Hot Key PDF for your convenience which you can find in the resources section. 

Smart objects make this technique super flexible and easy for even a beginner.  Let's have some fun with this!

I'd love to meet on Instagram... say hi @melaniesvl

& For free mini tutorials in illustration, surface design, and creative coaching visit me at

Meet Your Teacher

Teacher Profile Image

Melanie Stimmell Van Latum

Illustrator and Surface Designer



   I’ve spent the last 20+ years immersed in the most adventurous art career.  I never imagined where my creativity would take me and each step in my journey has taught me something invaluable.  

After earning an illustration from Art Center College of Design in Pasadena, I spent my first 8 years after college as Technical Director on a very popular animated series.  But during those 8 years I fell in love with Street Painting. It snowballed, and I had the opportunity to paint in places I never even dreamed of.  During my 20 years as a free lance street painter and muralist, I was awarded Gold medals and 1st place awards in Europe’s most prestigious competitions, including the title of Maestra Madonnara (Master Street Painte... See full profile

Level: Beginner

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1. Introduction: Hey there, my name is Melanie, little bit Latin and I'm a surface pattern designer and illustrator. I love creating surface pattern designs in Illustrator, but as an artist who loves hand painted motifs, it becomes a little difficult to retain all that beautiful texture gradients for island. So today I'm gonna show you how to take your hampering motifs into Photoshop and you split objects to create a beautiful repeat surface pattern design. Alright, let's get started. The first thing we're gonna do is we're going to download my hotkey PDF if you'd like. It's in the Project and Resources section and you can download it there. And it's going to have all the hotkeys listed that are gonna make things easier. And I'm going to talk about those during each of the videos. So he went out and get acquainted with those before we get started, that would be great. 2. Pulling in your Motifs: Hi everyone. We are going to get started. And this is going to be fun. This is one of my favorite ways to work and create a pattern designs. So here we go. What I've brought in is an illustration that I created in Procreate. And you can bring basically anything that you've created in Procreate into Photoshop and turn it into a pattern design as long as you have your elements on layers. Okay, so if I click here, you can see that I have different parts of my illustration on different layers. Okay? So this is going to work the same if you are a watercolor artist. If you paint your motifs in acrylic or oils or pastels. And that's one of the reasons I love Photoshop so much for surface pattern design. I was trained as an illustrator and a fine artist. So I really love texture and I love creating gradations and seeing my little creatures, elements come to life. So creating something and then vectorizing it, you lose a lot of that texture. So procreate kind of has answered that. That struggle for me because all create something and procreate as I would normally paint it if I was using soft pastels or oils. And then I can bring it into Photoshop. And it has the exact number of layers that I created in Procreate. It translates directly to Photoshop. So it really goes nicely. Harrington hand. So just like I would if I had done these little owls as a watercolor painting or as an oil painting, whatever it is, even, even a pencil drawing. I'm going to bring those layers in that I want to go into a new file. So I created a new file. I brought in the individual elements for motifs that I think I'll use in my pattern design. So if I come over here to my layers panel, which you can see, and if you do not see your layers panel, you can come up to the top of your screen to window and go down to layers. And you'll see that everything that has a checkmark is visible on my screen. So layers is selected. Just give that a click. If it is not in, it should come up. And I like all my menus over here on the right side so that they're easy to access for me. Alright? So what I've done is I've brought these layers. And nine, you can see that I have labeled each layer because things like this that are really small, really tiny motifs are repeats that are lightened color, right? You're going to be hard to see if you look over here in the layers. So if I label them and give them nicknames that all recognize. Then it's going to be easy to navigate and work a little more quickly and efficiently. So for instance, Rose knew, I know, is this rose here? Okay, because it looks like it's just opened up. I have pink bud, have peach Bird, Rose open, small because this looks like a more open rows and then just rose open. And you get the idea here, right? Double owls. And I'm gonna show you these two guys here. They are tucked behind my roses, right? Motif because they have no bottoms. So when I painted them in this original illustration, they were tucked behind the word Joy. Hey, so I didn't have to finish them out. But that creates a little bit of an issue now that I want to put them in my pattern design. But I know that I want this pattern to have overlapping elements, so I'm not going to worry about it just yet. If I decide, you know what, I want to see their whole bodies like with these guys, but I can go back into procreate. I can finish those two up really quick and then I can export them out and bring them into Photoshop. Okay, but right now we're not going to worry about it. So everything is separate. Everything's on a separate layer, including my background textures which I may or may not use. Okay, so I'm gonna get rid of anything that I know I don't need For sure to keep things from getting confusing. And again, this would be the same if you brought in any watercolor elements and anything else that you painted that you have scanned and then brought in and cleaned up. Okay. So you end your elements to just sit on their layer by themselves. All right, so the next thing we're gonna do is we're gonna create a new file. So I'm going to come up to the top and I'm gonna say File New. And I'm going to work in pixels today. So working in pixels when you're creating a service pattern design in Photoshop is going to make it a lot easier because you have to know the numbers of your file. And that's going to make sense as we move on to the next step. But for now, I wanted to do a 3600 by 3600 file at 300 dpi. So if I change this to inches, It's a 12 by 12. So 12 by 12 inches. But we're gonna go with 3600 by 3600 pixels and 300 DPI. And I'm gonna hit create. So what I have is a nice new white canvas. And the last thing I'm gonna do here before we move on is I'm going to come up to my layers hamburger menu. I'm going to hold it down and I'm going to click New Layer. And that is going to be the first layer of my new surface pattern design. So meet me in the next video, and we are going to get started pulling those motifs into this file. See you there. 3. Create New File : Here we go. We have our new file and we have our first layer. And what I do is I want to create a square within this square, and I want that to be on layer one. So what I'm gonna do is I'm going to come over to the Marquee Tool, which is this little guy here. And the hotkey for that is just the letter Amber. So I'm gonna hit the letter M and you can see my little crosshairs come up. But what I'm gonna do instead of normal up here at the very top, I'm going to hit fixed size. Okay? Now, I want my fixed size square to be 800 pixels by 800 pixels. That is exactly half of my file size. So all I have to do is tap. And there's my square, okay, That's exactly 1800 by 1800, half of 3600 by 3600 right? Now, because that's on a new layer, all I have to do is say Edit, Fill. Make sure that's selected to foreground color and hit. Okay. So now this square As on its own layer, if I turn off my background, you can see that there is nothing else surrounding this. It's all by itself, which is what we want. And I'm gonna hit Command D as in dog, and that's going to de-select. All right, so now that I have this shape here, I'm going to turn the opacity, which is in my Layers panel here down to 50 percent. Right about there. All right, thank you percent. And I'm going to hit Command T for transform. Now, if you aren't familiar with your hotkeys yet, you can come up to, as long as that layer selected, you can come up to Image. Sorry. If you're not familiar with your, sorry. If you're not familiar with your hotkeys yet, you can come up to Edit, Transform, Rotate. And that'll bring up your transform guide here. I'm going to hit return and I'm going to hit Command T. And I'm going to hold Shift. You'll see my little rotate button comes up holding Shift. I'm going to rotate it to the right until it's at 45 degrees. And you can see here right above my little Rotate tool symbol that it says 45 degrees. So you know its exact. Alright, so many hit Enter. So that applies the transform. And with my layer selected, I'm gonna come up here to my top menu bar. And you'll see just like an illustrator, that we can center this layer in our art board and I want to do that. That's important. So I'm going to hit this one here. And I'm gonna hit this one here. Okay? Now that square is perfectly centered within our art board. Hey, it's 1800 by 1800, and our art board is 3600 by 3600. All right. Now. Sorry, I lost my train of thought. We're going to grab our motifs from our motif file here. So what I'm gonna do is, I think I'm going to start with, let's start with our larger motifs. So I'm going to grab these and I'm going to go up to o. Let me show you how I did that. So if I grab a one layer, I just click it once. I hold down the Shift key and click however many I'd like. So if I keep moving up, it's going to select all of them. If, for instance, I selected the middle one, I'm going to hold the command key and then I can click the others, right? But if I did this, hold down the Shift key and select the bottom one, I won't be able to select the top. Alright. So I can either select the bottom hold Shift, select them all, or I can select whichever one you're on. Hit the Command key, and then you can select as many as you'd like anywhere in the layers folder. So once I have this selected, I'm going to go up to the hamburger menu. And I'm going to say duplicate layers. And that's going to bring up a menu. So now in that menu, I'm going to select my new file. Okay, right now it is called Untitled one, pseudo. Make sure you choose the correct file. And this is, or can be tricky if you have a lot of files open, which I sometimes do. So what we're gonna do really quick is we're going to name this file as soon as we get into it. So I'm going to click Untitled one. I'm going to say, okay, and if I pop on over to untitled one, you'll see that my motifs are there. Now. Photoshop. You don't have to worry about things going off the art board. They are not going to be lost. So if you use Procreate and you left these little guys half off the art board, you will lose all that information, right? So when you pull this back over, you'll have a nice slice right here and everything to the right would be gone. Hey, but Photoshop doesn't do that unless you crop it, hits a, you are safe. What I am going to do really quick is hit Command T to transform these guys. And I'm doing all the layers together. And I'm just going to drag this down to a more reasonable size for Marie pattern. All right, That looks about right. I'm going to hit Enter and zoom in a little. Now before we go any further, I can see that I need a little clean up here, but I want to name this file really quick. So I'm gonna say File Save As. Let's see. Okay, so I've created a new file where I'm going to house surface pattern design files of my ALS and I'm going to call it peace, joy. And I'm gonna hit Save. So now when I come back over here and I export, lets see these two. I'm going to say duplicate layers. Now I can choose pink joyful owls. And I know they are going to the right file. Alright, there they are. They are very large and they also need a little cleaner. So I'm going to scale those down so that they are appropriately sized with my other owls. And thoughts pretty good. Okay, so I think this is enough motifs to start with. What I might do is change this background color. I don't like that with my awl pattern. So what I'm gonna do is I'm going to select this color here with my eye dropper. So now that's come here in my little color square. So I'm gonna double-click that. And now I have the code so I can copy that. So that's a command C. With this selected, I'm gonna hit Okay, then I'm gonna come over to my OLS. I'm going to select with my magic wand tool. I'm going to be on my green layer and I'm going to select that square. And then I'm gonna say Edit, Fill. All right, now it's at 50 percent right now, right? So I'm going to de-select all the way up. I like that a lot better. But now I can also see Whitman's to be adjusted on my little motifs. So what I'm gonna do is I'm going to take a few minutes and clean those up. And you meet me in the next video and we're going to start to place our pattern designs. All right, I'll see you there. 4. Placing your Motifs: And cleaned up my motifs. And now what I'm gonna do is earn going to start by turning them off for the most part. So I have my roses left cell selected. And I'm going to think about the pattern overall and how I want it to look. So what the end result is. So I'm going to pull this guy down to the left here. And what I don't want you to worry about is overlapping the edge of this blue square k, we actually want that overlap. Okay? So photoshop when creating a pattern, is going to be a lot different than in Illustrator. In Illustrator, we want to overlap, but then we want to duplicate it to the other side, right? We're not gonna do that here. We're just going to leave this overlap, but we are going to think about where it's going to end up over here. So I'm going to leave this area, for instance, blank because this is going to end up right about there. Okay, and then the same thing on the opposite side of this, which would be right here. We're going to leave that a little blank as well. Okay. Now you can have overlap. That's all fine. But we're gonna go with our elements, not quite touching when it comes to the edges here. Okay? So that one's placed hole. The second one, turn that on. And you'll notice, make sure I'm selected on the right layer. You'll notice that these drop shadows that I have, I did bring them over and they are now part of the motif. I left those because I knew I was going to have a dark background. And I want that extra bit of depth. Can't, that's harder to create in Illustrator. But it's easy here in Photoshop because you're going to retain that exact look. It's not going to change at all. Alright, so we're going to rotate this diagram just like that. Now, I know I can overlap here. And up here at the top because this guy is going to be right about there. So I may want to move this up just a little about there. Hit Enter, and then I take my double vowels. That's my layer over here that's invisible. So I'm going to move those right over to nestle behind these roses. Now I can rotate them, right-click and hit command T. And I can rotate them a bit and then adjust where they're placed. Okay. Now, let's talk again about how these little owls are cut-off date. Let's say you did a bouquet painting, right? So a painting in watercolor of a beautiful bouquet of flowers and you had one flower that was tucked behind the other so you couldn't see it as a whole, right? But you really love the colors and the gradations that you've created, you can still use that. You just have to be a little mindful of how you place it in a surface pattern design, right? Okay, So I really love. Two little Alice together. So I decided, you know what, let's give it a whirl. Let's see if we can make this work. So it's gonna keep going with my other motifs. And let's see. I'm going to put these to the top, transform them a bit. All right, so now I know that these two guys are going to overlap down here a bit right? One head on either side of the point, right? And then my one bird took her. When I think about this because you don't want just a roll of owls down the center rates. You're going to put it on the left and I'm going to check her be my motif here. All right, I like that. But now what I need is a little bit more info in here, right? So I'm going to come back to my original folder or file, I should say. And I'm going to grab my roses. So I'm going to take 12345. I'm gonna go to my hamburger menu in my Layers panel. And I'm going to say duplicate. And I'm going to send them to pink, joyful owls. Hit, Okay. And there they are. So now this is perfect because I can see how things would look if these were actually really large. I'm going to move up in my layers panel so that they are above. So your layers panel, just like in procreate, in Illustrator, you can move things around to have one thing overlap the other, right? So I'm going to have my roses above everything else for now that may change, right? And I'm gonna take the first one which was my large rose. I'm going to scale it a bit that's too big. And I'm going to start moving things around. Figure out my placement. So I'm gonna do this really quickly and we'll talk through the next step. Here we go. Okay, so what I have now is pretty good. Variety of shapes and motifs within my square. You can see I kept the overlap. This little guy. Let's see where this little guy here, I'm going to move him. Okay? But what I want you to notice is that I've continued to duplicate elements within my file. So to do that, right, so if I want to add another open rose, I'm going to hit Command J. And what that does is it duplicates my layer. So now I have two and then I want to make it look a little different. So I'm gonna hit Command R or I'm sorry, Command T. And I'm going to rotate it so that it doesn't look exactly the same k, but we want these repeating motifs within our pattern designs. So I can do that with any of these. Let's see, Let's do a few more buds. Sermon to hit Command J. I'm going to move with the sun. And then I can edit transform and I can flip horizontal. And then I can transform it. So that gives us a mirror image, which is nice, just kinda mixes up a little bit. Great, So it doesn't look exactly the same. All right, so I have a good starting point. I'm going to come back to my other file and see if there's anything else that I can pull it over. Pull over the snow. So I'm going to duplicate that. And I'm going to tell it to go to the pink joyful owls and hit Okay. And it's large, so I'm going to transform that couple Command T used to be apple, right? The button if you are old enough to remember the original Apple computers, instead of calling it command with the command symbol, had a little apple on it. All right, so there's my snow. And I don't know something about this image with the roses and the animals. I always think of snow, so I have several images from top combination of elements. So this looks pretty good. I'm going to leave it as is for now, knowing that we're going to add more. All right, Meet me in the next video and we're gonna do the next step, which is the most exciting. All right. 5. Creating a Smart Object: This is the exciting part of surface pattern design for me because it makes it really easy to arrange your pattern really nicely. And where you have the ease and Illustrator to just tap on an element and move it. With Photoshop. It's kind of another step because you have to find that layer and then move it. But smart objects are going to make this step really easy. So what we're going to do is I'm gonna come over here to my layers panel. I'm down to my colored square, which is about a 100 percent opacity. And I'm going to take that down to 50 percent, right in my Layers panel here. Doesn't have to be exactly 50. You just want it semi-transparent. With that layer selected, I'm going to hold the Shift key. I'm going to scroll up and grab that top layer. And think. Before I do that, I'm going to name this top layer top. Because that is these guys at the top. And I just wanna make sure that if I'm moving things around, I know which layer I'm grabbing. Again, I'm going to grab that bottom layer. I'm gonna hold shift, grab the top layer. And I'm going to come up to my layers hamburger menu. And I'm going to say Convert to Smart Object. So if you've ever worked with a mock-up for making your art print look like it's in a photo frame or putting your pattern on bedding or curtains or anything like that. Like you've purchased a mockup from. And Creative Market, for instance. Probably most likely has a smart object in it, which means you can double-click that layer and then apply your pattern or your image to it. And when you close it and save it, it's going to be applied directly into the frame or directly onto the betting. And it's going to look really cool because it looks like it has folds, right? It's going to be perfect. So this is a similar concept where now all those layers that we originally made art in this smart object. But here it's only one layer, right? Click, double-click it. It opens up into a new file. And you will see that this file is called three roses top. Okay? Now, the reason that is and the reason that I changed the name of my group of three roses is because you're smart. Our job object is going to be named the top layer of your group. Okay, so whatever the top layer is, that's what the name of your smart object is going to be. And it doesn't matter that much. But it helps if you have several things open to know what it's called. All right, so now what I can do is come in here and I'm going to go to my snow layer. And I want to move some of these snow crystals around, but so that you can see better. I'm going. Turn my layer opacity back up to a 100. Limited click again and waste snow layer, zoom in. And what I wanna do is get my marquee tool. So I'm going to hit the letter M as in Mary when my keyboard. And I'm going to select any snow crystals that I want to move. So now that they have the marquee around them, I'm going to place my cursor inside and I'm going hit the Command key. And you'll see that these little scissors pop up. That means that I can grab these two elements or whatever is within the murky and I can move it someplace else. So it's basically cutting it out of this area and then moving it to wherever you want it to go. I'm still holding down the command key and I'm dragging these two little guys somewhere else. And then I just click anywhere outside of that murky again to de-select. So I'm gonna do that a couple times to move some of these snowflakes around. So Marquis, command, murky command. And I don't need to get rid of all of the crystals that are overlapping something because min, a little overlap is definitely good. I just want to move them around a bit to give you an idea of what you're working with and also make it a little more evenly spread out. Alright? And then some of them are in odd places, like this one right here looks more like a highlight. So I'm gonna move that down. Okay, So that's done. What I'm gonna do. Let's see. Oops. I hit the wrong button. There. See it's empty. We are going to come up here to the top of our smart object file. And I'm going to close it. So I'm going hit the X. And then I say Save. So what's happened is that file that was just open, our smart object closed. It was saved and closed. And then we are taken right back to our original file. And you can see that now the snowflakes are not over this rows. They are actually up over here. So everything that I moved is moved in our original file. So now what I can do is I can duplicate this tile to the different quadrants of my pattern design. But first, I noticed that I saved my smart file without changing my background to transparent. So I have to go back to that and then double-click it, come down here to my layer and tell it to go to 50 percent, about 50. Alright, so I'm gonna hit the X again, save. And now I'm back in my original. Alright. Some good, pretty easy. I think it's pretty easy. All right. We are going to get ready to duplicate this baby. So we're going to do that in the next video. I will see you there. 6. Using your Smart Object: All right, Now that we have our smart object file ready to go, we're going to start duplicating it and actually tiling it bond is the page so that we can see our pattern and how it's working. And the great thing about that is being, but it's a smart object. We can come in and change it live as we're working. So that's perfect. That's exactly what we want. So my background color is still at 50 percent. And you'll see why that's important in just a second. So I'm going to take my layer here, my smart object, and I'm gonna hit Command J to duplicate it. Before I do anything else, I'm going to rename this bottom layer here, my original. And I'm just going to call it original Smart tile. And we're going to actually duplicate this many times. So it's just going to be easier if I name it something that I recognize, the original itself. Okay? So what I'm gonna do is my duplicate. And I'm going to hold down the Shift key. And I'm going to drag it down diagonally. Right? Now. I'm not worried about getting it exactly on the line here, but you want to get it close. And actually that's probably as good as hints kinda get either way. Okay, so now I can assess how these things are overlapping and meeting. And actually, I think that's totally fine. I don't mind that at all. What I might do is move this rose out of the way. Okay. But I'm not going to worry about that just yet. So what I'm gonna do is hold down the Shift key. I'm going to take this same layer and drag it to the left. Again, doesn't have to be exact, but you just want to get a good idea of how things are working together, right? So I think these guys here either need to move down or this section here needs to move up. And I think I'm gonna go with this section moving up. Now, here's the cool thing about smart objects. Whatever I do to this smart object is going to happen to this smart object. So it doesn't matter how many terms I duplicate this layer. Whatever I do to it is going to happen to all of those consecutive layers. And that's why this technique is so cool when it comes to surface design. So we're going to see what I mean here. So I'm gonna double-click my original layer to open it up. And what I need to do is move this grouping up a bit. So let's see, that's one bird and a move her up. And this roses left. Yep. I'm going to move those up just like that. And then of course I need to move this guy in the sky. So let's see, which is which sets open rows three. I'm going to move. Let's move it down for now. Okay. This is a new rows, 0. Let's see. Where is the PAM pausing? Here it is down here at the bottom. All right. Yes. So I'm gonna move this guy up there. I actually got rid of my ruler accidentally. I sometimes forget that I'm not an illustrator. Illustrator, hotkeys. So that is ready to go. I think that's only going to change. I might move these guys up at the top and then 200 branch down just slightly still want an overlap, but I don't want it as much. All right. So I think we're ready go. I'm going to close this. Hit Save. And now our original file opens back up and you can see that it has moved in this first file. And the second one affects the other. Not happy with this guy. I'm going to rotate this just a bit and that'll solve the problem entirely. I don't mind that guy so much, but with the rotation, I think it'll take care of this band, this. All right, so let's do that. Double-click. They take my tutor branch and I'm holding down the command key. Also select my three rows. So you can see that these two layers are separated quite a bit. I'm going to rotate them by hitting Command T. And we're taking them just slightly. There we go. All right. I'm going to close this again. Okay. So now this little filigree is not overlapping my flower, it is not overlapping my little aldehyde. So we are getting there. So this side looks pretty good. All right, Now I'm going to take this same duplicate and I'm going to move it. Oh, okay. Let me show you what I did there. I didn't mean to do it. All I did was hold down the Option key. Just like an Illustrator. And you can see these two arrows come up. And I duplicated whatever layer is selected. So I don't love that so much. That's a little bit too much overlap so many tape this guy I think and move it up. And that's perfect because there's a little gap there, right? So now you may ask, what happens if I change. Smart Object or this smart object and they are all duplicates of the original, right? Well, you're good, right? If you duplicate the original file of its duplicates are affected by whatever changes you make to the original, but it goes the other way as well. So if I make changes to this one, all the others, including the original will be affected. So just because I'm a creature of habit, when it go back to my original, I'm going to double-click it. I'm going to take what do they call? They are called roses, right? And double owls. And I'm going to move those up just slightly into that little gap. And I'm going to close in on this a safe. Okay. Now, you see that overlap is much, much better, but these two filigree and our meeting and creating a weird tangent. Hey, so I'm gonna make one more adjustment. I'm gonna move this guy up and I have the space to do it because look, the only thing here is this rows. So you see how that interacts, right? So this one here is this one here, is this one here. Okay? So now just for fun to prove my point, I'm going to come up to, let's see this guy and make the changes. So you'll see those layers are still selected, right? Because I saved that original tile right after I moved these. So I'm going to take it a miniature. I get up, a little down, and then I'm going to move this grouping center flowers. So where is that? Okay, I have all these layers selected. I'm actually going to group those because the center roses, because I want to be able to access them very easily. And that took me awhile to find k. I'm going to hit transfer and I'm gonna rotate ever so slightly. And you can see that this space on the interior of my tile is slowly filling up, right? Because I'm adjusting what's happening on the edges. All right, so now that that is done, I'm going to close this and we're going to see if it's affected. My original tile as well as the other duplicates. So close. Save. Let's see what we got here. All right. Well, it didn't move everything. I don't I'm not happy with it yet. So I'm going to take a few minutes. I'm gonna play with this really quick. Okay. That's so much better. Alright, see this isn't overlapping anything. It isn't overlapping a little bit. So I'm going to take this layer here. Actually, I'm going to take this. That'll work a little better. And then we're going to move it to this side. Just like that. All right, so now I can see that my owls are going to be okay, there's nothing overlapping their heads except the backend which we are going to get rid of in a few minutes. This looks good with how it overlaps. And this guy here, I'm going to just make sure that it's behind the roses. And behind the roses is totally good with me. Put that back. 3d, move Backward west. Okay, So that looks great. Now, I know that for the most part my tile is working so many get rid of these two duplicates. Now, I have my original Smart tile in the file all by itself. Now I can look at this and make any adjustments if I want to, before I move on. But let's go to the next video and actually start duplicating this in the proper way. All right, I'll see you there. 7. Duplicating your Pattern Tile: So how many of you are good with math and numbers? That is not me for sure. So what I have here is some posted and a pen or pencil. And I'm going to take some notes. Kate. So the first thing I want to do is I want to remember the size of my board. So I have 3600 by 3600 pixel canvas here. And then y square is 1800 by 1800 at a 45 degree angles. Okay? So what I want to do is I'm going to open up my, my Spark object and I'm going to take my colored tile. And what I wanna do is there's a few commands here that make this really easy. I'm going to hit Command a. And what that means is I'm selecting all on that layer. Okay? So Command a, command C to copy. Command C as in cat. I'm going to hit Command N, which is new, right? So opening new file command. And then you will see that it tells me the width and the height of my square in its diamond format. Okay? So 25, 46 by 25, 47. What I wanna do is write down kind of rounding off those numbers. So I'm going to round it down to 25, 45, 25, 45. So I'm just going to hit Create. And I'm gonna hit Command V as in Victor to paste. So what you'll see is this diamond hits the top, the bottom, the left, and the right side of my square. So this is 25, 46, and 25 47 pixels. But we're going to ram it down to 2545, so 2545 pixels. All right, I just wanted you to see that pretty much exact, right? Sort of a closed dot. Now, the reason I did that is because we'll close this as well. So the reason I did that is because what I wanted to duplicate this layer and move it exactly to the right so that it comes point to point. And then exactly to the left, exactly to the top and exactly to the bottom. And to do that, we need that number, 2545 pixels. So here we go. I have that written down. And what I'm gonna do is I'm gonna take my layer here and I'm going to hit Command J to duplicate it. Now, I'm going to go up to Filter, which I think it's funny that it's under filter because it seems doesn't seem logical to me that it's under Filter. Feel like it should be under layer image or edit. I don't know. But we're going to go to filter and we're gonna go to other, all the way down to the bottom. And we're going to go to Offset also at the bottom. Okay? So filter other offset from an eclipse. And now what I wanna do is I want to enter my 25, 45, 2025 into each of these boxes. Told 545. Okay. Oh, no, I don't I just want to do with what? Sorry about that. Okay. There we go. All right. So I just want to do the horizontal obviously because we're just moving it to the right. We're going to use both these boxes when we come down with a diagonal. So okay, Alright, so I'm gonna hit OK. And there we have our first tile in repeat. Now I'm going to come back to my original Smart tile. I'm going to hit Command J to duplicate. I'm going to go back to Filter Other Offset. And now instead of 25, 45, I'm gonna do negative 25, 45. And you can see this has jumped right to the left side. I'm going to say, Okay. And so it's gonna start to look like a quilt right now because it's going to start to look like a quilt. And we're going to keep duplicating. One TD 45, 64 times. I want to name these. So this one here, I'm going to name it. Yeah, let's just name it left. And then this one's going to be right. Okay, So now we're gonna go back to our original tile. And we're going to do Command J again. We're gonna go Filter Other Offset. And now we're going to do the vertical. So we're going to take this number, we're going to copy it. And to make this 0. And we're going to make our 25, 45. Okay, you can see it's popped down to the bottom and hit Okay. And bottom. And then we're gonna go back to our original again command J, filter other offset. And now all I need to do is get rid of this plus sign and do a negative. And it's popped right up to the top. Okay, So now we can see this totally looks like a quilt, right? Except that we have a little overlap with our owls and our filigree. Let's name this one. We don't want our layers to get away from us. Okay? Now, what we wanna do is we want to duplicate this and we want to slide that angle down. Right? Now to figure out that number, right, we are going to cut our 25, 45.5. So cutting that in half is one hundred, two hundred and seventy two pixels. So 1272. Alright, so what I'm gonna do is I'm going to go back to my original. I'm going to hit Command J, filter, other offset. And now I'm going to change these numbers. Now this is where we're going to need both horizontal and vertical. So I'm going to say 1272. 1272. Now that has popped right down to where I need it to be. I'm going to hit Okay. You see both of these are positive, right? Because it moved to the right, which is the positive. And it moved down, which is the positive. So to the left and up is the negative. It's a little confusing at first, but you'll get used to it. So I'm gonna hit Okay, now that's all set. Now, one thing I wouldn't notice, this little filigree is above my rows. So I want to take this one and move it up the layer until there we go. And that Rose is above the filigree. Now, unfortunately, that put this background layer on my owl's head, but I'm not going to worry about that because we're actually going to get rid of the background on all of these. So we're not going to worry about that. No. All right. So now I need to name this one. So I'm going to name it. Right? Okay. Now we're gonna keep going. We have three more spaces to fill. Some of the graphic Command J, filter, other offset. And I'm going to keep everything the same except for the vertical. And I'm going to say negative. So that's popped it up to the top right because going up is negative. Okay? All right. Now we're going to name that right top. Okay. You can see how in my layers module, I can think of the word rate. That it's a little bit confusing, right? Everything has smart filters. It's getting a little bit busy. So we have tumor. I'm going to go back to my original, which is now, I'm happy that I haven't named original Smart 12, right? Command J, filter, other offset. And now we are going to change both to negative. Over on the right. Now, I'm going to check really quick. Okay, we can see that my original tile needs to be moved up in the layers. So that's the copy. So instead of doing that, I'm going to move this one that I just made underneath. Nope, that's not it either. Outright copy this one. To come down. Okay, there we go. So now my filigree is underway rows, so I just want to keep that consistent across the board. So my original Smart kyle is here and that's the center. And then this one needs to change to what? Top. Okay, perfect. So last one and I take my original again command J. And we're going to do Filter Other Offset. The horizontal stays because it's going from right to left. But we're gonna change our vertical to a positive and hit Okay? All right, so now I can really see my pattern starting to take shape, right? And I can also see if there's anything that I want to adjust. So I think what I want to do is play with these motifs right here. Okay, so let's do that. Let's see what happens. My, where's my original fairness? Okay? I'm gonna take my original, I'm going to double-click. And what I'm gonna do is I'm going to pull it out my menu up above and I'm going to make it a little smaller. Okay, because what I wanna do is I wanna see this file as I work. So I'm going to move this over to the left. And let's scroll down a bit. And then I'm going to move my second file or my original object on top. So now you can see I can kinda work side-by-side. So looking at this guy here. So if you hold the space bar down, a little hand comes up and then you can wiggle your whole file around in your window and k, So that comes in handy. Somebody zoom in a little. And this is going to be constant playing with the window size. Okay? Let's see. This is them there. So I'm going to move this. I want to move it this way, right? So I'm gonna move it over slightly. And then I want to take the rows. Let's see if that's rows left. That one. Yep, let's move that when we have lots of space here so I can move it just like that. I can overlap, that's totally fine. And then I need to find this source. So it's not three. Okay, then let's move that over this way a little. You know what, I think? We need another rows right here, so I'm going to make new rows. Where is that? This one command J, that layer. And then I'm going to move it over to this side and I'm also going to transform it. So I'm gonna hit Command T and I'm going to rotate it. And just like that. Yeah. Okay. I'm and hit Enter. I'm going to close this. And let's see what happens. Much better. Okay. I like that a lot better. The only thing I'm not sure about is these roses now form kind of a straight line, which is not my goal. So I think I'm going to take these to group them and then rotate them so that maybe they're fitting inside this little gap a little better and it also won't be overlapping this filigree. Okay, so I'm going to double-click again. I don't need to see the other file to know what I need to do. The circle. So let's adjust those layers that we're going to group those together and we'll say, Okay, and then we're going to rotate. So Command T to transform. Just like that. I'm also going to scale them up a bit. Now, when you scale in Photoshop, you do not want to hold down the Shift key. This is the opposite of what you do in Illustrator. So in Illustrator you hold down the Shift key so everything stays in the proper proportion. But in Photoshop, you're just going to drag one-quarter. Now, it used to be you had to hold down the Shift to keep it proportional. But Photoshop changed that. So now you just drag and it's staying perfectly proportional. If you hold down the Shift key, it's going to alter the proportions. That took me a long time to get used to it did the update. So it was a little bit frustrating, but you get the hang of it after awhile. Alright, so the only other thing I noticed that I probably have to do is adjust the snow again because things have moved around quite a bit, right? So I'm going to turn this layer up all the way. In opacity. I'm going to go to my snow layer. I'm gonna hit them from our key. And then I'm going to drag a marquee over the snow that I want to move, hold down the Command key for the scissors, and then adjust their interests. I can move around pretty quickly with it's second nature to me now, and it will empty and it will be to you as well if you if you keep working with it, just a little, a little practice. But I've been using Photoshop for years and I really, really love it. And when I first discovered surface design, I thought, you know, maybe Photoshop isn't going to be for me anymore because I really love doing service design. It just doesn't seem like it's the right fit. Well, once I figured it out, it just, it's it's so powerful and so wonderful what you can do. And the ability to keep all these textures that you work so hard to create is just, yeah, that's, that's why it's so special to me. I love that. I love that aspect of it. Okay, There we go. So now my snow is all MOOC. I'm going to, oh, one last thing. Let's close our background color. Okay, we're gonna close that completely. I know it looks funky. Close our file or smart object her and say Save. And now we have our full pattern. This isn't a straight line anymore. Everything seems to move around nicely. Neat to be able to see that snow though, to see if it's really working. So what I'm gonna do is I'm gonna come down here to the background layer. And I'm going to go just below that. The reason I chose the background layer is because I want the new layer that I add to be right above it. Okay? So I clicked on the background layer. I'm going to choose this little, I call it a black and white cookie. Because half his white and half as long. And I'm going to hold the little arrow down. And I'm going to say solid color. Now, when I click that, the solid color comes up, that comes up is the color that's in your color box here. Okay, so whatever you have selected is going to come up. But if you want to change it, you do so here with hex code. Or you can drag around until you find a color that you really like. So this is working. I think I want it to be a little bit darker. That works for me. About they're going to hit Okay. And now we can see our full pattern. Now. Jimmy, like it. Do you want to add anything else? I probably don't want to mess around and like the little buds in these little gaps. To fill it out a little bit more. Somebody get out really quick. All right. Let me find my original, which is right there in the center, right here though. Okay, here is our finished pattern. So I'm happy with how this looks, but of course, I take it and then duplicated a bunch of times, right? So I can see it in a massive repeat. And then I may decide, you know, what, these gaps need to go away. And that's totally fine. But I'm happy with how it is right now. So what I'm going to do is we're gonna go to the next steps to create our final pattern tile. And this is what you're going to save and send to you, for instance, Spoonflower or Society 6 or for a licensing agreement. If somebody licenses this pattern, again, I would send them the original tau that we're going to make. So while I was talking about, just noticed this rose here now is overlapping strangely so that we'll need to adjust. So we can do that by just changing the layering these three tiles. All right, Okay, We are going to go to the next video. We're going to finish this up. 8. Making our Final Repeat: All right everyone, we are close to our final steps. What we wanna do is create now from this are seamless tile and that is what we will use to upload to Spoonflower. For instance. If somebody licenses this surface pattern design bend, this is what we will set them. So it's going to repeat seamlessly, but we need to create that first. So here's how we do it. I'm gonna come back to my layers panel and select my original Smart Object, which is called originals fertile. And I'm going to strike there in the center. I'm going to duplicate this with Command J. And I'm going to take the original and I'm going to drag it down under my color fill. Okay. So that's hidden beneath my color, but I want to turn off the visibility. So I'm going to click this eye and it's no longer visible. And then I'm gonna come up here and I want to click Lock. So now this layer here cannot be, it can be changed in any way right now. It won't be moved. It's going to stay exactly where it is, it's just hidden. And now I want to come back up and I want to select all the layers above my color fill. So I'm going to select this first one. I'm going to scroll up. I'm going to hit Shift and then select the top. Then I'm going to come up to my layers hamburger menu. And I'm going to say Merge Visible. Whew, that was a big mistake. Don't do that. Command Z. We went to come up to our hamburger menu and say merge layers. So we don't want to merge everything together obviously, because I'm an explain why in a second. So you're just hamburger menu merge visible. So let's do that again. Hamburger menu merge layers, okay? And that will only merge the layers that you have selected. So now that that is done, what we have here, I call it my example layer, my pattern exemple layer. But when I look at this and I look at all the texture in my owls and in my roses. I really would love some texture on the background as well. So that's what I'm gonna do. I'm gonna come over to my original motif file. And I'm going to take this, this sort of linen texture. So I'm gonna do a command a, and I'm going to do a command C. So the command a selected all on that layer. The command C copied it. And then I'm going to come to my pattern file, and I'm going to do a Command V, as in Victor, and pasted it into place. Okay, now I'm just going to drag this layer under my pattern images. And now you can see what a difference that makes, makes a huge difference in adding depth and making it look really cohesive. Because now everywhere you look, there is texture, right? Even on our little filigree, there is texture. Okay? Now of course, we would never be this close to our pattern unless we had a magnifying glass. But even if I'm zoomed out too here, you can see everything has brushstroke, some sort of pattern or texture within it. So we're going to zoom back out. And now what I wanna do is I want to merge. Have a couple options. I can merge all three of these together. And I think I want to try that first. So here's what we're gonna do. I'm gonna select my color fill, hold Shift and select my top pattern layer. And I'm going to go again to my hamburger menu and say merge layers. So now this is 1, 0. That linen texture was a little bigger. That's okay. It doesn't matter because we're going to cut out of the center of this. Okay, so I'm going to zoom in a little. And what I wanna do is I want to select my Marquee tool. I'm going to hit the M on my keyboard and isn't Mary? I'm going to come up to the top and I'm going to select fixed size. Now, do you have that posted where you wrote down your numbers? Let's review those really quick because it's good for me as well because I sometimes forget. So I like to have these in my head. Our Canvas, our full canvas was 3600 by 3600. And that's basically a 12 by 12, right? And then we made a square of color for our background color that was 1800 by 1800 pixels. And then from there, we rotated at 45 degrees. Now, when we rotate it that 45 degrees, what we got was 2545 pixel diamond k. So 2545 pixels wide, 2545 pixels tall. That is the number that we want to use now. So you can see it's already entered up here in the top. 25, 45, 25, 45. And I'm going to click. And now I have my marquee that is going to select my final tile. Now you'll see where the edges line up. It's right at the edge of his eye. Right at the edge of his eye, right? The bottom of her beak. The bottom of her beak. So I'm gonna come up and you can place it anywhere now within this pattern, because it's the exact pixel size that it needs to be to create three p k. So I'm going to line it up with the top of this little guy's nose. So on each of these little diets, the top of his nose marks a corner of my marquee. Ok. And that's just my personal preference. So what I'm gonna do is I'm going to hit Command C to copy. So I'm just copying what's inside this murky. And I'm going to hit Command N for you. Hit Create. You can see it says 25, 45, 25, 45, 300 dpi. Create. Now Command V as in Victor for paste. Now, this is what you would save. So you'd go File Save As and you would name it. Let's see, pink, joy, our pattern tile or a pattern, repeat whatever you want to call it. I usually use the word tile. I'm going to save it as a Photoshop file. Or you can save it as a JPEG. I usually do one of each. Okay, so for now we're going to save it as a Photoshop file. And I hit Save. And then I'm going to do it once more. So I would put this in a new file so that I could test it, right? So I'm an insane you and I'm going to make it bigger. So let's go to inches. And let's say 15 by 15. So our tile is saved. We don't have to worry about anything. I just want to test out my Kyle so I'm pasting it because it's still in my clipboard, right? I'm pasting it in to this file. Just to play around and somebody zoom in, I'm going to move it over to the left. And I'm going to hit Command J. And I'm going to move it to the right, and I want to move it to the right. Two yellow, pink line shows up right there. And what that pink line tells me is that they are aligned at pixel to pixel. So I'm going to zoom in. And you can see that it is exact. So holding my move tool or having my move tool selected, I'm gonna come over to my keyboard and my arrows. I'm going to do arrow right? And you can see there's exactly one pixel if we zoom in one pixel between these two layers. When I go to the left again with my arrow tool and it is exactly lined. And that is so satisfying. Okay, so now what I can do is I can select these two layers holding the Shift key, click and move them over. I can move them to the top. And let's merge the sun, bridging those two together. And then I hit Command J. I duplicate it, hold down your Shift, drag it down. Right place until he's yeah, pink line. Let it go. Okay. I didn't quite let it go when the pink line was showing up. So I'm just going to tap up once with the arrow and it's in place. Hey, now, I don't want you to worry too much about this line when you zoom out. Because if you have zoomed in and it is lining up exactly, don't worry about what Photoshop likes to do, is it likes to show you where your two shapes are meeting. So just ignore it. So watch what happens. Let's see. We'll zoom in so you can see that line. If we take both these layers, right, it's going to hold down the Shift, click that second layer, hamburger menu, merge layers, that disappears. Okay, So it's really just photoshops way of saying, Hey, this is where these two are ending up. So now you can see that we've created and awesome. That repeats seamlessly. And I'm so excited about this. It is very pink. It is very feminine. I love it. If you are not into that very pink and feminine style, which a whole lot of people aren't. You know, obviously you wanna do this in your own style, but the technique is the same. Okay? So I hope that you love doing this as much as I did because I really had a great time with this pattern. And then kind of showing you the process because it is a process that I really love. So have fun with this. Make sure you have your Post-it ready and remember those numbers. And maybe in the next video because I'm a little bonus for you. All right. I'll see you there. 9. Bonus: Thanks so much for sticking around for the bonus video. Alright, so you can see our little owls here are all done and they are saved as our pattern tile. But what I wanted to talk about is some of you may not use Procreate, right? You may be doing actual watercolor paint or oil paintings, whatever it is that you're using. You want to scan that or take a really nice photo to bring it in to Photoshop. So to do that, I've scanned this little watercolor that I did here, but I noticed that the colors pretty dull. So I want to live in it up. So what I wanna do is come over to my layers here and I'm gonna double-click so that my background layer now just becomes a standard layer. Alright, and that's gonna give me a little more flexibility. So in doing that, I'm going to come up to image. I just, and a monopoly play with my levels. Now, when you open up the levels, pay or not, you're gonna see these little, it's like a little mountain range, okay, now on the left, this little very dark arrow controls the darkness or the richness of your color, okay? And as a general rule, you want these three arrows to be somewhere at the bottom of your mountain range. So this one's pretty far off. So I'm actually going to drag it right to the edge. And you can see that my image got a little darker and I'm going to take the sky which handles light, and I'm going to drag it to the left. Now, you want to be careful with this one because what starts to happen? You watched this area here. Drag this, you start to lose information. You see that we don't really want to lose information. So we're going to try this center button. Now that lightens everything. You lose less info at the color isn't as vibrant. But we're going to remedy that. So I'm going to lighten this up just a bit. And then I'm going to take this one in just a little bit. Okay? Now, because this isn't very high peak, it means that our light arrow is probably in the right place. So I'm pretty much going to leave it there. Alright. So yeah, I went this a little bit later. All right. So I'm happy with that. I'm gonna hit okay. And now because I saw what saturated looks like when I move that light arrow, I want to add more saturation to this image. So I'm gonna come over to image again, adjust hue saturation. Now what I'm gonna do is I'm going to take my saturation, which is my middle slider and I'm going to drag it up. And now this also gives me the opportunity if I think you know what Here in my scan, this looks a little too orange. Then I can adjust that as well. So this is going to change the hue. Whatever you've painted. Now, I have an easy job here because these leaves are all one color, right? It's all when they were painted in my red. But if, for instance this was leaves and flowers together, then adjusting the hue and the saturation would be a little trickier. Okay, so I'm going to choose actually really like this soft aqua color. So I'm going to select that. Then I'm going to say, okay, now, here's the fun part. What I wanna do is get rid of all this white so that I can make each of these little elements a separate layer. Right? Now there are a couple of ways that you can do this and you'll have to see which works better for your work. So sometimes I use the magic wand tool, sometimes they use the lasso tool, sometimes I'll use the pen tool. It just really depends on the object and how easily each tool will work. Okay, so we're going to try out the magic wand tool first. And that's towards the top of my toolbar here. I'm going to click once. And you'll see that what it's done is it's selected all of the white. Click on the paper color, right? And it selected all the white areas like this that are landlocked. All right, now, that is because I have contiguous is not selected. Now I'm going to de-select. And if I choose to click contiguous on, you can see that it just selected the continuous white, right? So it doesn't select the white within your pattern. So that's fine because I can just hold shift and select it here as well. But if you have something like, let's see, I don't know, like a lattice pattern that you had painted with watercolor. And you wanted to select all the white out. It would be much easier if you had contiguous is not selected, right? Because it would select all of those little squares of white background. And you can easily get rid of them. So now I can zoom in and I can decide if I like my selection. So do I want this light green? I'm not sure. I think I do because it really shows that it's a little more of a natural form. But what I do see is that this is very jagged because a portion of the bottom of my leaf got really lucky. So what I'm gonna do is come over to my Lasso Tool. And I'm going to grab my welcome. I'm Ann hold the Shift key. And I'm going to, let's see. I'm going to thin out these areas that are a little jaggedy. And then I'm going to hold the option key. And that's going to allow me to add this area to what's not selected. And I should've said that the other way round, it's going to de-select this area that I want from the area that I selected. So I can do that here. So here I'm going to hit the plus sign. And I'm going to select this little sliver of background. I'm going to hit the Shift key again to add this. And right here. So you can come around and play with each of these shapes so that it is exactly what you want to take with you. So I'm going to add it here. And I'm not being too specific right now, but that's okay. So then what I would do is I would come up to select. And I'm going to say modify. Now by feathering what I'm doing is unjust ensuring that one, I remove the background. My leaves are not going to look like I cut them out with pair scissors is not going to be a really harsh edge. It's going to be one pixel size k. So I hit Okay, and then I'm gonna hit Delete. So now what's happened is I have my leaves by themselves and I just want to double-check though. So to do that, I'm going to come down to my black and white cookie. I'm going to click once to select Solid Color, and I went to choose a dark color. So almost black. I'm hit Okay. And then drag that underneath my leaves. So now I can see if my edges need to be adjusted. And I think what I could've done is had my selection move into the leaf one pixel so that it doesn't look like it has a halo around it. Okay, so right now it has this sort of white edge. I don't want that, I want to remove it. So what I'm gonna do is I'm going to Command Z back to my white layer. So now I helped my background still uncashed. I'm going to go up to Select missing modify. And I'm going to say expand, because what we want to do is expand our background layer or a background selection into our leaf. And we're going to choose again one pixel. So I'm gonna hit Okay. And now you can see that our selection is now just inside of the edge of our leaves. So again, I'm gonna say select, and I'm going to choose that feather option one. Okay? I'm going to zoom out. So I'm gonna hit Delete. I'm going to hit Command D to de-select. And then I'm gonna come down to my cookie. Solid color, choose a dark and drag it underneath. And that is so much better. So now you can see our leaves do not look like they were cut out really sharply. They have a nice feathered edge. And again, this is your option. This is fairly small files, only six-by-six. You can opt not to do the feather. I prefer the feather for most things. But again, there are no hard fast rules and it is not always right for you. So if you choose not to use it, and that's okay. So I'm gonna take my eraser. Sure, it's small enough and I'm just gonna get rid of a couple of these little guys that ended up ended up missing, just to make sure that we have a clean file. All right, so now that part is done, I'm going to take each of these little guys and put them on a new layer. So by describing my lasso tool, I can drag around. I can say command C, command V, and I have it on a new layer. Let's see. Okay. So once I have, put each of these leaves on its own layer, then I'm ready to start my pattern file, right? But I'm going to show you a few other ways. I'm going to backup here to select your motifs. So why zoom back in here to my original scan that I've modified in color. I'm going to come up now to my pen tool. And my Pen tool is awesome because it gives me the most control. So to use it, I'm going to zoom in. And if you use Illustrator, it's pretty much the same. You're just going to walk around or whatever it is that you're cutting out. And you're going to drag just slightly to get your little barbells. Go around the entire shape. Okay, so I close this shape by just clicking my last node on the first node that I made. And now you see that I have a selection here. I'm going to zoom out. And what I wanna do is I want to go over here to my layers panel. And I have had in my panel here. If you do not see it, just come up to Window and select paths and it'll show up to you and have that selected. Now, what this little Work Path represents is this path that I just made. Okay? What I wanna do is I want to save that path, hit, Save, and then hit Okay. And then I'm going to come down to the bottom and I'm going to click the little Marty, little dancing ants. Okay, So now what it's done is this path that I made has selected my shape. So I'm gonna hit Copy and I'm going hit Paste. So now if I go back to my layer panel, I have my loan. So I can do that to every leaf for every motif that I have painted, I want to use in my new surface pattern design. Now, what I want you to notice is that these paths, as long as you save it, these will stay here. So, um, you know, however many leaves there are 1212 paths here. So if you make a mistake, but you can always come back and reselect that leaf because you have your path ready to go. All right, so hopefully that helps solve any issues. How to figure out how to grab your motifs, how to select them out of whatever background there on. I will say that I do a lot of soft pastel painting. This works great, especially with the feather option, right? So under Select, Modify as gray because r in there. Let's go back to this here. Let's make a selection. All right, there we go, Select, Modify, and then Feather. Because with soft pastel, everything has a softer look, right? Even with watercolor, you get a little bit of a hard edge. But with soft pastel, it's a lot harder to get that because they're chunky to use. So Feather really comes in handy. All right, so if you have any questions, I am happy to answer them for you. Just drop them in the comments. All right. I hope you enjoyed this. Have a good one. 10. Thank you & Project: Thanks so much for joining me. I hope you enjoyed creating a surface pattern design in Photoshop with smart objects. It's one of my favorite techniques. I really love doing it because it's just something that allows me to really keep my signature style in my work. So I hope you enjoyed it as well. Now if you want to stay in touch with, I would love to do. Firstly, please post your project image in the project section. So create your own beautiful circuses. I would love to see it and comment. And as we even share that on Instagram, if you want to share it with me there at Melanie, the owl. On my website, I have a body section where I upload free tutorials, recovering pages, and also artists to create a coaching PDF. So I hope to see you soon. Have a great day.