Surface Pattern Workflow: Adobe Fresco to Adobe Illustrator

1. Class Introduction: In this class, we're going to draw a vector elements in Adobe Fresco and send them to Adobe Illustrator to create patterns. These two tools work seamlessly together to give your patterns a natural hands-on feel with the precision and scalability of Vectors. I'm Amy, a surface pattern designer and illustrator. You may know me from my previous Skillshare classes, where I teach students how to create Art on the iPad. I love using the iPad to create digital illustrations and patterns. With over 30 years of experience as an artist, I've worked mostly with traditional media in my artistic life and even studied Fine Art in college. But since I started working on the iPad in 2016, I've enjoyed learning different ways to create patterns. I loved the mobility of the iPad, but I also enjoy working with the robust tools in Adobe Illustrator on the desktop. With seamless workflows, you have multiple ways to work easily between the Adobe apps. I'm always looking for ways to streamline my processes so I can work from anywhere and make them. Most of my time, having Illustrator on both the desktop and the iPad makes it easy to use the Creative Cloud to sync files and easily transition from one version to another. In this class, I'll show you two workflows, both of which start in Adobe Fresco to draw your vector elements. I'll discuss the benefits of using Fresco's vector brushes and tools and some best practices for drawing motifs that will be used in Illustrator. In the first workflow, I'll show you how to bring those elements into Illustrator on the iPad and use the Repeat Tool to create a seamless grid repeat. In the second workflow, I'll show you how to bring your Fresco elements into Illustrator on the desktop and use the same Repeat Tool to create a half-drop pattern in each workflow. I'll also show you how to convert your repeats into a pattern fill swatch on the desktop, and how to export your files. This class will be great for those looking to expand their knowledge of the repeat tool in Illustrator and who want to learn simple workflows to transition from one Adobe app to the next. This class is more of an intermediate level, so it will be helpful to have some pattern experience and familiarity with Adobe Fresco and Adobe Illustrator, both on the iPad and the desktop. I'll show you all the tools you'll need to use. But if you need a refresher on the basics of Adobe Fresco or Adobe Illustrator for the iPad. You can check out my other Skillshare classes. I teach all the basics of the iPad apps in my to beginner classes. An Intro to iPad Art Part two, Adobe Fresco, and An Intro to iPad Art Part three, Adobe Illustrator for the iPad. If you want to stay updated on my new classes and be notified of any discussions I post. You can follow me on Skillshare and you can follow me on Instagram or Pinterest at Amy EB designs. If you love creating patterns and want to learn seamless workflows from Adobe Fresco to Adobe Illustrator than this class is for you. Let's get started. 2. Class Project: For the class project, you'll be creating a seamless repeating pattern and Adobe Illustrator. We're going to start by discussing the basic tools and features and Adobe Fresco needed to create the elements of your pattern will discuss some best practices for drawing motifs and Fresco that will be used in Illustrator will walk through two workflows for sending our Fresco illustrations to Illustrator. Firstly the iPad, then to the desktop. In each workflow will be using the Repeat Tool. I'll show you the differences between creating a grid repeat and a half-drop repeat using the Repeat Tool. We'll also discuss how to convert your repeats into a pattern fill swatch on the desktop, and look at the Recolor Artwork tool at the end of the class will have a seamless repeat ready to be exported. I'll be showing you two workflows so you know how to use the repeat tool on both the iPad and Desktop versions of Illustrator. I encourage you to learn both workflows, but feel free to use your favorite method to create your final project. In the Projects and Resources tab, I've included a list of Keyboard Shortcuts and a cheat sheet for converting your repeats into a pattern swatch on the desktop, as well as the color palettes I use in the class. You can download these files are in your browser and save them in a location that is accessible on both your iPad and your desktop. I really enjoy seeing student work. So please upload your project to the class gallery page. You don't have to have a Final Pattern to upload your project either. You can share any part of your process along the way, and you can always go back and update your project at any time. To upload a project. Just go to the Projects and Resources section of the class page and tap Create Project. When the page opens, you can upload a cover image, add a project title and description, and share additional images if needed, and then click Publish. In the next lesson, we're going to review the unique features of drawing in Adobe Fresco 3. Why Adobe Fresco: Since we're gonna be building our patterns in Adobe Illustrator, I wanted to take some time to discuss why I prefer to draw them elements and Adobe Fresco. While there are drawing tools in Adobe Illustrator like the pen tool, the pencil tool, and the blob brush. There are more geared towards precision drawing and smooth or Lines. Adobe Fresco's tools are meant to feel more like freehand drawing. The results are more organic and expressive. In this lesson, we're going to review some of the unique features of drawing in Adobe Fresco. In this class, we will be focusing on the vector brushes, and they can be found on the toolbar. Third, from the top, as you can see, you can choose from several preset brush options in this menu. And any of these brushes can be modified in the brush settings. If you tap here, you'll open up the brush settings menu where you can change things like pressure dynamics or velocity dynamics, or the amount of taper. In my class on vector line drawing, I review all the ways to modify these brushes in great detail. So I'm not going to review these settings here, but if you want to learn more about the brush settings, you can always check out that class. Now, the vector brushes in Adobe Fresco are essentially the same as the blob brush in Adobe Illustrator. And the main difference between Fresco and Illustrator is that you can't adjust anchor points. To modify your shape. You have to either continue adding additional strokes to it, or you can erase areas of your shape, or you can simply undo. We're like you're drawing free hand with pencil and paper. There are no anchor points to manipulate to make small adjustments to your shape. Drawing in Fresco has a more natural field. Now one thing I want to point out is the new outline brushes. With your basic brush, you have one option for a solid stroke color. There's a new set of outline brushes which were added more recently. And there are several preset brush options, just like your basic brushes. Now when you draw with an outline brush, you can choose a color for the stroke and the fill, or even let the fill be transparent. If I draw with this brush, it has a transparent fill. And you'll see that the line underneath shows through that transparent fill area. Now, if I were to add a color and draw again, you can see that the bottom layer is no longer visible. One other thing to point out about these outline brushes is that each time you pick up your pen, it creates a new shape. So the overlapping lines cross and layer on top of one another. If you were to draw continuously and you don't pick up your pen, the overlapping areas will merge into one shape. So I can draw a circle and then just continue to fill up without lifting my pen to create a large unified shape. I think the outline brushes are particularly Fun for things like hand lettering, but you can have funds experimenting with them. One of my favorite tools in Adobe Fresco is the vector trimming tool. If you've taken any of my other classes, you'll know that I really love this feature. It's particularly a great tool if you have trouble getting your strokes to line up just right without any overhanging areas. So I'll draw these two lines and I'm going to try to match them up. But it can be hard to have that clean joint where the strokes meet. Since you can adjust the anchor points, you could just continue to redraw your strokes until you get it pretty close, but it's going to probably never be perfect. Instead, I can just draw a line that intersects the first one. Then I'll just double-tap and tap once more to turn on my secondary touch shortcut. And now I'll zoom in here. And you can see that if I draw a line through, it will trim the segment. And now I have a clean edge where my lines intersect. If I draw again, you'll see there's a blue line that says trims segment. And now I have a nice clean edge where my lines meet. And this also works if you want to add shaded areas to a shape and you want to trim it to fit. So I'll draw a circle, then fill it in. Next, I'll pick a new color and I'll draw a line to split the circle. I'll double-tap and tap once more and trim the overhanging sections. And now it's perfectly trimmed to my circle. I'll fill in the area with a new color. Now I have this filled area That's trend to my shape without having to use a clipping mask or having to erase around the edges. It's important to note that you have to do these steps in the right order. I found that if I draw my lines first and then fill them immediately, then I turn on vector trimming. Oops, I need to select my brush. If I trim now, it erases the entire area because it just sees this as one shape. Now, just remember first to trim the area, then to fill. There's just a little nuance To the order of the steps. Another important note is that if you select a transparent stroke color and then you try to use vector trimming, it is not going to work. There has to be a fill color selected to use vector trimming. You can actually use it to trim entire filled sections that you've created. So I'll just trim, trim once more. And now I can create this complex shape with little cutouts. A brand new feature that was just added is the paint inside option. I'll draw two circles here, one and a second one. I'll fill this one with the same color. So I have two circles here. And if I turn off my background layer, you can see that this one has no fill and the other has a solid fill. Now, if I wanted to use a vector brush to fill the shape, instead of using the fill bucket, I would have to draw my strokes very carefully or they're going to overlap my outline. So now instead of doing this, I can tap this icon to turn on paint inside. And when it turns blue, you know, it's on. If I color in my shape, the strokes won't go past the edge of my outline. I can also do the same along the outside of my shape. I can also use this inside a filled shape. And along the outside. It will paint right up until it reaches an edge. And it's important to note that if you start your stroke on the outside and draw in, the outline acts as a barrier from the outside. And then the same goes if you start from the inside. Also, if you start your stroke inside the outline, you'll only color the outline itself. Where you start your stroke is key to where The color is contained. I'll undo that. If you long press the icon, you'll bring up the option to only paint inside transparent areas. We're going to turn this on. It'll be dark gray. With this selected, I'll turn off the background so you can see that this has a circle with transparent fill. So I can paint inside. And I can also paint from the outside because the background is transparent, but I can't color inside by filled shape because it already has a fill color. Then the same goes for my outline. Now, if you want a little more control over what areas you can color, you can always turn this feature on. Adobe Fresco has some helpful tools that will smooth out your lines and clean up your strokes of it. If you're not used to the fill of the, using the Apple Pencil yet, it can be hard to adjust to using the pencil on a glass surface. So if you are used to the resistance of pencil on paper, this may help. These tools isn't just a gesture drawing a little bit. There are a few options for you. First you have your smoothing feature with it all the way turned up. When you draw your line in Fresco will smooth it out as you draw. Even if you intentionally draw some jagged strokes, there'll be smoothed out a little bit. Now, if I turn smoothing all the way down, now when I draw my line, every shape of my hand is noticeable in my stroke. And I can also draw more freely with my jagged lines. However, smooth or rough and freehand you want your strokes to look. You can control that with the smoothing tool. Another thing that you can use to clean up your lines is the snapping function. So if I draw my line, then I pause before lifting my pencil, it's going to snap to a straight line. I can also draw a shape and it'll smooth it. And you'll notice that it actually keeps that a regular rectangular shape because that's what I drew, but it just smooths out and straightens up those lines a bit. Same thing if I want to draw an oval. And if I drop it closer to a perfect circle, it's going to clean that up. There we go. I can even draw an arch shape and it's just going to smooth out the curve while maintaining that basic line that I drew. These tools are available to clean up your hand-drawn lines and smooth them, but they can still maintain that quirkiness of the shapes that you draw. If you press and hold, you'll bring up the drawing aids menu. And first-year the ruler. So you can draw a straight line with it. Press and hold so you can select your circle, your square, or your polygon. With these, you can use the plus or minus symbols to change the sides. Anywhere from a triangle to an octagon. With my circle selected, I can outline the shape. I can also undo that. I can also use the fill bucket to fill the shape. I can also move that shape. And then I'm gonna go over and select a transparent fill with my fill bucket. And then if I tap, it, will erase this section of my shape. And you can see I've created this crescent moon shape. There are many ways to still bring a bit of precision to your vector drawings in Adobe Fresco without anchor points. And so you have the option to draw as freehand or as clean as you want. Now that we've gone over the unique features of Adobe Fresco, in the next lesson, we're going to review some best practices for drawing your elements and Fresco to be used in Illustrator 4. Drawing Tips in Adobe Fresco: In this lesson, we're going to talk about some best practices for drawing our elements. Since we're gonna be bringing these elements into Adobe Illustrator, there are some things to keep in mind to simplify the process of cleaning up our motifs before we create our pattern. So first let's start a new document. And since these are vector elements, they can be resized without losing quality. So you're starting size isn't quite as important. I'm going to be drawing several motifs. So I'll start with 3,000 pixels by 3,000 pixels. And this way, I just have enough room in my workspace for each element to have its own area. Next, I'll tap to rename my document. And I'm just going to call this pattern motifs. And I'll tap, Okay, Next I'll tap Create Document. First thing that's important to note about elements that you draw in Adobe Fresco is that every single stroke you make without lifting your pencil is going to be a separate path when it's imported into Illustrator. So I'll continue to add these additional lines here. Then I'll tap and trim them to fit. Now, this shape is actually separate paths, but it looks like it's just one shape here in Fresco. If I go to the Transform menu, I can resize it, rotate it, and move it around as a single shape. But when you import this into Illustrator, it will actually be a grouping of separate paths. So every time I pick up my pencil and I'm make a new stroke, It's going to be a separate path. Even if I draw another line that connects them, it'll be one shape and Fresco, but three paths and Illustrator. So the more strokes we use to create our elements and the more details we add, the more paths we will have to clean up and merge in Illustrator. It's not difficult, but it's good to know that we can either draw something with lots of separate strokes or we can draw it as a single stroke. Now, this one will be less to clean up in Illustrator. Another thing to point out is that when we use the vector trimming tool, it'll create small little segments where the lines overlap. So I'll draw some overlapping lines and I'm just going to choose a different color. So you can see this a little better. So this just looks like one single shape. But if I turn on vector trimming, I can remove some of these segments. And you can see that there is a small segment that's left behind. So if I trim over these other sections, you can see the small pieces where the lines intersected. Each of these segments is a new path. So we have 12345 paths. And when this Import still Illustrator, you'd have to combine the sections into a single shape. Now, it's easy to see this because I drew it in different colors. But even if I drew this all in the same color, the segments would still be there. In general, the more you trim, erase and Recolor and so on, the more paths you will create and the more strain marks you will need to clean up when you bring your illustrations into Illustrator. If you plan to add a lot of details or make your motifs more intricate, I would recommend sketching out your design in pencil first so that when you draw with your vector brushes, you can draw with cleaner lines to save a bit of time cleaning up your elements in Illustrator. The next thing I want to point out is how to use layers in Fresco so that when you bring your motifs into Illustrator, they will be more organized and easier to clean up. So I'll start drawing something here. See, I'll start by drawing a circle. And I'm just going to draw a little lady bug here. And I'll draw the head like this. And then I'll vector trim the extra lines and fill it in. Now, let's see, I'll increase the size and I'm just going to add some dots here in there for its shell. And next, I'll turn this down and we'll add in its little legs on either side. Here we go. And maybe some antenna. Then let's increase this And we'll draw some eyes. Now you can see I've drawn this on a single layer, but when I bring this into Illustrator, it is going to be all these separate paths grouped together on one layer. And if I want to color something separately, I'll have to go through and group all the similar elements together. Also, sometimes when you draw over a shape like I did here with these dots, it may turn the background shape into a compound path with holes in it. And the vector trimming may make a lot of little pads to clean up. What I would recommend doing instead is using layers. I'll start again by drawing the body and filling it in. Snap that shape. Fill in there. Now I'm gonna duplicate it and I'll just turn this one off for now. Next I'll come in and I'll draw my head again. This time. I'll turn on vector trimming and I'll trim the lines. Then I'll fill in with black. Now I'm gonna go back and I'm going to trim out this body shape. So now if I turn on both of my layers, you can see that I have these on two layers. And my head shape is trends nicely right up to the shape of my body. And to keep my elements more organized, I'll drag this layer over the other in group them. So I have this layer group. Now. I'll create a new layer. And next I will draw my dots. Now, all of my dots are all on one layer. And I'll do that again for my legs. There'll be on their own layer. And I'll add a new one, and I'll do this again from my antenna. And lastly, a new layer for my eyes. This way, I have all of these organized in Fresco, but also when I bring them into Illustrator, they will be organized as well. So each layer is a grouping of similar elements of my lady bug. While I'm in Fresco. This is one layer group and I can move it around as needed, and I recommend organizing your motifs in this way. One final thing to point out is that I can turn the visibility of my layers off and on. And anything that I have turned off in Fresco will not be imported into Illustrator. So if I wanted to bring in, say, a reference image using the place menu, I can do that. And then I can use that for reference when I'm sketching out my motifs. I can also start with a pencil sketch, and I can build up my layers. And it's just good to know that these layers that I can use an Adobe Fresco will not be exported into Illustrator. So I can use as many as I need. And you can simply turn off the visibility of the layers and then only import the ones you want into Illustrator. With these tips in mind, we're going to start drawing our motifs and pick a theme in the next lesson. 5. Creating Your Motifs in Adobe Fresco: In this lesson, we're going to pick a theme and start drawing our motifs. Today I'm gonna be drawing an outer space themed pattern. So feel free to follow along with the same theme or pick one of your own. I'm also going to be working from my imagination. But if you want to go for a more realistic look, you can take your own photographs or source inspiration online. When sourcing inspiration, I like to take my own images, but if I can't do that, then I will source as many images online as possible and then create my own version. I've also created an outerspace theme Pinterest board, and I've shared a link in the project and resources section of the class. Feel free to use this as inspiration for your elements. For the theme today, I want to create my own stylized versions of my elements. And I'll start by sketching different shapes and details to try to come up with combinations. I like. This is a time when I just wanted to loosely sketch and get my ideas out quickly. So I'm not trying to pass judgment here are worry about my lines. Now's the time to work on the broad outline of these elements and not the details. I'll see how many different versions of each element that I can create. To help build a balanced pattern, I want to create elements that are small, medium, and large, and this variety will make it easier to conceal the repeat later. If I created one large element and then several small elements, the large element would stick out in my pattern. Once I've roughly sketched everything, I can narrow down these elements that I like best. And then I'll add in more details later in the next round of sketching. I'm going to build on my layers and refine the rough sketches that I started with. I'll rework what I put down, leaving out details that I don't like and then adding in others. This is a time when I just want to edit out what isn't working and then keep what is working. Every stage of the sketching process is another chance to enhance and refine my drawings. If I don't like the proportions, I can tweak them a little bit. If I think it's too busy, I'll simplify it. If I'm thinking it needs some extra details, I can add those in. At this point, we're ready to create the final sketches with clean lines and competence strokes. We can start adding in the details of our elements to. We want to create a final sketch version that can be used as a baseline drawing for our vector brushes. Refining your drawings in the sketch phase will cut down on the need to make a lot of revisions when you're drawing your final elements with your vector brushes. This is going to mean fewer strokes, undoes and changes and will make for simpler elements and therefore fewer paths to clean up in Illustrator. Now, we want to start drawing our elements with our vector brushes. You can use snapping or the smoothing tool to refine your lines. You can duplicate elements if you want a uniform look and you can use the transform menu to move and resize them if needed. Don't forget to use your layers to organize your elements and create layer groups for all the elements of a motif. Remember, you can create sections of your shape by drawing a line and then trimming it to fill in each new section. This can be used to create areas of shadow and highlight. If you're creating elements that you want to be symmetrical, you can draw one-half, then make a copy and use the transform tool to reflect it and slide it across. Just be sure to use the primary touch shortcut to constrain the movement along the horizontal axis. One thing that I'll be doing today is drawing everything in gray scale. This will help me see that I have enough contrast in my illustrations. I'm also going to be adding shaded areas to create a bit of depth and a sense of form. My darker areas are shadows and my lighter areas are highlights. All I'll be concentrating on right now is contrast and making sure that separate elements are created with different values. Just make sure to use different shades of gray to distinguish different areas of your shape that you want to color separately later on. You can also duplicate the shape and use it to trim overlapping elements on a separate layer. I use this technique to trim the rings of my planet on a new layer. All of the techniques that we discussed in the previous lessons can be applied when drawing your own vector elements. In this stage. Here are my final elements. As you can see, they are organized into layer groups. Some of my simpler elements are just on a single layer. For instance, these circles are all on a layer because they are just single paths. And I just have a few of them because I can replicate these later and use them to fill in the background on my pattern. So I can keep those on a single layer. And when I bring it into Illustrator, it'll be three pads grouped together. For my planet here, I have my rings on one layer, and then I have my planet on its own layer. For something more complex like this rocket. I have grouped all the layers here. And I even have my legs on their own separate layer. So one and then the other. So everything is just grouped by type. And I have an extra light here, so I'll delete that. And all of my layers are nicely organized and each layer just has a few elements on it. All of my sketch layers have the visibility turned off, so I won't import these into Illustrator. And I'm also going to keep these elements in grayscale for now because we will be adding color in Adobe Illustrator with our elements drawn, we're ready to send them to Adobe Illustrator 6. Workflow 1: Send to Illustrator (iPad): In this lesson, we're going to begin workflow one, sending girl lemons to Adobe Illustrator on the iPad will be using the repeat tool to create a pattern. If you like having complete mobility when creating your patterns, using the iPad is a great option. If you don't have the iPad version of Illustrator in workflow to, we're gonna be sending elements directly to the desktop to create our pattern. Now that we have our vector elements finalized, we're ready to import them into Illustrator. The first thing we wanna do is make sure that we have that visibility turned off for all the layers that we don't want to export into Illustrator. And for anything that we do want to import, we have the visibility turned on. For instance, this layer is just a sketch later, so I have it turned off because I don't want to take that into Illustrator, but my rocket ship is turned on. And I can even check inside my layer group to make sure all the individual layers with the different parts of our rocket or turned on as well. So this is going to save us having to delete unnecessary layers. Next, we're going to go up to our Share menu and select Open a copy. And you will see that there are two options here, one for the iPad and one for the desktop. For this first workflow, we will choose illustrator iPad. Walk through that process. So this should only take a few seconds to send. But if your file size is larger or your connection is a bit slower, it could take longer. When it opens up. You're going to see this Import Options menu. Now, the default options are what we want, but let's just review them. So Convert layers to objects should be selected, and that's what we want. And this is going to keep all of those elements we created in a vector format. The other option is to flatten our layers and we don't want to select this option because it is going to flatten everything into an image. And then we won't have our individual vector elements to work with for our pattern. Now the last option is Import hidden layers, and this should be unchecked. Remember, we already made all the layers we want visible. So checking this box would import all those hidden layers along with everything else. So with these options set, I'm just going to tap, okay? This may take a second. And now all of our elements are imported and we're ready for the next steps. In the next lesson, we'll organize our layers and clean up any stray paths 7. Workflow 1: Organize Your Motifs (iPad): In this lesson, I'm going to show you different ways that I approach. Cleaning up my Motifs, removing any stray pads, and organizing my layers. If you fall on my drawing Tips in earlier lessons, then this cleanup process should be simple. Now that we have our elements imported into Illustrator, let's take a look at how they come in on our Layer menu. You'll notice that each of the single layers, for instance, this one that had my little circles, that was one layer in Fresco. And it's now just a vector layer with all of these individual pads. Something like my planted here where I had two layers grouped. Those come in as a layer group. And then each individual layer is now a separate path. So my ring is actually two different paths because they're in two different colors. And my planet is made up of all the little different sections that are created illustrations of color. What you wanna do is go through and find if there are any extra paths here in this planet. Let's see. I've got all of each of these colors. Alright, I've got all my nice pads and I need all of these. But if there were any little stray paths, that would be what I'm looking for. Any extra pieces. I have my star. And then each one of these lines is its own path. So that looks good. What you'll see if there's a little tiny straight path or something that you don't need is the layer will look empty and nothing won't be visible in here because it's so tiny, it doesn't show up. And that's when indicator that you can look for. Let's see if this has any. No, I did a good job drawing these and I had a nice clean marks. And I didn't have a lot of changes in undoes as I showed you in the previous lesson. This is one of the reasons that I talked about sketching first and making sure that your strokes are as clean as possible. Because now I don't have as much to clean up in Illustrator. I'll go through each of these, this look good. One thing I do see with my rocket ship is that it has some extra pieces here. And I can already tell that I didn't do a good job on keeping things simple, working on this piece. First, I'll turn off the layers I don't need right now. Like this a little bit and these things because they're nice and clean. So I can just lock these and turn those off. And these are also nice clean pads and I can just turn those off for now. So now I can just work on the main body of my rocket. And these are all the pieces that I need to do a little cleanup work on. First, let's open this up. I can see that this has some excess pieces. Let's see. That's a good piece. I'll just totally tap through and see what I find. Found a piece that has a little stray path. And I don't really need it. If I turn it off and on, you can see it doesn't really change anything about that main shape. To delete it, I can either come here to the menu and I'll swipe left and hit the trash can icon. And I think I have another straight path here. So if I don't want to delete it from the Layers menu, I can also use my quick menu options and tap the trash can here, and that'll just delete it. I see another few bits here and there. And I can see that that's just something tiny. So I'm not going to need that path. And that's just a little stray piece. So I'll delete that. I'll check all my others in this section. That's good. These are all pieces that I need. But again, I've got another one of those little straight path, so I'm going to delete it. And now I'm only left with the main body. So let's take a look at the wings. That is just a tiny little extra piece there. So I'll delete it. Let's just open up this group and the same things happening here. So I'm gonna delete that. If I open all of these up, I can see now that I have only the main paths that I want to use. Now what I'm noticing here is that I've got this wonky edge where I didn't do a very good job with my vector trimming. So what I'm gonna do is selected and then I'll switch to my Direct Selection tool so that I can see all of my anchor points. And now I can clean up this corner by editing the anchor points. I'll zoom in. I'm going to select some of these anchor points because I don't need these extra ones. I'll go to my quick menu and choose the Smart Delete option. If I were to use a trash can, it would actually break my path. So I don't want to do that. I just want to use the Smart Delete option Smart Delete removes the anchor points but keeps the path intact and connected. I'm gonna do the same thing here. There's lots of these little ones. And I'm going to delete that one too. And I have a couple here that smoothed out this line. I've also got these here that I don't think I need. Let's just smart delete those. And now my edge looks really nice. Let's zoom out a little. Yeah, I think I'm happy with that. Now that it's an Illustrator, you can edit your shapes by adjusting the anchor points and they can be cleaned up as much as needed. I'm also seeing that these pieces need adjusting. So if I tap each one of these, you can see this area is kinda messy. I was probably using the vector trimming tool. What I'm going to do is delete some of these anchor points that I don't need. Now that's covered up. You can see that this shape is still there, but I'm going to show you how I'm going to fix that in a second. I just want to trim these up so that they're shaped a little better. And maybe I want to bring this up a little bit too. Next my wing needs to be trends, so I'll drag this where those are going to join. And then I'm going to trim this down and give it a nice smooth edge. Okay, so that's smoothed out a bit more. We're going to clean up this further and just a moment. The last thing I wanna do is fix this other wing. I'm going to repeat that process a bit. Sometimes this quick menu hides underneath something or it's off to the side for some reason. So I can either hide my Layer menu, just pop it back in. Another option if you can't find the quick menu because it's hidden or off to the side is going over to the path menu. And you'll find the same tools here. The path menu also shows you the tool name in case you're not sure what they do. I'm going to smart delete that one. There's a couple here and I'm going to drag it up. I'm going to convert this anchor point so that it's rounded. That's going to have a nice shape. Let me double-check. I wanted to bring the line of my wing down as well and just make a nice edge. I'll convert that so that I have both handles. You'll notice that these handles are moving in conjunction with each other. And if you need to break the handles, you can double-tap the touch shortcut and it'll break those handles so you can move them individually. Didn't undo that. I actually wanted those to move together. But if you're finding that having the handles move together is messing up your adjustments, you can break them and make them independent of each other. I think that looks pretty good. And now my shape looks a little nicer. I've cleaned up those edges. But if I choose my selection tool, you'll see that my shapes are overlapping each other and I want to trim these up. If you have a similar issue, Go to your Layer menu and select all of your pieces. Remember, I've cleaned up any strays and I've overlapped areas to clean up the edges. So now I'm going to come up to my Combined Shapes menu and select divide. All that will do is trim all my shapes everywhere that a piece overlaps another. It's going to separate each of these into little sections. And then I'll group them together and merge them back into whole pieces. Again. I'm going to hit divide all. If I unfurl this, you'll see that all these individual pieces need to be cleaned up. I'm going to ungroup them first and they're all in that Vector Layer. I'll double-tap the touch shortcut, and I'll select this piece. And you can see I also have these little stray pieces and this little piece. And what I wanna do is combine these into one shape again. With this selected, I'll scroll to find where it's highlighted blue. And I have lots of paths to scroll through. So I'll scroll through and then find where it's highlighted. And I may just turn that off for now. Then let's find this piece here. They're close together. And then this one Alright, so I'm going to drag this up a little closer, and I'm going to turn these back on. I'll double-tap my touch shortcut and then select those. For now. I'm just going to group them because there may be a little straight pieces that I need to include that I may find later. So let me turn that off. And I'm going to find another set to group. So this one also has a few pieces, and I bet these pieces are right near it. So I'm just going to tap those and select them, group them together. I'll turn them off for now. And I'll just continue to find all of my other big pieces. I'm going to speed this up a little bit and just continue to group everything together into sections. Now I've grouped all my sections and I do some stray bits leftover that I don't need. So I'm going to select the entire Vector Layer. And you'll notice that those layers that I've turned off, they won't get selected. And now I can just group all of these extra stray pieces. And I'm just going to turn them off for now because if I find that I'm missing a piece later, I'll check this group and add it in. Now I'm ready to actually merge my shapes. This is now a group of all of these paths that make up this shape. I'm going to come to my Combined Shapes builder and select combine all. It doesn't really look like I did anything, but it did combine these into a group. What I wanna do now is select convert to path. What that does is it combines all of those little shapes and makes it a single path. I'll ungroup that. And you can see now is just one solid path. I'm going to turn it off and I'll lock it for now. I'm going to turn this one back on. Again. There are lots of little paths, so I want to combine and then convert to path. And then I'll ungroup it, turn it off and lock it because we know we have it ready to go. I'll turn this one back on. Group. Combined, shape, combine all, convert to path, ungroup. This one says it's a compound path, so somewhere it has a small hole. If we release the compound path, then we can combine all and convert to path and then ungroup. So obviously somewhere there was a little stray mark that created a whole. And we don't want that. Now, I'm just going to continue to go through and merge all of these grouped pads. I'll speed this up again and go through each one. So now you can see that all of the parts of my ship are clean, simple paths. I'll turn all of these back on. And that's the group with the extra pieces and with it turned off, you can see now that I've got nice clean edges and simple shapes. And this took a little bit more to clean up. But I think the rest of my elements were a little cleaner and I did a better job of using simple strokes and not doing a lot of undoes and vector trimmings as much. But I'm glad that this one was there so I could show you how I would clean this up and use the tools to make nice clean pads. So now I'm just going to finish going through these, double-check that they're all ready to go. And in the next lesson, we'll be ready to pick a color palette and add color to our motifs. With our elements cleaned up, we're ready to create a color palette and add color to our motifs 8. Workflow 1: Coloring Your Motifs (iPad): In this lesson, we're going to create our color palette. If you follow it along with me and created your motifs in grayscale, I'll show you how to create a color palette to match the contrast and values. I'll also explain why we've waited to create our color palette in Illustrator. I have finished cleaning on my elements and organizing them into groups. There wasn't too much more to actually clean up, but I didn't want to show you how I group them. First, I created a new layer by tapping this plus symbol and it adds a layer here. Then I copied all of my groups elements into the new layer. So I've organized, for instance, this rocket ship here. You can see this little section of smoke and then this little window section, and then the rest of the body. And then within this group, I've organized each part of the body. So everything will be easy to find when I go to color them elements like these two, for instance, I know I'm going to color the exact same color, so I just want to keep those groups then all I have to do is tap and color them as a unit. Anything that I know I want to color differently, I'm going to separate out. And then these elements are still part of a larger group in case I want to move them around together. They're grouped and Organize to uniformly. I'm going to show you quickly with these last few elements what I did to organize everything. Here's this planet here. Each one of these is going to stay in its own little separate path because it's going to be colored differently. But I'm just going to tap on the vector layer which selects them all, and I'm going to group them. You'll notice that if I tried to tap outside and then tap this group, it selects the entire Vector Layer. And I don't want to keep it attached because I want to move the group down here. I'm going to swipe left and tap the Plus symbol to duplicate it. Now, I can just select the duplicate group and drag it down to my new layer with all of my other finished elements. Then I can swipe left to delete that original vector layer. Next I have my star elements. So first I have my star on its own layer. I also have these trailing lines and dots on a separate layer. I know I want to color my star one color and then all of these other little lines and dots, another color. I'm going to group them. Then I'm going to drag this down here. And actually it's still connected. So I'm going to have to undo that. Instead. I'll select all of this and I'm going to group it. And now I've got these grouped together. I'll swipe left and duplicate. And now I can select only the duplicate group. Next I'll drag it down. And now I can just delete this entire layer group. And now I've got my star and the tail. So there'll be really easy to recolor, but they're also grouped as a unit and I can move my shooting star around as I need. Lastly, I have my circles which I want to keep separate because I'll use them to fill in gaps and I don't want to move them around as a group of three. I'm just going to drag these individually down to my new layer. And I'm going to duplicate that last one. Well, it's not wanting to move. Let's see. Tap. There we go. Sometimes it takes a minute. Now I can delete this extra group. Now I have all my elements on this layer and they're separated into each of their parts. So when I go to color them, there'll be easy to recolor quickly. I can also delete this background layer image that came in from Fresco because I don't need that any longer. Now I have a nice layer group of all of my elements. With that done, we're ready to create our color palette and color each of our motifs. I've been working in gray scale up to this point because I just wanted to think about the elements and the contrast without considering the color. Yet. Another reason that I chose to add color and Illustrator instead of Fresco is because of the global color option, which I'll talk about more in just a minute. First, I want to mention that there are several ways to source a color palette. You can use a reference image or you can just pick colors directly from the color wheel. If I'm working on say, a nature theme, some florals or another landscape scene that amount want to pick a color palette from a reference photo because then I can just use colors directly from nature. If I'm going to do that, I can go over to the place menu and either go to a file that I have saved somewhere. I can take a photo with my iPad, or I can select one of my photos. I can just tap to select a photo and it will place it in my Art board. Then I can go over to the filler, the stroke, and come up to my eyedropper. And then use the eyedropper to pick a color. I'll add it to my swatch and then go back to the eyedropper and continue to use it to pick colors until I have created my color palette. So this is one way to create a color palette. But today, I actually want to go for a whimsical, FUN color palette. I'm not really concerned that my elements look realistic because they're just stylized FUN shapes I'm going to be handpicking my colors directly from the color wheel. So I'm going to show you how I would walk through doing that. So first let's delete this photo. I'll come over to my fill and long press on the swatch and I can select Remove. So you can move any color if you don't need it anymore. The first thing I'm going to do to set up for my color palette is I'm going to select my Artboard tool and I'm going to draw a new artboard. I'll tap my selection tool so I can get out of that. And I'm going to create my color palette on this new artboard. First, I'll go over to my shapes Tool and I'll long press and then selected the circle. I could also have use squares, this, but today we're going to use circles. I'll start by drawing one and a long. Press the touch shortcut to constrain the proportions and create a little circle here. Next I'm going to duplicate it and drag it across. And it will line up and duplicate and drag another one over. And then I'm going to select all of these and I'll duplicate them and just continue to make several copies down below. That's probably good. That's about 15 colors. So we're going to start from there. The next thing I want to point out is I actually have created shading on my elements. I want this rocket to have some form to its shape. For instance, I was intending this body to be different shades and tints of the same color to create depth and form. I'm also going to do the same thing here. And even on my planet, I want my color palette to be gradient versions of a few main colors. So I'll need three different shades for each one and then a row of neutrals. I know the first color I want to start with as goal because I've got some stars and these are actually supposed to be a little stars off in the distance and some smoke and some fire coming out of the end here. So I know I need a warm color for these elements and I wanted to be a golden color. I'm going to select this first circle, then tap my fill color and I could have chosen my stroke color. I'll drag this circle to select a new shade. I'm just eyeballing this because I know which colors alike. I want this to be a medium dark shades. So we'll start about there. I'm going to tap the Plus symbol to add this swatch to my color palette. I'll go to the next circle and I'll start from the first color because I want to pick a slightly lighter value of that color. Nothing too light. Maybe there. And I'll add that to my color palette. And again, I'll tap the next circle. And this time I want a fairly light shade, maybe something about there, and I'll add that to my color palette. So now I have my gold set of colors. Now I'll go back to my color palette, and this time I want to select from the opposite side of the wheel for a complimentary color doesn't have to be an exact complimentary, but something here in this teal range, I like this color and I know it'll work well with gold. So I'm gonna select this one. Oops, I should have selected my circle first. Let's go back and try that again. I'll see if I can find that color again. Okay. Maybe they're a little too green. Maybe they're at it. And I'll go to my neck cervical again. And I'll start from the last one because I just want a lighter value, that same general color. Tap the plus symbol, select the next one, find a lighter shade. Maybe that. Tap the plus symbol onto my next row. Since I've got my blue and my gold, I'm gonna go back across the color wheel and add another warm shade. And I'm really partial to coral. And of course there's still falls in that complimentary color range. You want to go little brighter, a little orange. Okay, I'll try that. I'll pick the next circle. And then I'm gonna go a little lighter. And then tap this last one. And now I'm want a nice soft shade of pink. First set is selected. And I'm actually started off with a variation of the primary colors, red, blue, and yellow color, but with desaturated, more muted versions of these colors. Since I have two colors from this side of the wheel and I have a blue already. I want this last one to be more in the, oops, let me undo that because I still have my circle selected. Okay, let me try that again. Select circle, go back to my color wheel. This time I'm gonna go for something a little more on the purple end of the spectrum. Maybe there. I'll select the next one and again start with the same color and move a little lighter. Then I'll add it in. Then lastly, I need to pick a light shade for this purple. Maybe about there. Now I've got these nice gradient shades of each of my main colors that I can use to create the shadows and highlights of my shapes. For my last row, I just need some neutral colors. Now I'm going to be doing an outer space theme. One of the colors I have to think about as my background color. And since it's going to be outer space, I want it to Really dark, almost black shade. So we'll start from black and then move inwards. Let's go a little more towards the blues. So it'll have somewhat of a bluish tint, but like a really deep, almost black color. Let's try that. And then I need a medium neutral color. Maybe you somewhere over in the grays, just in case I need something in that range. Okay, add that last one is going to be a real light neutral, just so I have it in case I needed maybe this shade. So we'll add that. Now we have a color palette and I really liked the way these colors look together. But one thing that I want to check is that I'm going to have enough contrast in my color palette that will also work with these gray shades that have already created. I'm going to come over to my layers and I want to select my color palettes, circles. Actually, I'm going to drag and select and group these. Now, I'll create a new layer and I'll add this here. I'll duplicate that group so that I have two copies. I'll select the top group and I'm gonna go to change all these circles to black. I could also use white, but black will be easier to see. You can choose either one. Then over in the Properties panel, I'm going to change the blend mode of this top layer of black circles two Color. What that is going to do is show me the color values of my color palette. Up here. If I go to layers and turn off this layer, you'll see I have my color palette layer. And this blended layer is taking the set of black circles and blending them with the colors below using that color blend mode. And that's showing me how deep or dark or how light the color values of my palette are. And I can see here that I have really good contrast between my darkest darks and my lightest lights. I can also see that these values are pretty close. And remember, this is my background color. So I do want to make sure that all of these other colors are going to sit nicely a topic. And I think it's going to work. But if I want to go over to my layers and turn it off, I can tweak this just a little bit. So I'm going to come here, select that one, and I'm just gonna make it a touch lighter. There. I'll add it. And then I'm going to tap and hold and remove that another color. And now I can turn this back on and you can see that it has a little better contrast. I don't necessarily need it to be super high contrast, but I do want to be enough that it's going to sit on top of the background layer and not just blend in too much because if the contrast is too low, then it can be really hard on your eyes plus your elements won't really pop as much. I think overall I do like the rest of the contrast that I have here. And I think it's going to work nicely. So that's just one way to check that your color palette is working for you. We're going to come back over here. I'm going to open up my layers panel and I'm going to start coloring my different elements. One thing I can do is just pull this out and when it turns that blue color, I can let go. And now my color palette is opened permanently. So as I go to pick my elements and go back and forth, it just opened for me and just makes it easier. I'm going to start by making maybe each one of these dots a different color, yellow, next to have my star. And I know I want this to be two different shades of yellow. Maybe that there. I'll try to spread out my colors and use each one for all of those main elements. Me there, some blue that in go with my warm pinkish red. And you can see that because I've got my layers nicely organized, I can just select a group to color it in quickly. And this process will go by pretty fast. And I don't have to worry about hunting around for each one of my elements to color. One thing that I want to point out before I go any further is on each of my swatches, you'll notice that there bottom-right corner, a little triangle in each one. If I tap and hold earlier saw that I removed a color that I didn't need. But I can also choose to edit my colors. This little triangle in the corner designate this as a global color. So I'm going to tap edit. It opens the edit swatch menu. You can see that global colors is checked. And we want to make sure that stays checked because it links every element that we color with the global color back to our Swatch. Any edits I make to the color swatch will affect every object colored with it. I'm going to drop down this menu to open the sliders. And I'll just use the slider, turn this into a bright red. So with these sliders, I can adjust any color. Then I'll hit Save. And now these objects that were colored with that dark gold color have been changed to red. So by using global colors to color my Motifs, I can quickly modify any of my elements. If you decide layer that a color is just not quite working for, you, just go over to that swatch and tweak it a little bit. And everything that you've already colored with it will change too. So it's just a faster way to work. And that's why I've chosen to wait all this time to color my motifs in Illustrator rather than coloring them back and Fresco. So now I'm just going to continue to color all of my elements. Won't make you sit here and watch, color them all. But as I color, I'm gonna be making sure to use all of these colors. And I don't want to have too much of one color or another because that's going to stick out in my pattern the way one large repeating element would if I spread my colors across all of my elements, when I go to arrange my pattern, I'll have a nice balance of colors and this will conceal my Repeat better. So I'll take a minute to finish coloring all of these elements so that I'm ready to start building my pattern with our Motifs organized and our colors added, we're ready to create a pattern. In the next lesson, I'll show you how to use the Repeat Tool to create a seamless repeating pattern 9. Workflow 1: Repeat Tool (iPad): We're ready to build our pattern. There were a lot of steps to get here, but now it's the funny part. I finished coloring all of my elements and I'm ready to create my pattern. First thing I'm going to do is open up my Artboard tool. And I'm going to move this out of the way here just so it's out of sight. I'll open up my layers panel and you can see that all of my elements are organized. So first I'll group them and then I'll create a duplicate copy. And I'm going to lock and hide these original elements in the background. So if there's an issue with my Repeat, I have a backup copies saved. I'll create a new layer and drag my element group to that new layer. And I'll turn this one off and lock it. And now I have a group of copies ready to go. Next. I'm going to drag these off to the side here. And now I can just pull them over one at a time and start arranging them. I'll double-tap to select one since there are grouped together. And I'm going to start with this rocket because it's my largest element. Actually, what I'm gonna do is ungroup this while I'm arranging these to make it easier. Okay. I can rotate this a little bit. And I'll turn on the primary touch shortcut so that I can scale it down a little bit. And I'll just start moving my motifs into a rough pattern and speed this up a bit. Now, because I know that the repeat is going to duplicate this element to the other side. I know it's going to fit in right there. And I may just want to bring this element down a little bit. Because this is going to end up over here. I'm just thinking about the repeat as I add these in. For instance, these elements along the top edge are also going to repeat along the bottom edge. So I may need to bring this one up just a little bit. Okay, so I have my elements generally laid out and arranged. I want to make sure that they have a lot of movement. I'm creating a non-directional tossed pattern. And because these rockets are in outer space, I want them to be flying in different directions. So it feels like there's a sense of movement. You may choose a more structured repeat instead of following along with me. So you could be doing a very directional or symmetrical pattern. It's really up to you, but this is the one that I'm creating today. You can also have your pattern as dense as you want. So you can really tighten up the elements are really loosen them up. That's just another preference. One thing I want to do is make sure I have a balance of color. So there's some purple elements flowing through route and some blues and some gold. It's spread out and not all concentrated in one area. It's going to help the Repeat feel a little more balanced and more visually pleasing if you spread things out. So now that I have met elements generally arranged, I'll go back up to my layer and group them. I could leave them ungrouped, but I find that grouping them helps me find the original set when I'm in the grid, repeat and trying to make adjustments, it'll just make things easier if I have them grouped right now. So these elements are grouped and I still have my original set here. In my elements are ready to go. I'll go over here and tap the repeat menu then select grid repeat. And you can see that it creates this grid of repeating tiles. So I can move this around and I can change how much of the grid is visible. So these bars shrink or expand the area of your repeat. If I drag the corner, it scales my pattern. And I don't necessarily wanna do that. I want to leave it the way it was. But that's one possibility. And drag this up here. You may notice that I don't have a background color. If I were to add in a background layer like a square with my background color, it's going to act like any other element and get repeated. And then if I move things around, it gets all distorted. So I'm not going to do a background color right now, but I will add one later on. What you can do is come up here, add a new layer and drag it to the back. And I'm going to lock this one for a second to see things better. Let's draw a rectangle in the back, and I'll choose my background color and drag and draw this shape in the background. This will make it easier to see what I'm doing. I'm going to lock it back there and it's just separate from my grid. Repeat. As you can see, I have my original elements and there's a grid pattern of little repeating blocks of my elements as well. And what I want to do is use these little nodes here and there to shrink the size both vertically and horizontally at the spacing in-between my grid. So if I pull this up a little bit, you'll see here that it's solely shrinking by that amount. It's just shrinking the horizontal spacing in-between each grid piece. And then I'm going to do the same over here and shrink this in vertically. And I can do this as much or as little as I want. You will start to see that, for instance, this little element here is now overlapping a little too much. So I can either expand that a little bit and the same here. Or if I want to keep the spacing the same, what I'm going to do is adjust my original elements to create room. So I'll double-tap. And you'll see that because I had my original elements grouped, I now have these elements selected. Oops, double-tap that again. Let me try that one more time. And you can see the outline of my original elements. So this little rocket here is part of my original grid. And the star that is overlapping is actually up here in that original group. So that's the boundaries of my grid. You can see where it stops. Now I'll double-tap. So I've got this selected and I'll just select this one rocket. And what I can do is rotate it. I can nudge it around. And you'll see that it also nudges every other repeat instance at that little rocket. So I can see in real time what I'm changing. Now, it's important to note that you see this is the edge of my bound here. If I slide this over, it actually pulls apart the vertical spacing that I'd already shrunk in. So if I move anything outside of the original boundary of my grid is going to push the spacing that I shrunk out just a little. You can either move it. And then when you're done, tap out and tap the grid and then shrink it back. Or let me undo that for a minute. I can double-tap and double-tap again, and I can just try to keep my movements within the boundaries of my original tile. I'm going to do is I'm going to make these little adjustments here. And I'm going to look at my larger grid pattern and see where things are overlapping. Or they might look a little tight. And I just want to adjust at least my big elements first and make sure that they fit nicely. So this one can come up a little bit and you'll see that my boundary is shrinking. So what I may want to do is leave that there and actually just adjust this instead. Okay. So there maybe rotate this a little bit, pull it in. Okay. Do I have any other areas? This one is coming in a little close here. Let's pull this. I don't want to this there. Okay, This one is coming in a little too tight. So let's just wanted to double-tap and shrink it proportionally. So I'm just going to continue to make sure that there's a nice flow to my elements. Now the next thing is, if I like where all my medium and large size objects fall, what I can start doing is double tapping and double tapping again and selecting some of these little dots. And I'm going to just start adjusting those. I can resize this a little bit if it's too big. I can also duplicate it and hit Duplicate and then I'll move it around and find another space for its copy. And I can continue to duplicate any of these elements and move them around inside my pattern to fill in the spaces. I could do the same with the large elements, but I have a nice amount of spacing with those, so I don't really need to do that. I just need to do it with some of these little tiny dots that I was going to use to fill in. And I'll speed this up a little bit. Okay, I've got my motifs arranged and I'm just checking on how the pattern is coming along and what still needs editing. So I see this little gap there and I'll find where that falls and make some additional edits. Okay, there it is. So here we go. Now, I could just continue to fill in gaps anywhere I feel like it's needed and you don't want your repeat to be too obvious. So you may have to use your tiny elements to fill in the extra little gaps. And that's what they're really good for. And I can continue to work on this until I feel like it's exactly where I want it to be. So if you want to make any adjustments to the grid itself, you do have some options in the Properties panel with my grid repeat selected. If I scroll down here to the bottom, you'll see that I have some grid repeat options. This is the spacing in-between my grid tiles. And I can tap and just bump that up here. You can see that I can move this little slider. If I want an exact amount. I can change that here. Maybe I don't want the decimal places. So let's just keep that nice and round. That's one edit you can make from here. Another thing that you can do is you can change the grid type. Now, right now we have just a simple grid where there's just different tiles repeating over and over again. But we can also do brick by row and brick by column. And these are half-drop repeats. One is a half-drop vertically and one is a half-drop horizontally. I'm going to increase the spacing between these again so you can see a little better what to actually happening here. So you can see that these are tiles here. If I were to switch to Brick by Row, it shifted everything over halfway horizontally by row. If I go back, you'll see that again. It's just going to shift every other row half the distance horizontally. If I select the brick by column, it's going to do the same thing, but every other column is going to be shifted one over and then halfway down. You can switch around your repeats and play around with these options. I'm going to keep mine at a grid for now. And another thing that you can do is flip every other row or column. If I select this first option, you'll see that every other row is flipped horizontally. Here. I'm going to flip every other row vertically from top to bottom. Then I can also flip my columns both horizontally and vertically. You can play around with these. And if you like any of them for the particular pattern you're creating, you can use them. I'm just going to stick to my basic grid and I'm going to go back to that spacing that we had before. Just shrink these up a little bit. Okay. So I may continue to make a few adjustments, but overall, I think I'm pretty happy with my pattern. You can finish updating your pattern to. And then next, I'm going to show you how you can export images and motifs from Adobe Illustrator on the iPad before taking it into Illustrator on the desktop to finalize a Swatch. Now that you know how to use the Repeat Tool. In the next lesson, I'm going to show you how to Scale and Resize your pattern for Export 10. Workflow 1: Scale & Resize for Export (iPad): We've finished creating our pattern. Now let's take a look at how to scale and resize it for Export. I've finished setting up my pattern. And what I have here is a seamless repeat. If I want to extend the bounds of my repeat, I can do that as much as I want with these little bars. I can also use these little corner nodes and scale my pattern size up or down. And I can also move my Repeat around my Art board until it's placed exactly where I want it. So you'll notice that the seamless repeat that's created with the Repeat Tool doesn't have a background layer. And as I mentioned before, if you added a background square with your elements, it would have overlapped when you tightened your spacing and cut off your pattern. So you can add a background layer to your repeat. But you can have a rectangle that you placed behind your pattern to create that background color. Now, both of these objects are sitting on top of this artboard here. So you can faintly see there's a great outline of my artboard. If I want to share a JPEG or a PDF of this pattern, I can export one directly from Illustrator on the iPad. If I go up to the Share menu and tap, Publish and Export. And then export as I can select which Art Board I want to export. So I'll tap that one off. And I'm just going to select this one. And then I can use this drop-down menu to decide if I want to export a JPEG, a PDF, or a PNG, then I can use a JPEG to share on social media or using a mock-up and so on. If this Scale or the size of this export isn't what we need, we can do is just exit out of this and we're going to scale it differently from here. I can come here. I'll scale it from the corner here and maybe make the scale even a little smaller. So that's a really tiny scale. And you can see my Art board outlines. So this would be pretty small-scale pattern. If I want to expand it, I can do that to the size of my background shape doesn't really matter. If you want it to match up, you can, but as long as it sits over the entire artboard, you're fine. Let's say though, that we wanted to export a specific size. We can go over and select our artboard tool. If we need this artboard to be a different size, we can scale it using these corner nodes to re-size it. Or we can come up to the Properties panel and we can actually resize the width and the highest to an exact amount. Right now it's in inches. But if we needed in a different unit, like pixels or points, then you can adjust that here in the Settings menu and change the measurement unit. I'm going to keep it as inches. And I'm going to unlock this. And let's say I need an 11 by 17. I'll type that and lock that again. And now my Art board has been resized. I may need to scale my pattern now to better fit this new artboard size. So maybe this scale is too big and I need to scale it down. And here's my Art board. If I go up to the Share menu, Publish and Export, you can see now that my Art board has been scaled to a 11 by 17 size and the scale of my pattern has changed to a mid-range Scale. If I wanted to continue making adjustments to the scale, I can go back to my Art board until I get the size exactly as I need it. I can also move it around so that where the repeat falls across my Art board is just right. Right now, I would encourage you to export a JPEG of your pattern to share in the class project gallery page, I'd love to see your progress. It's important to point out that this doesn't create a pattern swatch. If you have ever built a pattern in Adobe Illustrator on the desktop, you've learned to create a pattern swatch that can be used in place of a fill color. If I go over here to the swatches panel and try to add it, it's going to tell me that I can't add a Swatch. So the Repeat Tool doesn't automatically create a Swatch and you can't actually create a pattern swatch in Illustrator on the iPad. If we need a pattern swatch, we would have to do that on the desktop. So to finish off this workflow, I'm going to show you how to convert your repeat grid pattern you created on the iPad into a pattern swatch on the desktop. To create a pattern fill swatch, you're going to need to open up your file on the desktop. In the next lesson, I'll show you this process 11. Workflow 1: From iPad to Desktop: We've just finished creating our pattern using the Repeat Tool and Adobe Illustrator for the iPad. In this lesson, I'll show you how to open your Creative Cloud File on the desktop. And we'll take a quick tour to get familiar with the desktop tools we will be using. So I've opened Illustrator on my desktop and it has brought me to this home screen. And in this recent section, you'll see the file that we started on the iPad. And you will notice that it has a dot AIC file extension, which means it's an Illustrator Cloud file. Now because it is a Cloud file, it is St. from my iPad to my desktop and vice versa. Now, as long as I'm connected to the Internet, my Cloud files will sync up. So if you don't see your fall here, be sure to check that your iPad and your computer are both connected to the Internet. You can also find it over here in the your files section. I can also tell that it has sink to the latest version of my fall because I can check the last time it was updated. And in this case it shows that it was 13 min ago. So I'm just going to double-tap on my file. And you can see that it opens up just where I left off on the iPad. If I wanted to save a copy, I can do that by going to the File menu and tapping save as or by using the keyboard shortcut Shift Command S. You can choose to save a copy on your computer or to your Creative Cloud. Now, if you save a copy to your computer, it's not going to be automatically sync to an accessible on your iPad because it won't be a Creative Cloud file anymore. You can always choose to sync it through another coal-based file-sharing service like Dropbox, and then import it back and forth, but it won't be automatically sync. So I'd recommend saving a copy to the Creative Cloud and then it's easily accessible on all your devices. Just hit Save. I'm not gonna go into detail about the ins and outs of Illustrator. I'm going to assume that you have some basic knowledge, but I am going to try to focus on the tools we'll need for this class and give you as much insight as I can into those. You should have the selection tool engaged by default, but if not, you can select it over here on the toolbar on the left, or use the keyboard shortcut V to select it automatically. If your workspace looks different to mine, you can always go up to Window Workspace and I have mindset on Essentials Classic. So if you have your set to a different one, just hit Essentials Classic and you should see the same setup that I have here. This is going to make it a little easier just to follow along with me. Know, if at anytime you don't see a window that I have over here on the right side. You can go up to Window and pick from this list. And I'll try to point out which ones that I have open and then I'm using so that you can follow along. As you can see, we still have the Art board that we created with our pattern and also the artboard with our color palette. If I come over here to my swatches panel, you'll see that all of the colors that I selected in the iPad app are available and they're all global colors because you can tell that little triangle down in the bottom. Which means that if I were to come in here and double-click on a color, I can change it. And because I have previous checked, you'll see that here I have everything turning green that was colored with that particular shade of yellow. So that's the benefit of choosing a global color or creating a global color so that you can make as many changes as you want if you need to tweak. So I'm going to hit Cancel because I don't want to change that. If I come up here to the Layers panel, you'll see all of the layers that I had on the iPad, even the ones that I had turned off, they still come in. So unlike when we brought everything from Fresco into Illustrator, and we turned off visibility and it didn't import into Illustrator because this is just an Illustrator file that's sync from your iPad version to your desktop version. It's going to maintain everything, whether or not you've locked it or turn the visibility off. So just like on the iPad, you have the same basic tools to adjust your grid. You have these little bars on the right side and here at the bottom that can expand the area of your pattern. You also have the little corner nodes to scale your pattern up and down. And then you have these little icons at the top. And on the side that changes the horizontal and vertical spacing between your pattern tiles. So it essentially works exactly the same here on the desktop version. Now that you're familiar with the workspace of Adobe Illustrator on the desktop. Let's make a pattern swatch in the next lesson. 12. Workflow 1: Create a Swatch (Grid): We've opened up our fall on the desktop and familiarize ourselves with the workspace and tools. In this lesson, we're gonna go over how to convert our pattern into a Swatch. The first thing that I wanna do is clean up my workspace a little bit. So I'm going to go to my Layers panel, and I'm going to select the layer with my color palette. And I'm going to delete it because I don't need that anymore. I also want to get rid of this artboard. So I'll go to the Artboard menu. It's Art board number two. And if I hit the little trash can and it'll delete that Art board as well. Next I want to go to my repeat pattern, and I want to double-click anywhere, and it will select my original group of elements. I want to hit Command C to copy them. And I want to paste them off to the side. If I hit Command V right now, it's actually going to paste a copyright into my pattern and you can see how it distorts my pattern grid. So I'm gonna delete those. And first I want to go out here and I want to either double-click outside the pattern or I can also go up to the isolation mode, hit back one level and back one level again. And now I've exited isolation mode. If I tap and hit Control V, it now paste a copy of my elements and they are separate from my grid repeat pattern. If I go up to the Layers panel, you'll see that they now are on their own separate layer, the grid repeat. Now the first thing that I need to do is figure out how wide and how high my pattern element bounding boxes. So I'm going go over to my Properties panel and I'm going to look at the width and the height. Now if you don't have the properties panel on the right side there, you can go up to Window and select Properties from the Windows list. Right now, I have some irregular numbers. They're not nice and even, and I want them to be nice and round to make them easier to work with. So I'm going to make sure that my aspect ratio is locked in this way. If I adjust one number, it'll adjust the other one proportionately. I'm going to start by deleting out the decimal places and making this height and even 18 ", you can see that it's shrunk it down, but it also change the width so that it's proportionate. You can see that now I just have a few little decimal places that I have extra here. So to make this and even 21 ", I'm going to move one of my elements over inward and shrink it in this amount. So I need to move it 0.0 435. I will double-click to enter isolation mode so that I can select one individual element and move it separate from the group. And I'll hit Shift Command M to bring up my move tool. Now, I only want to move it horizontally, 0.0 435. I don't want to move it vertically. It also I'm going to enter zero. If I unclick Preview, you can see that it just nudges it over a little bit. I'm going hit Okay, I'll double-click to get out of isolation mode. And if I select my elements again, you can see that now the width of my box is 21 ". So 21 by 18 is much easier to work with them, the numbers that I started with. So that's the width of my elements. The next thing I need to know is the vertical and horizontal spacing between my tiles of my pattern. I'm going to select my pattern repeat. And you'll see that my properties panel now shows my repeat options. And I can see the horizontal spacing and the vertical spacing of my pattern. Again, I have these really irregular numbers that I want to round down a little bit so that they're easier to work with. I'm going to start by going up. Now I think I actually want to go want to go up. There we go. One-and-a-half. That's a nice amount. It didn't move it too much. Am I? Patterns still looks good, but I can work with 1.5 " over here. I want to shift this down to 2 ". And again, I patterns still looks fine, so my adjustments didn't really change it all that much. What this means is I have the original size of my element Repeat tile, but I need to reduce it by 1.5 " horizontally, and I need to reduce it by 2 " vertically because the actual tile comes in a little bit. So you can see that my width is 21 " and I need to reduce that by 1.5 " horizontally. And my height is 18 ". And I need to reduce that by 2 " vertically. I'm going to press M on my keyboard to bring up the rectangle tool. And if I tap, it will bring up the little rectangle menu. And I can create a rectangle that's the exact size that I need. So I can either type 19.5, which is my width, or I could type 21 -1.5. So if your numbers are really complicated, you may want to just do the math right here in these fields rather than trying to do it in your head? But if you know what it is, like, I know this is 16, I can just type it in because it's 18 minus two. I'll tap. Okay. And it creates a rectangle, the exact size of the tile that I need. I'm going to press V to open up the selection tool again. And I'm going to drag this right over my elements. Now I want to send it to the back behind these elements. So I'm just going to hit Command left bracket, which shifts it down one layer below these elements. I can also right-click, open up the Arrange menu and I can select to bring it to the front, bring it forward, backward, or send it to the back. Now, I want my elements to follow along the left edge and along the top. So I'm just going to shift this down just slightly. And I'm going to come up here to my Layers panel. And I'm going to lock this rectangle so that I don't accidentally select it. Now you can see that I have these three elements that are just sitting along the bottom. And right now I want everything to be either along the top or the left. So I'm going to first shift command G to ungroup my elements. And this way I can select them individually since they were grouped. I will drag to select right up to the edge, and it'll select these three objects. I'll hit Shift Command M to bring up the move menu. And I want to shift them all the way up perfectly in place, right along this top border. I don't want to move them horizontally. I'll type zero in the horizontal position. I want to move them up 16 ". And to move them up, I need to make it negative 16. And you'll see that it moves everything up. Now this point I just want to move these elements. So I'm going to tap, Okay, I'll press Z on my keyboard to bring up the Zoom menu and you can see what this looks like. If you've ever built a pattern in Adobe Illustrator, this part is going to look really familiar. This is just building a pattern using the Move feature, that is the old school way of doing things. The first thing that I want to do is I want to take everything that crosses my top border and I want to make a copy so that it falls along the bottom edge in the exact same position. Once again, shift Command M. And this time I don't want to move it horizontally and I want to move it down so you can see that it's negative which moved it up. I'm going to just remove that negative and it will move it 16 " down to this bottom border. You can see that it moved it there. This time I actually want to make a copy of these elements because I do want my elements to remain at the top. I'll tap Copy. Next, I will select all of these elements that fall along the left side and Shift Command M. And I want to move them horizontally, the width of my shape, so that is 19.5 ". And I don't want them to move up or down vertically. So I'm going to zero out the vertical spacing. Once again, you can see I have a set over here, but so that I keep my elements on the left side, I'm going to hit Copy. Now I have all of my elements repeating from one edge to the other, both left to right and bottom to top. The last thing I need to do is create the boundary of my pattern swatch. To do that, I'm going to come over to my Layers panel and just scroll down and I'm going to unlock my rectangle. I'm going to select it. And then I'm going to hit Command C to copy it and Command V to paste in back. And what this does is it paste a copy directly behind the original. So if I turn off the original, you'll see that the copy is now placed, perfectly positioned behind it. So you don't even notice with this new rectangle selected, I need to create a box that has no fill and no stroke. So I'm going to hit the none symbol on my fill. And now I have no stroke and no fill on this box that's in the back. I'll turn off that original one and you can see that there is no fill and no stroke. Turn that back on. This. No fill, no stroke rectangle is the key to creating a pattern swatch in Adobe Illustrator. So you have to have this. I'm going to drag and select all of my elements. So I've got my no fill, no stroke rectangle. I've got my filled with my background color rectangle, and I have all of my elements selected. I'll open the swatch menu and I'm going to click and drag until I see this little blue line come up and I'll let go. And now I have a pattern fill swatch in my swatches menu. Next, I want to test my pattern. I'm going to hit Z to bring up the magnifying glass. I'm just going to zoom out a little bit. I'll use the hand tool to move this down. Then I'll press N to bring up my rectangle tool. And I'm going to just drag and create a rectangle here in my space. And then I'll tap here to fill it with my pattern swatch. Now, I'm gonna hit V to bring up my selection tool. And you can see that we can see our pattern as it repeats perfectly. I'm actually going to right-click, hit Transform and Scale. And over here I can actually scale my pattern up and down using this little menu here. Now, right now is actually scaling both the rectangular shape and the pattern. So I'm going to come here and hit Transform Objects and uncheck that. Now all it's going to let me do is transform my pattern. So if I scale now, only the pattern inside my rectangle is actually scaling up and down. I'm going to hit Okay? Now if I see any areas of my pattern that I want to edit, like maybe this is a little too close to this. Maybe there's a little spacing here that I want to fill in. I'm going to have to go back up to my original element and make some changes. So I'm going to use the hand bring this down. I'll press Z to magnify this a little bit. And the to bring back my selection tool so I can make any adjustments to my pattern. Now, any element that falls along the edge that I want to change, I have to hit Shift and select the other ones so that now I select them together and anytime that I move them, they will adjust evenly. So I'm just going to scoot this over a little bit here. If I want to adjust an element in the center that doesn't fall off my background shape, then I can move it and I don't have to worry because there's no copy that I need to make over here on this side. So I can make adjustments. If I want to copy something, I can select and then hit option on my keyboard and it'll drag and make a copy that I can move around. If I just wanted to move an element, I can just drag and select it. Okay, once I have my elements updated, I will drag to select them all. And then I'll click and drag and create a new pattern fill swatch. I'll use the hand tool to move back here. And you can see now with my rectangle selected, I can switch to my new pattern swatch. So I can just kinda go back-and-forth. And I can see how my elements have adjusted. And I can continue to update my pattern as much as I want until I haven't the way I want it to look. This is your process to convert your grid repeat pattern into a pattern swatch on your desktop. Now that we've created our pattern swatch, we completed workflow one. In workflow two, we're gonna go back to Adobe Fresco and send our original Motifs directly into Illustrator on the desktop. 13. Workflow 2: Send to Illustrator (Desktop): In this lesson, we're going to start workflow two. Sending our elements to Illustrator on the desktop will use the same repeat tool as we did in workflow one. Now the desktop version has multiple tools to create patterns, but the repeat tool is accessible on both the iPad and the desktop versions of Illustrator. If you don't have the iPad version of Illustrator, you will use this workflow to create your pattern. So here we are back in Fresco with our final vector elements and we are ready to learn workflow two. So just as before, you want to make sure that all of the layers that we don't want to export, how the visibility turned off. And all of the layers with our final elements have the visibility turned on and select Open a copy. For the second workflow, we want to choose Illustrator Desktop and just bypass the iPad altogether. So depending on how large your files are or how slow your connection is, this could take anywhere from several seconds to several minutes. And if you don't already have Illustrator open on the desktop, it could also take a few extra minutes to load the app. Now, when it is sent, you will see this blue dialog box pop up that reads documents sent over on the desktop. You are going to see this Import Options menu, and it looks very similar to the one that opens up on the iPad. The default options are the same as before and we want to keep those the same. So we want to make sure that convert layers to objects is selected because we do not want to flatten all of our layers into a single image. We want to make sure that Import hidden layers is unchecked because we just turned off the visibility on everything that we don't want to import. So that would defeat the purpose of doing that. So we're going to leave this selected and we're going to hit, Okay. I'm going to hit Z to zoom out a little bit. And you'll see that all of our elements imported easily right into our desktop app. And now we're ready for the next steps. In the next lesson, we'll organize our layers and clean up any stray paths 14. Workflow 2: Organize Your Motifs (Desktop): In this lesson, we'll walk through the tools you can use to clean up your motifs on the desktop and discuss how they may be similar, indifferent to the iPad tools are elements are imported and the first thing I want to do is save this as an Illustrator file. I'll type Shift Command S for save as on my Mac, you could use Shift Control S on a PC. I can also go up to the File menu and select Save As from here. I'm going to save this as a Creative Cloud files so that it's available across all of my devices. And I'm going to rename it since I already have that first set saved. I'll call this one rocket pattern. And tap Save. Cleaning up in organizing your elements on the desktop is going to be very similar to the process of working on the iPad. If I'd go up and open my layers panel, you'll see that everything comes in from Fresco, just as it did on my iPad. So anything that was a single layer in Fresco is now a vector layer here. And it contains all of the individual paths that make up an element. So I can go through each of these layers and delete out all of those stray pieces. I know I don't need because we already went through this process on the iPad and workflow one, I know that most of these elements are pretty clean and good to go, but I know my rocket ship has those areas that need fixing. I'm not gonna go through the entire process again because you've already watched me clean this up and workflow one. But I do want to point out the tools I would use here on the desktop and how they might differ. Also for those who may not have the iPad version of Illustrator and will only be using the desktop version. I want to be sure you know what to do. If you've already cleaned up your elements on the iPad and you don't want to repeat those steps here. You can open the copies of your completed set and use those to walk through the desktop workflow. They should still be sent via the Creative Cloud. So let's quickly review how to clean up and organize these elements. I'll start with my rocket. I'll press Z on my keyboard just to zoom in a little bit. Then press V to bring back my selection tool. I'll start by dropping down this layer group and locking all of these extra pieces I know I don't need right now, like this smoke here and these window bits, I can just lock and turn off the visibility. I can always turn them back on here and unlock them by clicking. Now, I already know that I have a few extra stray marks in the body of my rocket ship. So I know that those are here and all the way down to here. So I'm going to tap and select. And then I'm going to hit Shift and tap each one to select additional elements. And then I'm going to tap, Delete. I can do the same thing for these extra straight elements that are in these layers. Now you may have to hunt around if this is your first time. But because we've already done this process once I remember which elements I needed to remove from my original set. Next, I know I need to fix this little messy corner. So I'll press Z to zoom in here. And I have a few option for fixing this corner. If I press a, I'll bring up my direct selection tool and then I can tap to show my anchor points. If I tap on an anchor point, you'll see that it's selected because it fills in with the color instead of the white that it normally has. And I can click and drag to move it around. I can use my anchor points to make adjustments. And I don't want to tap Delete because that will break the path. So if I tap Delete, you'll see that it breaks my path here. I'm going to hit Command Z to undo that. If you'll remember on the iPad, I use the Smart Delete Tool here on the Desktop. I want to use the Delete Anchor Point tool, which can be found on the toolbar under the pen options. So if I press and hold, you'll bring out this fly-out menu of additional options. And I want to select the Delete Anchor Point tool. You'll notice that the keyboard shortcut is the minus symbol. So I'll tap there. And now if I click on an anchor point, it will delete the anchor point but leave my path intact. Another option here on the desktop is your smooth tool, and this can be found on the flyout menu under the Shaper Tool. If I press and hold, you'll see I have this smooth tool. Third from the top, I'm going to tap the Move tool and actually need to hit command to bring up my direct selection tool temporarily. If I press and hold, you'll see if I let go. It goes back and forth. I'm going to tap to select that again. And now if I drag with my smooth tool, it will adjust the anchor points and smooth that out. This may be a good option for cleaning up your edges. I'll press V again to bring up my selection tool and press the space-bar. And I'm going to drag up here to this area which I know I needed to clean up as well. I'm gonna press a to bring up the selection tool so that I can see my anchor points again. And you'll notice that I have all of these anchor points here. I want to adjust this area. But first I'm going to use this simplified tool to reduce the number of anchor points I'll go up to Object Path Simplify. And you'll notice that auto simplifies turned on so it automatically deleted extra anchor points, but tried to keep my shape as close to the original as possible. So the simplified tool just helps clean up these areas and makes my work a little easier. Makes sure that you had the direct selection tool pulled up and your objects selected before you use the simplified tools so that it did actually work. I can also manually adjust the anchor points by using this slider here. But I think this looks good as is. So I'm going to tap out to release that. Now, if I bring up my Delete Anchor Point tool using the minus symbol, I can delete out any extra anchor points. And now I just had a couple to delete out rather than all of those little individual anchor points. Now because I have other shapes nearby, I want to be careful when deleting anchor points because they could also be deleted from the other shapes as well. If I want to ensure that I'm only working with the shape that I want to adjust at the time. I can come over here and lock these other shapes to ensure that I'm only going to delete the anchor points from this one. So I'll delete here and there. And let's see this one here. Next, I want to reshape the corner of my wings. So I'm going to unlock these again to make sure that they're ready to go. And I'm going to bring up my direct selection tool again. And this time I'm going to select this wing part. I'll come over here and I'll lock this. So now I don't edit this shape. And I can click and drag to make this adjustment. Tap the minus symbol to delete out all these extra anchor points. Tap a to bring up my direct selection. And now I can make those adjustments. If you'll remember, I have these overlapping sections here and I'm going to do the same thing here on the desktop that I did on the iPad, where I'm just going to overlap everything, line it up and then trim and assemble everything later. So next I'll go to my wing shape and I know I want to bring this down and meet their and then shape the shape a little bit. Go here and trim this up. So I can finish making these adjustments and meet you. When I'm done. I finished cleaning up those edges. And now I want to show you the desktop tools I use to divide and reassemble my shapes like I did on the iPad. I'll start by selecting all of my shapes by either clicking and dragging or by going over to the Layers panel and selecting a group and holding down the Shift key to select additional element groups. Next, I'll go to the Pathfinder menu and open it up. If you don't see this here on the left, you can go up to Window Pathfinder. And in the Pathfinder menu I want to choose divide. And this is the same tool that we had on the iPad. And what is going to do is trim up any overlapping sections into separate pieces. So I'll tap Divide. And if I go to the Layers menu, you'll see now that I have this group of little individual pieces. I want to group all of these shapes together. I can re-emerge them. I'm going to press Shift Command G to ungroup those so that I can select each one individually. Once I have one selected, I can hold down the Shift key and select additional pieces that I know need to go into group. So if I come over here to my Layers panel, you'll see that I have these selected. I can hit Command G to group them, and I'm going to lock them and turn them off for now. I'll go to the next one. I'll tap to select it, hold down the Shift key, and select additional pieces. You can see over here It's Alexis three, hit Command G and group them. And I'll lock it and turn it off. And I'm just going to continue grouping each of these items just as I did and workflow one. So just like before, I have some extra stray paths that I don't need. I'm going to click and drag to select them all. And you can see up here that it selects all of the little strays, but because I have my other pieces turned off, it won't select them. So I can hit Command G to group them. I'm just going to drag them up here and I'm going to lock them and turn them off for now because Again, if I find that I needed any little stray piece, then I have access to them Up here. I'm going to unlock all of these grouped elements and turn them back on. Now I can go through each one and I can re-emerge this into one shape. And I want to reassemble the shapes. So I'm going to select one of my groups. And I'll come over to the Pathfinder menu and tap Merge. And if I go up to my Layers panel, you'll see that my group now is one path that's all been merged together as one shape. I'm going to turn that off because I've got that one done for now. I'm actually going to click and drag my Pathfinder menu out so that I can open up my layers panel and see that everything is taken care of. And my menu is open here. And I can quickly move back and forth. So I'll tap the next group and hit Merge. And that's over there. So I'll turn it off. And I'll keep going through until I've got them all selected. The last thing we wanna do is group everything so that we're ready to add color. I'm going to start by adding a new layer. Then I'm going to drag this layer up here to the top. I'm going to add all of my completed and grouped motifs up here on this layer, just like I did on the iPad. So I'm going to click, hit Shift and click the bottom. And it'll select all of these together. And then I'm going to click and drag up to this new layer. Next I'll go to my shooting star and I can select this layer. I'm going to hit Command G to group it. Drop this down. I'll drag this up here. And remember that I want to group everything according to how I'm going to color them later. So everything that's going to be the same color can be grouped together. But I also want to group each of my elements together so that I can move them around as a unit. So this tail I know is going to be colored all one color, but I want my star to be a separate color. So with this selected, I'll hit Shift and I'll select the second element. I'll hit Command G. And now it'll group my star as two pieces under the same group. And I'll select this row and I'll drag it up to my Vector Layer. I'll group this planet. I will select the entire vector layer, which will select all these paths. Command G to group it. I'm going to click and drag it up. Notice that unlike on the iPad, I don't need to make a copy before I add it to my new layer. The vector layers aren't auto selected when you tap the group of elements. Now when I'm done with the vector layer that I had the element on before, I can just come down here and hit the trash cans symbol to delete it. It's important to know that the trash can will delete the area that has the blue highlight. You won't be able to select an empty layer group from this column. You'll have to tap so that it's highlighted in blue. And then I will tap my trash can to remove it. And once more I have this Vector Layer trash can and it'll clean that up. So I'm just going to finish cleaning up and organizing all of my elements with this system to get them ready to be colored. In the next lesson. When you're finished cleaning up your elements, join me in the next lesson so we can create our color palette and add color to our motifs 15. Worfklow 2: Color Palettes on the Desktop: Now that we've cleaned up and organized our elements on the desktop, we're ready to create a color palette. You can create a new color palette or use the same one from workflow one. I'll also show you a shortcut to import your color palette you've already made into this new file. Similar to the process of creating a color palette on the iPad, we can either bring in a photo and use the eyedropper tool to select colors in an image. Or we can choose our colors directly from the color wheel. To insert a photo from your computer, you can go up to File, Place or use the keyboard shortcut Shift Command P. You can find the eyedropper tool over here on the toolbar. Or you can use keyboard shortcut I to bring it up to follow the same process I used in workflow one, let's bring up the rectangle by pressing M on a keyboard. And I'm going to tap and drag out a shape. If I press Shift on my keyboard, it'll restrict it to a square. I'm just going to draw these off to the side of my artboard. I'll press V to bring up the selection tool and select my square. If I press the Option key on a Mac or Alt on the PC, you will see that your black arrow changes to two smaller arrows, one block and one white, which means that if I click and drag, I'll create a copy. I'll hold down the Alt key and click and drag. If I hold the Shift key down as well, it'll drag it in line with the first one. And now I have placed a copy off to the right. Let's try that again. Press Alt, Shift, click and drag, and let go. And now I have two copies of my square. I'm going to click and drag to select all three. I'll press down the Alt key and the Shift key and drag a second row. Now I could continue to do that or I can press Command D and I'll duplicate my last action. Press Command D again as many times until you have the rows you need. Select the first square. And then I'll come over here and I'll double-tap my fill color. Over here on this bar. I can select the hue by sliding up and down. And I'll drag this circle around to find the value and saturation. Once I have my color selected, I'll press Okay. I'll select my next square. Tap I on my keyboard to bring up the eyedropper tool and tap to select the same color from my original square. I'll go over to my fill color and double-tap. Just like before, I'm going to go for a gradient effect on each of my elements. So I'm going to be picking three shapes at the same color. I'll tap and drag this circle up a little bit. In this window you can see the original color and then my new colors. So I can kinda tell How much of a change there is to this. When I'm ready, I'll just tap. Okay. Now I still have my eyedropper tool selected, but I want to use my selection tool to select this next square. So I could tap V on my keyboard to bring up my selection tool, and then tap I again to bring back the eyedropper. But it faster way to do this is to press and hold Command. And this will bring up my selection tool because it's the last one I used. Now I can click as long as I'm holding down command. When I let go, it'll bring my eye dropper tool backup. Commands simply selects the selection tool temporarily. And it's going to select either the selection tool or the direct selection tool, whichever one you had used last. So I'll tap to select the last color. I'll go over and double-tap my fill color. And now I will click and drag one more time and bring up a slightly lighter shade and tap. Okay, now I have my three gradient colors. So I can continue to choose my colors this way until I have all of my palette created. Since I already walked you through my thought process on creating my color palette and workflow one, I'm not going to make you watch me do all of that again in this lesson, I just wanted to show you the process. So once I do have my entire color palettes selected, I'm going to press V to bring up my selection tool. I'll click and I'll drag to select all of them. You can imagine that these are all different colors. I'll open up my swatches panel and I'm going to tap on this folder here. And I'm going to give my color group a name. I want to make sure that Convert Process to Global is checked. And I'll press Okay, and my color palette is selected. Now you'll notice that it only has one shade of this gray color because in this particular instance, I didn't finish coloring my entire color palette and it's only going to bring up the unique colors that I selected. So it's going to pick up those three yellows and then one dark shade of gray since these are all uniform. But this would select your in Qatar color palette if you had fully created. You'll also notice that little triangle here, which means that you have your global colors setup. Remember from workflow one that global colors link every object back to its swatch. So any changes you made to the swatch will also change the color of your objects. And as I mentioned before, I think it's best to wait and create a color palette and Illustrator rather than in Fresco. Because if you select your colors and Fresco, you're really going to have extra work to recreate that color palette again in Illustrator as global colors. So I think it's easier just to wait until you're in here if you have already gone through the process of creating a color palette and workflow one, and you finished your first pattern. I want to show you a shortcut to bring in the color palette you've already made into this file. I'm gonna go over here where I've opened up the original file that I made in workflow one, and I'm going to select the rectangle that has my Pattern Fill. I'll press Command C to copy it and go back up to my current file and press Command V to paste it in. And you'll notice over here on my swatch that all of my colors come in to my swatches panel automatically. So you can take a moment to create a new color palette for this workflow and practice using the desktop tools. Or you can use the palette you created and workflow one as a shortcut. Now it's time to add color to our motifs. So I'm going to delete this file. And I'm gonna go up to my Layers panel. I'm actually going to pull my swatches panel out first and drag it over here. My Layers panel. And I'll go to something like my planet and select one of the minds shapes, and I'll color it. You can see that you can go through this process pretty quickly since we've organized all of our motifs over here. And with our swatches panel open, I can just kinda go back and forth. I can also select it directly from here. If I double-tap inside of a group, I can select the different elements and go through this process this way. Remember, as we discussed in workflow, one that you want to spread out your colors and make sure that you have a nice balance so that one color doesn't stick out in your pattern. You can color your motifs the same way that you did and workflow one. Or you could change them around this time. Just have FUN with it. I'm gonna take a minute to finish coloring all of my elements and then I'll see you in the next lesson to create our pattern using the repeat tool on the desktop, I'll take a minute to finish coloring my elements and the me too in the next lesson. So we can use the Repeat Tool to create a pattern on the desktop 16. Workflow 2: Repeat Tool (Desktop): We're ready to create our pattern using the repeat tool on the desktop. Some of this process is going to look familiar since we use the Repeat Tool in workflow one, but it'll be a nice refresher. And this time we're going to be creating a half-drop pattern. Now that I have my elements colored in, it's time to make our repeat pattern. So just like before, I'm going to group these elements. I'm going to come up to my layers panel. I'll select everything and hit Command G to group them. I'm going to make a copy of the cell Pass command C and Command V to make a copy. And I'll add a new layer and drag this up to the top. And then I'm going to turn off this background set. This way. If anything goes wrong with my pattern, I have an original set of my elements in the background in case I need them. I'll drop this down this time. I'm going to ungroup my elements by hitting Command Shift G. And this way I can move them around individually. I'm going to shrink them down just a little bit by dragging and selecting. I'll hit the Shift key and click and drag from the corner so that I adjust my elements proportionally. And I'll start with my largest elements. So I'm going to drag these off to the side for now, including that little guy here. And I'll start with my largest elements. So each of my rockets, then I'll adjust my planets and I'll fill in the spacing with my smallest elements. Now a couple of things to know here. I can drag this around. I can rotate it by either hovering right by a corner. And when that little bent arrow shows up, I can drag it. I can also press R on my keyboard and I can rotate it from a certain point. So right now you see the little icon in the middle. I'm rotating it from the center. But if I click and drag, I've got to select that little node can be a little tricky. There we go. If you click it and drag it, you can adjust where you rotate your object from. So I'm gonna put it right down here at the tip of the nose. And now if I click and drag around, I'm rotating it from that point. So that's also another way to rotate it. I can reflect it by using the reflect tool, that's keyboard shortcut 0. You'll notice that it's reflecting from this point as well. So I'm going to click and drag this from the center. And now if I click, you'll see that it rotates it around and it reflects it from one side to the other. If I hold down Shift as I do this, it'll reflect and rotate at 90 degree angles. When I press V on my keyboard to bring back up the selection tool. And I can duplicate this object by pressing Option and clicking and dragging. And this way I can create multiple objects and work them around in my pattern. I'm going to start laying out my elements into a general pattern on my Art board. Now my Art board is not completely necessary for the pattern. It just is going to act as a bit of a background guide for me. Now, once I have my elements arranged into a general pattern, I'm going to click and drag to select them all. And I'm going to press Command G to group them. I'll go up to Object, Repeat Grid, and I'll click Grid. And you'll see that it creates a grid repeat pattern. I'm gonna press Z on my keyboard to zoom out a little bit, let me go and move this around so you can see press V on my keyboard to bring back up the selection tool. And now you can see that you have the same basic repeat option features that you did on the iPad. You can adjust the size of your repeat here. Seamless out a little bit. Move this over. And I'm going to shrink this up. So I can decrease the amount of the Repeat that is showing. I can resize it from the corners just like before. And I can use these little nodes to decrease or increase the spacing between each grid. I'm gonna go over to the Properties panel and let's take a look at the repeat options that we have here. And you'll notice that they're the same that we had on the iPad. So I can adjust the horizontal spacing using these little areas here. And I can change the grid repeat type. So I have Grid brick by row and brick by column. Then I can also flip my rows and my columns, both horizontally and vertically. So I'm going to expand this just a little bit and we're gonna look at how this affects the pattern. With my spacing spread out a little bit more. You can see that right now I've got the brick by column option selected. And so every other column is adjusted halfway up. So I have my original set of elements here. It's repeated down, but on the column over it's repeated halfway If I choose Brick by Row is the exact opposite. So every other row is offset by half horizontally when you're editing your elements and a half-drop repeat. It's important to note that where an element falls in the repeat is offset. This element here, it repeats across, but then on the next row it repeats down halfway. And this can get a little tricky when the spacing between each grid is a little bit tighter. And so it's just important to be able to gauge where the element you're adjusting is going to move in both your row and your column. So if I were to arrange these a little tighter, I'm going to drag this facing up. And I'm going to drive the spacing in just a little bit. You can see now that it gets a little tougher to see where my element is, but it's this element here is repeated here, and then down here. So when I'm making an adjustment, I need to keep that in mind. Many pattern designers love half-drop repeats because they can seal the Repeat better and can make for a more dynamic pattern. And since it's such a popular pattern type, I did want to be sure to show you how to convert your half-drop patterns using the Repeat Tool into a pattern swatch to make adjustments to your pattern tile, you're going to double-click on an element and you'll see where you're elements that are highlighted are in your original repeats. So keep that in mind. And I can already see, for instance here I'm going to need to adjust this planet and, or this rocket to make room because those are overlapping. I can also see that this is going to overlap a little bit and I'm gonna have to adjust it. So as I move my elements around, I'm going to be keeping an eye on where they fall in my half-drop. It's also important to note that just like before, if you move an element, say for instance, if I move this start this way, it's going to expand the boundaries of my original grid. And it's going to adjust the horizontal spacing between my grid, just like it did on the iPad. So if you want to adjust an element, let's say that these are too close together. What I may wanna do, instead of adjusting this outward, I either want to pull this in or I want to go over to this element and drag it inward instead. So you can either keep inside of the original bounds or if you do adjust anything so that it expands the boundaries, you can just readjust the spacing between the grids. Later on. Once I have my all my elements selected, I can double-tap to select one element on its own and make an adjustment. Now, this should move and have all of these other elements move in conjunction with it. And most of the time it does, but sometimes it does lag and you can see what it does is it shows you where your original element was, then where your new element is. So it's just kinda faded in the background. So if this happens to you and you want to adjust your element, you can go on and click another one. If you double-click out to release the isolation mode, you'll see that everything does adjust. So if you're elements are not adjusting in real time, that's okay. They are going to adjust. Just double-click out to see where the adjustments have been made. Eventually as you work with it, it may start to adjust in real time as well. So I'm gonna go through and make some adjustments to these elements in the areas that I know they need to be corrected. Double-click, double-click again, and this time I'm going to adjust this element here. Okay, so that's working a little bit better. One thing I can also see is I still have this little guy that's overlapping. And when I first set this up, I didn't copy all of my tiny little dots because I knew that I can copy them once they're in the pattern. But if I put too many out before I see the grid in its form, it can be a little hard to find them all. So if you have an element that you didn't want to copy once you've got it in the grid repeat tool, you can double-click, double-click once more to select it only. And you can either move it or you can press Option on the Mac and drag and create a copy. I'm going to create a copy and then let go. Now I have a new element here and my original element is still there. I'm going to double-click out. And you can see that it adjusts. Going to double-click, double-click again. And I'm going to move this element, double-click out. Another thing that I want to remind you of is that we don't have a background fill color in with our pattern because it would act like any of our other objects and it will get repeated and it would overlap. So if you don't want to look at it without a fill color in the background, you can create a rectangle by pressing M on your keyboard and drawing a rectangle with your background fill color, just like we did on the iPad. So I would simply click and drag. And I'm going to come over to my swatches panel. I'll select my background fill color. Then I'm going to press Shift Command and the left bracket to send it all the way to the back. And now I can create my pattern with my background fill in mind. Press V to bring up backup, my selection tool. And if I go over to the Layers panel, you'll see that I have my grid repeat, and I have my background rectangle. I'm going to lock it in place so I don't have to worry about messing with it, but it's not part of my grid repeat pattern. I'll just continue to make adjustments. I know I have this hole here. I'm going to want to fill that in with some of my smaller elements. I may want to adjust some of my larger elements, and I'll just continue to make these adjustments until I am at a point where I like where they're all at. I can press Z on my keyboard to zoom out just a little bit. And you can see the pattern in full. I'm going to press V on my keyboard and I'm going to double-click out of isolation mode to be able to see my pattern in full. Now, I can continue to make adjustments to this. I can see that this area is not very dense compared to the rest of my elements. So I may want to either something in there or maybe spread out the rest of my elements just a little bit more like this rocket ship, for instance, may need to get adjusted up to fill in this space a little bit better, but I can continue to make these adjustments until I feel pretty happy with where my pattern is at. Before moving onto the next lesson, I want you to try arranging your elements and get them where you want to go. And in the next lesson, we're going to talk about how she convert this repeat pattern into a pattern swatch on the desktop. Take a minute to finish your half-drop pattern and then meet me in the next lesson where I'll show you how to turn this half-drop pattern into a Swatch. 17. Workflow 2: Create a Swatch (Half Drop): We just finished creating our repeat pattern on the desktop. In this lesson, I'm going to show you how to convert your pattern into a Swatch. Now the process is going to be very similar to workflow one, but the half-drop repeat requires a few additional steps to convert it to a Swatch. Now that we have our pattern created with the repeat tool on the desktop, Let's convert it to a pattern swatch. This will be very similar to the process for converting your iPad pattern into a pattern swatch. But since we have created a half-drop repeat instead of the basic grid, there's an additional step or two that we need to review. But most of this process will look a lot like the first workflow. First, I will double-tap any section of my pattern to bring up my repeat tile. I'm going to press Command C to copy it. And remember, I want to paste this off to the side of my Art board. I'm going to double-click to release isolation mode and then press Command V to paste a copy. And I'll drag this over to the side. Next, I need to note the width and the height. So I'm going to go to my Properties panel and I'll come up here and look and see what the width and the high thar. Now, these are pretty close to round numbers, but they're not exact. And I want these to be whole numbers to make it easier to remember. I'm going to make sure that my aspect ratio is locked. And the first thing I'm gonna do this is so close to 15, 58. I'm going to tap in here and use my arrow key down to round it to a whole 15, 58. Next, my width is just a little over 1980. If I drag across, you'll see that I have 0.1, 058 extra pixels on top of my height. So I'm going to click out. I will click here and double-click to enter isolation mode so I can adjust just one element. I'm going to take this element which is the farthest along this edge. I'm going to tap and I'm going to press Command Shift M to bring up the Move tool. And I just want to move it that little bit over horizontally. So I'm going to move it to the right 0.1 058 tab. And I don't want to move it vertically at all. And I'm going to press Okay. Now it didn't look like it did much because it moved it so slightly. If I double-click out to exit isolation mode and I select my group again, you'll see that I haven't even 1980 pixels by 15, 58 pixels. And these will be a lot easier to remember then all those decimal places. Next, I need to come over and tap my repeat. And I need to make note of the horizontal and vertical spacing. Now again, I've got some decimal places. So I want to make these nice round numbers to work with. I'm going to press down, actually, I'm gonna go up and make that a nice round negative 140 pixels wide. And I'm going to go up and make that, sorry, go down and I'll make that negative one at. These will be much easier numbers to remember. If you'll remember from workflow one, what we need to do is we need to subtract these numbers from our width and our height because the original repeating elements are shifted inward by this amount. So we need to subtract that from our width and height. If need be, you can write these numbers down to make it easier to remember. If I click my elements again, you'll see that I have a width of 1980 and I need to subtract 140 from that. And I have a height of 15, 58 and I need to subtract 180. From that. I'm going to tap into bring up my rectangle tool. I'm going to click to bring up my dialog box. Let's go ahead and do our math. We're going to make 1980 minus 144 width. And we are going to have 15, 58 minus one at, for our height. So that's 18, 40 by 13, 78. I'm going to press Okay. And it's going to create a rectangle right here. I'm going to increase the stroke of my rectangle a little bit so you can see this. And I'll press B on my keyboard to bring up the selection tool. I'm going to drag this box over here. We're going to take these little elements right here, these two rockets. And I want to show you that I'll actually come over here and lock this so these don't get in the way. And you can see that my rocket here repeats horizontally the width of my rectangle. But you'll notice that down here in these corners, instead of repeating, they repeat here and here. Because remember I did a brick by row pattern and it's offset every other row. So the repeat is actually from this rocket to this rocket, up here, to this rocket and over. So I actually need to double the height of my rectangle with my rectangle selected. I'm gonna come back over to the Properties panel. I'm going to turn the aspect ratio off. And I'm going to tap in here and type dimes to That's going to double my height. I now it's 2,756 pixels. If I drag this box down, you'll see that now everything repeats perfectly along the corner and along my edges. If I had created a brick by column pattern, I would need to account for the half-step across the second column and I would need to double my width. So Brick by Row, you double the height and leave your width the same as your tile. Brick by column, you double the width and leave the height the same as your tile. If you've created a brick by row pattern just like me, you can follow along exactly as I do here. If you created a brick by column half-drop, repeat, you are going to have to make the opposite adjustments. So everything that I do, you're going to adjust it slightly for doubling your width. So now that we have the correct height, I know that I need a width of 18, 40, and a height of 27, 56. I have the correct proportions to create my repeat tile. I'm going to drag this over here. And I'm actually going to come over and I'm going to turn off my grid repeat and my background rectangle because I don't need those anymore. And I'm going to zoom in a little bit and use my hand tool to bring this over and centered. Next, I want to create a fill and no outline. So I'm going to swap these out. And I'm going to come over here to my swatches panel. And I'm going to create a fill color with my background fill. And then the next thing I need to do is bring this to the back. So I'm going to hit Command Shift left bracket to send it to the back. I'll drag it over here. And I'm just going to make sure that all of my elements fall either along the top edge or the left edge. Don't want anything falling off to the right. And because I have doubled height, I don't have to worry about anything falling across the bottom. Now we can start moving our elements to create our pattern. Now I'm going to leave my elements grouped because it's going to be easier to move everything over. So I'm going to move everything on this side. I need to move because it falls along this edge. I need to move it over here to the right edge. I'll hit Shift Command M. And I want to move it across horizontally, the full width of my block, which is 1840. I'll hit Tab and I don't want to move it vertically at all. I just want to move it horizontally for now, so I'll type zero there. And you can see if I hit preview, it's just going to shift those elements over onetime across the width. I'm going to hit Copy to copy the elements so that I have one along this edge and one along this edge. The next thing I need to do is create the half-drop on my next row. I'm going to select the first group and the second group together. I'll click one and then tap shift to select the other. I'll hit Shift Command M. And this time we need to move things back horizontally to the left. So I need to create a negative number. So that'll shift it over horizontally. And I only want to move it halfway. So I'm going to click here and I'm going to put divide by two. And that'll move it halfway across. Next, I want to move it one row down. So I'm going to move it the tall height, which was 13, 78. If I click, you'll see it moves it and it shifts it down, one full tile, but down and over by half. So I shifted it horizontally, halfway across to the left and I shifted it down one full tall width which was 13 78. I'm going to hit Copy. And you can see that it creates that half-drop repeat. If I select 12, and then that half-drop, and then it creates that same half-drop here. So everything that is falling along my left edge is now falling off the right side as well. The last thing I need to take care of are my top, my bottom edges that need to make sure that they are mirrored as well. I'm going to ungroup my elements. Shift Command G. For each one, Shift Command G, and Shift Command G. Now, I can select one item at a time and just move things as needed to fill out this bottom and top row. Now, all I have falling along the top here is this one little element. So I'm going to select it. I'm going to hit Shift Command M, and I'm going to move it the full height of my background box. So you don't want to move it horizontally? I do want to move it vertically. 27, 56. You can see that it just shifts it down here. And this time I'm going to hit Okay. And I'm just going to move it down there. I'm not going to keep that copy because now what I'm going to do is I'm going to drag and select everything that falls across the bottom here. And I'm going to make a copy of all those elements up here. I'm going to drag and select. And you'll notice that it picks up my background shape. So if you're having trouble with that, you can go to your Layers panel and come down here and just lock your background shape for now so that doesn't select it. And let's try that again. We're going to drag, and we're going to drag right up to the edge to make sure we select everything that falls across the bottom. We're going to hit Shift Command M again. And this time we want to move it vertically up. So we want to do that same amount, but make it a negative number. Because remember, going up is negative, going down as positive, going left as negative, going right as positive. So we haven't shifted at all horizontally, but we've shifted it the full height of negative 27, 56 going up. And I'm this time I'm going to hit Copy. Now, everything that falls along the top edge, falls along the bottom edge. The last thing we need to do is create our bounding box. I'm going to come back over to my Layers panel and I'm going to unlock my background shape and I'll select it. I'm going to hit Command C, then command V to paste in back once again. And like we showed before, if I turn off that front one, you'll see that it's perfectly copied right behind the original. I'll come over here and I want to make sure that I have no fill, no stroke. So I'll hit the none symbol for the fill. And if I turn off that front copy, you'll see I have a background bounding box the same size with no fill, no stroke. And turn that back on. And I'm going to drag to select everything. Now one thing that I could do is I could clean up all of these extra elements that are hanging off the side because they aren't really necessary at this point. So let me click with my spacebar and drag across. I'm going to Shift Command G to ungroup these. And I could just select all these little elements that are sitting out here because they aren't needed. If it's easier to clean some of these elements up that you can do that Make sure you don't actually delete anything that falls along any of your edges. But these, for instance, are all just off to the side. I just may make it a little easier to work with. I'm going to click and drag to select all of these elements, which includes my background shape and my no fill, no stroke bounding box. I'll open up my swatches panel and I'm going to click and drag until that little blue line comes up and I'm going to let go. And now I have a new half-drop repeat pattern swatch in my swatches panel. I'm going to shift down here and press M to bring up the rectangle tool. And I will create a rectangle. And I'm going to tap to fill it with my pattern swatch. I'll press V on my keyboard to bring up the selection tool. And now you can see I have a repeat fill with my half-drop repeat. Once again, I can right-click type Transform Scale, and I can choose to scale my pattern. If I turn off transform objects, it will only transform my pattern. Now if I scale, you can see it just scales the pattern within hit. Okay? And now I can see my pattern and a different scale. So that's how you convert a half-drop repeat pattern into a pattern swatch on the desktop. There's just a couple of extra steps that you need to take into account that are different from the grid repeat pattern swatch. Now that you know how to use the repeat tool on both the iPad and the desktop version of Illustrator. And how to convert your pattern into a Swatch. Let's discuss some finishing touches like the Recolor Artwork tool in the next lesson. 18. Recolor Artwork Tool: Now that we've finished both workflows and know how to create grid and half-drop repeat pattern swatches. Let's talk color. More specifically. Let's talk about the Recolor Artwork tool. Now that we have finished our pattern swatch, Let's have some FUN using the Recolor Artwork Tool. This may be my favorite part of the process because it's so much FUN to explore color palettes and it's always great to have different colorways for your patterns. I have to warn you that this part can be addictive and you may have trouble deciding which color combo you liked the best. Now, I've gone ahead and set up some additional color palettes to show you. And I use the same process as before, and I even use my original color palette as a starting point if you want to follow along, I've actually saved my color palettes in the Resources section of the class, and you can go to download the file and open it in Illustrator. So if I click up here, you'll see that I've actually opened up the file already. And if you want to use any of these color palettes, you can click and drag, hit Command C to copy it. Go back to your fall and hit Command V to paste. And you'll see it just paste those in there. And then it'll come up over here automatically in your swatches panel. I'm going to tap Delete because I don't need those little squares anymore. And this swatches are still saved in my color palette. You can also choose to create your own variation of the color palette you created. You'll see that I kept my gradients so that this new color palette would work with my original color palette when I recolor my pattern, let's organize our palettes into color groups. Now, if you copied and pasted the color palettes I shared with you, you'll see that they just get added up here to this top section. I'm going to tap the first swatch in that group, and I'll press Shift and click the last one to select all the colors in-between. I'm going to come down here into the folder and click to select a new color group. And I can name this color group, or I can just leave it as Color Group one. So I'm going to name it terracotta and mint because that's FUN. Hit, Okay, and you'll see that it adds a new color group down here. If you create a color palette yourself using the original method I used, you can simply drag to select, tap the New Color Group, give it a name, maybe, and hit. Okay, and it will also add a new color group in your swatches panel. Now that we have our colors organized into groups, Let's look at the Recolor tool. I'll click to select my pattern. And you'll see up here in the control panel that the Recolor Artwork tool comes up as an option. If you don't see that for some reason, you can also access it via Edit, edit, Colors, Recolor, Artwork. This little menu will open up. There are quite a lot of options here. First of all, you may notice that I have the Recolor section that initially opens up, but I also have this generative recolor in beta. And I'm not going to focus on this right now because it is just currently still a Beta feature. And there are plenty of options in the normal recolor tool menu that we can go over. Now the first option you have is to select from one of the color libraries. So there's a bunch of default libraries in here. And you can also see that your color groups show up as an option. You also can choose how many colors you want to use. So right now it's on auto and using all of them, but you can select all or you can actually limit your color palette to a few colors. If I click five, it will simplify my palette here, I can also select the Color Theme Picker. If I click to engage this, you'll see now I have this little eyedropper tool and I can select a color by clicking one. I can also click and drag to select a color. And now it's limited to these six colors because that's what I clicked and dragged across on. If you brought in a photo, you could use this color theme picker to select a color palette from the colors in your image. I'm going to click to turn that back off. In this middle section, you'll see that I have this color wheel, so I can click and drag to recolor my artwork. If I click and drag out, it'll actually change that saturation level of that particular color. If I click and drag around, it will uniformly change the entire color palette to match my current color harmony. I can use this to change the color order of each of my elements. So if I click, it'll recolor everything uniformly by switching to a new order of colors. And I can continue to click through as many times as I want. This will actually change the saturation and brightness randomly. I don't tend to use this very much because I don't like to not have as much control over saturation, but that is an option anytime you want, you can undo the last change if you're not happy with it. And I can also unlink the color harmony. So if I click this little icon here, now I can click, and this will drag separately from the color order that it was already in. So you may want to keep the color harmony if you like where it was at. Or you may want to be able to adjust one color on its own. Down here, you'll see the prominent colors. And if I click and drag here, it will actually change the amount The prominence of that one color. So I can actually make it little adjustments here to change out how much of that color is being used. And then down here, I can actually change the brightness. I can change the brightness of the entire color palette. So I can go from bright to dark. If I click here, it'll actually change the saturation of the entire palette. You can see as I drag the changes that it makes to the color wheel, if you tap the folder, you can actually choose. If you want to save this current color selection, you can either save all the prominent colors and it'll add those this little list here. It'll add it as a new color group. Or you can select to save all of the colors, which in this case isn't very different. But if I hadn't limited my colors, I'd probably have a lot more going on and it would add that here as well. If at anytime you're unhappy with where you're at, if you don't want to just go back one at a time, you can reset to your original color palette. Lastly, you can open the Advanced Options tool by clicking here, and it will bring up the more advanced options to work with. This panel will give you a bit more precision when you recolor your artwork. Over on the right here you're gonna see your color groups that you created, including those two new ones that I just created. If you want to get rid of any of them, you can simply tap to recolor. It's have reset. If I tap to select a new color group, it will replace the original colors over here on the left with the new colors here on the right. And you can see that right now, this coral color is currently being replaced with this light blue color from my new color palette, I can click and drag to switch out which color is being used. And in this particular instance, because I have these gradients in my color palette, I don't want this to be randomly recolored because it doesn't fit with my original color palette. So I'm gonna go through and actually drag to change these out and makes sure that they're in the proper order. So here's my background color. I'm going to drag it. So I know that's gotta be here. And I don't necessarily have to have these be the warm colors. Maybe I just want this to be a mint color. That's fine too, but this will need to get dragged down here. So it replaces that mint color. But I do want them to be the darkest value, the median value, and the lightest value, so that my gradients will work. Okay? I think I've got all of my color values now rearranged. A lot of times the random recolor is fine. You can just scroll through that here, just like we did before, and it'll randomly recolor all of these elements and just switch them around. But if you want a little bit more precision, this kind of drag and swap method is really nice to have. Actually, I'm looking at this here and I don't really like where my kinda coral colors are. So I'm actually going to switch these back out and make sure that this is backward. Needs to go. Let's see. All the way here. You switch that out. Now, I think I liked that a little bit better. I do see here though that I can tell that my shadows are out of alignment, so I'm going to drag that there and now it's in a better color order. So you can have a lot of FUN playing around with this. You can use the random tools or you can use the precision of dragons swap. The last thing I wanted to show you on this little tool down here is this. If you click here on this little icon to isolate your colors. Now if I go and I click, it'll actually show me everywhere that this color is being used in the Artwork. If you're having trouble locating, obviously that's my background. That's easy to tell if you're having trouble locating a color and you're not sure where it is. This can be a nice tool to go through and figure out where it's being used so that if you need to drag and swap a specific color and maybe you have two colors that are really close in value, then it may be hard to find it amongst all the other colors. I'll simply click to turn that off. If I want to adjust any of these colors, like maybe that's not light enough. I can come down here and sliders to make adjustments to any of my colors. If you tap the Recolor Artwork tool box, this is kinda like the preview checkbox that you see on other panels. So you can click between your original color palette and the recolored option. Once you're happy with the Recolor, click, Okay, I'm going to tap know because I don't really want to make any changes to my original swatch. And now you'll see that a new Pattern Fill comes up in your swatches panel. And if I click, I'll go back to my original one and then I have my new recolored pattern swatch. I can also go back up to the Recolor tool and click the advanced. And maybe I want to create a new version that has this other color palette. And I can make as many variations as I want. I could also go through and swap these out and make slight changes in little adjustments to this current color palette. You can take a little time to explore the Recolor Artwork tool. It's really FUN to see the ways that different color palettes can change the mood of a pattern. When you're ready, join me in the next lesson where we'll go over how to export Your Final Pattern 19. Export Your Final Pattern: Now that we have a Final Pattern, let's talk about how to export our files for different uses. In this lesson, we're gonna go over how to add our pattern swatch files to our Adobe libraries and how to export our files as raster images or PDFs. How you export your final patterns will depend on the intended use, whether you're using it in a mock-up, sharing it on social media or sending it to a printer, you're going to need to export your fall in the appropriate format. First, let's talk about how to save our swatches to our Swatch Libraries so they're easily accessible. When we open a new file, I'm going to be sure to clean up any unwanted color groups by selecting them and tapping the trash can icon. So these two are extras that I don't need. I can leave all the color palettes that I want and any of my Final Pattern Fill swatches. I'll go up to this top right menu. And down at the bottom, I'm going to save Swatch Library as AI. I'll give my Swatch Library name. I'll save it in the default swatches folder and click Save. Now if I go to my swatch library menu under user-defined, I have my new swatch. I'll press Command N and tap to create a new file. And if I go down to my swatch libraries menu and I select my newly created swatch. I can see it will open up right here. And all I have to do is click and it'll add it to my swatches panel. I can tap on each of my pattern fills as well, and they'll get added in. You can also go to your Creative Cloud Libraries and add assets so they can be used in other files. I'll go up to Window Libraries to open up my Adobe library panel. I'll tap to create a new library. And I'll name this tap Create. And now I can drag and drop any of my assets into this space. So I'll drag and I'll drop. And I can also add my color palettes. I can even add little individual pieces of my pattern as assets. Now these will be accessible across all my Adobe apps under my libraries. Next, you're going to want to export your files in different formats depending on use. If you need to export a JPEG of your pattern for use on a mock-up or in your portfolio, for instance, you can set up an artboard with the exact dimensions you need and scale your pattern to fit. So up here I have my original artboard. To open up the Artboard tool, I can click here on my left toolbar, or I can press Shift 0 on my keyboard to bring it up. Up here at the top, I can change the dimensions. I can constrain the width to keep it a square or it's unlocked right now. So if I add, now have a 2000 by 3,000 pixel artboard. If you need a different unit of measurement, you can go up to file documents setup or press Option Command P on your keyboard to bring up the document setup menu. Up here, you can change your units to inches if needed, or any other unit of measurement. I'm going to press M on my keyboard to bring up the rectangle tool. And I can either click and drag to draw out a shape or I can click. So I can put in the exact unit of measurements that I need. And click Okay, I'll press V on my keyboard to bring up the selection tool, and I can drag it over to fit on my artboard. I can also use the alignment tools to make sure it's centered. Next, I'll go up to File Export, Export As I'll give my fall a name. And I'll choose the format that I need. Say for instance, I need a JPEG, I'll click Use Artboards. In this case, I just have a single Art board, but if I had multiple artboards, I could select all or click here to choose a range. So maybe I only wanted to export Board number two. I'll click Export. And now I can choose the color mode. Rgb is for screens, and CMYK is for printers. I can select the resolution. If I'm sending this to a printer, I would want to choose high at 300 PPI. If I'm sharing this on social media, I may want to choose screen which is 72 PPI. And in this drop-down, I want to make sure that Art Optimized is selected. Then I would tap Okay. To upload your class project, you can export as a JPEG and add it to the class project page on Skillshare. Another trick you can use when you're exporting for social media is to rotate your patterns slightly to make the pattern repeat, hard to replicate, or still. You can right-click. Go to Transform, Rotate. And I want to make sure I turn off transform objects so that my square remains intact. And I only want to transform my patterns. I can choose to change the angle slightly and I don't need to go up a huge amount. Even just a little bit of rotation will help. I still want my pattern to look normal. And I'll tap, Okay. I can also transform and scale and increase the size. Again, I want to make sure that I'm only transform it I patterns so I can increase the scale here and tap. Okay, when you go to export as you can save it as a 72 DPI resolution, I wouldn't rotate your pattern if you are sharing it with a client or a printer. But this trick is good when you're sharing it publicly on a website or on social media. You can also save this as a PDF by pressing Shift Command S to bring up the Save As option. And you want to save it on your computer. Again, you'll give it a name. Select the folder location, and select down here Adobe PDF, click Save. And you can choose whether you want to preserve illustrator editing capabilities. If you keep this box checked, the PDF can be opened in Illustrator with all of the layers intact. If you uncheck this box, it will flatten your pattern to a single layer under marks and bleeds. You'll wanna make sure that all of this is unchecked. Unless you're sending this to a printer that has requested specific marks that you need to have visible. And you can click Save PDF, whether you're sending your file to a printer, uploading it to a print on-demand site or sharing it with a potential client, you will want to find out the exact requirements for file type, scale, Color, Mode, and resolution before you export. Up next, we'll wrap up the class with some final thoughts. 20. Final Thoughts: I hope you've enjoyed this class and learning how to use the Repeat tools on the iPad and the desktop. Now, you can create a pattern anywhere with the ease and mobility or the iPad, but also quickly convert to the desktop to create a pattern swatch. I've loved to hear your thoughts about the class and any questions that you may have for me. You can share your thoughts and ask questions in the discussion section of the class. And I'd love for you to leave a review. I read every review. Reviews are also a way to help other students decide if the class is right for them. So thank you in advance for leaving a review. I'd also really love to see your work. So please upload your project to the class gallery page. You can upload any part of your process. And if you continue to create patterns and new colorways, I'd love to see those updates as well. If you enjoyed the class and want to learn more about creating artwork on the iPad, you can check out my other classes here on Skillshare. Click the Follow button if you want to stay up-to-date and be the first to know what I'm working on next. Thank you so much for watching. As always. It's been an honor to teach you, and I hope I'll see you in my next class.