Transcripts
1. Advanced Brushwork and Floral Pattern Creation: Hi there. My name is Dolores NASCAR, and I'm a veteran graphic designer, surface pattern designer and art educator. I've been around for a long time for you to say I'm coming to you from Sunny Manitoba, Canada. But it's not so sunny. I thought I'm gonna do my recording today. This class is a good fit for you. If you're on a quest to try to learn everything you can about surface pattern design. I have several courses on the subject. And with this one, I'm doing something completely different. We're gonna create a beautiful black and white Leinart and illustrator. And then we're going to take that Leinart into photo shop and we're going to use you. Don't be textile designer and a few other techniques to create backgrounds. I even surprised myself with some something really different. So that will be something that you'll see in the last lesson. Once you've completed your pattern design, you can use it for sites like spoon flour where you can print off pieces or sell them. You can sell it for our licensing or could even be used to imprint onto products you create on P O. D. Sites like Red Bubble Society six and Art of Wear Here in Canada, The sky's the limit. Really, it'll be super versatile. You'll be able to use it for lots, even if your main purpose is to use it just for social media. So I don't know about you, but I've had a love for pattern my entire life. My mom made so many quilts, and I can just remember thinking, Wow, that fabric looks good without one or I love that pattern with that one. So I loved pattern from very, very early on. I worked in a fabric store when I was a teenager and then in high school, I also worked at a wallpaper store. I distinctly remember when the Marimekko hadn't samples came in love going through those samples. So I've had lots of exposure to pattern through the years. I've done everything from absolute handmade right from scratch Pattern repeats to now, of course, working all the way into Photoshopped with the brand new Adobe textile designer extension. So I have lost to offer, and I really hope that you'll hang in there and take this course with me. I promise we'll have some fun and you'll learn all about some really unusual techniques for backgrounds. The faster we get to it, the faster you'll get done. So let's get started right away. I'll see you in the first lesson.
2. Tracing Template: you there. Glad you decided to go past by intro and into my first lesson. So what we'll do in this lesson is prepare the template. This shouldn't take too long, so let's get started. So one of the things I do is in my spare time. I just sketch out and draw tons and tons of flowers. So I've got lots that are done just on paper with marker, usually just a Sharpie. Some of them are on tracing paper. If I've got an initial sketch book kind of a scan that I'm tracing nonetheless, I end up with a black and white line drawing and just want to show you a couple of things I do to prepare the file further. There are two different schools of thought on how to prepare files for use in pattern making. If you have a good line drawing like this, you can actually just take it into illustrator and auto. Trace it, and I do that sometimes. But in this case, I want a very specific brush profile to create my line drawing. So I am going to be taking it in to Illustrator as a template. So I'm gonna show you an example of a template that I have used in Illustrator to Trace. And so a lot of times, it's something like this. This one was on tracing paper, which is why it the scan isn't fantastic, But it's more than enough for actually doing my line work over top of. So I generally have something like this. I'd have my brushes open, I'd have imported my art brushes and from there I would proceed with the line drawing. So I'm gonna be showing you how to make brushes so we're not going to use this library. But basically I would have the brush profile created, and then I would go in and do my tracing it. So sometimes when I've got some morals that I want Teoh actually adapt for use in this way , I might end up making some alterations on them or aging their overall shape. So I'm gonna work with this one just as an example, and there's so many different things I could do here, and I can do this in illustrator as well, but I want to show you first in photo shop and one of things I really like using that helps me reshape our if I need to is the puppet work. So here in photo shop, you would find it under edit, and you can see here that it's great Oh, church at the moment And that's because this is the background layer. So in order to be able to use the puppet warp, I'd have to create or make this into a layer. So I just double clicked on it and said, Okay, and then now it's a layer, and I am allowed to choose this puppet work with a puppet work mesh showing over top of my flower. Here, I can use it to reshape my flower a little bit. So if you've never used this puppet work feature before, it's really great. You can actually drop in tax in spots that you want to have remained right in place, so the tack will hold it in place. So I'm not wanting to change these particular pedals, so I am putting up some tacking place here just to kind of hold it in position. This one here is when I want to change the most. I want to actually bring it down a little bit and change the curve at the top here. So it kind of matches this one a little bit better. So I'm gonna keep this one in position. So I'm going in all these tax here. If I didn't, What would happen is when they go to move it, you see how it's so much of the area moves. So what I want to do is actually put place holding tax so that these other areas don't move . And now I can go in and start moving around the different things I wanted adjust. So I want to Actually, Tackett right here is well, so that those don't move and then no, I'm going to use this attack here and I'm going to move that little this work too. Well, I don't know. You know what I did without it before they had to hear. And four shot. And I know I could do a lot of corrections when I'm actually doing rush work, so I'm not worried about getting it perfect. I probably didn't even really have to do this part at all, but I just wanted to demonstrate that. Okay, so once I'm good with it, then I can get this check mark up here or return on my keyboard and I've kind of just altered the shape slightly. Now this template would be ready for me to take into Illustrator to trace. I like having my templates in light blue So I usually go under Hue and saturation just hit option to reset it and then been colorize it Slide the sliders to where the color shows where the colors applied And I'm gonna side along Till I get kind of a light blue Now an illustrator you can actually lighten the line drawing If you wanted Teoh, you can lighten it to kind of ah, great color But I just really like having a light blue. So that's why I go ahead and do this in four shot before I bring it into illustrator. Then I click OK, And I can save my template. Just save it into my assets folder and J pig will be just fine. Tip would've worked too. And now when I go into Illustrator, I can create a new file and use the place command. You grab my help line that I just created. I can pull to whatever size I want. I'm gonna just kind of make it a medium size. And then what I'm gonna do is lock this so command or control two will lock down into position. I'm on a Mac, so I'm gonna do command to and it's now locked. I can't move it, and I'm ready to start my tracing. So I do a fair bit of manipulation on my document at times before imported into illustrator . So that would include things like the polarizing to the light blue hue that I like. And like I said, I could use the puppet work to manipulate or anything else. And then my template would be ready to import into Illustrator to start my tracing. I'm actually to work with this pattern with you today, and I'm gonna show you how to create the brushes using this flower. We're gonna end up working in this pattern block that I've created for this pattern. So for now, we're going to just work with this just to keep it simple. And the next lesson I'm gonna show you how to build the brushes and start that lying work so we'll see you in the next lesson.
3. Creating the Brush: So in this lesson lesson to you learn all about creating the illustrator brush that you're gonna use to do your line. ARJ Let's get to it. I'm gonna show you how to make a brush here in Illustrator. But the scope of this course is more about the pattern design. So I'm only gonna spend a couple of minutes and we're only gonna make one or two brushes. Then we're going to proceed into the actual composition of the pattern tile. So skip in large here because I want to create the brush pretty much at the size that I'm going to be using it. If you've taken my other classes, you've already created this brush. I'm going to show you real quick. I use a simple, elongated ellipse, and it's gonna be filled with black. And then what I do is I go into the ends here, and I'm going to change that point here to be a corner point. So I'm gonna convert it by clicking up here and the options bar, and it brings it to a point. And then I'm going Teoh scroll on over to aside and do the same thing. And so when you see my brush, It's at approximately the thickness I need And the art brush is ready to be creative. I'm gonna take it and I'm going to drag it into the brushes panel. I choose Arte Brush here for the new brush like okay. And at the moment I'm not going to change any of thes different options. You can make changes here with what controls you were Witness of your brush. It can be controlled by pressure. In this case, I'm just gonna leave it fixed cause particular example. I'm just going to show you all with a fixed width. And generally I choose tins here because that way in the future, if I use this brush for anything else, I can actually tend to attacking color it without having to go back in here and changes. So basically, that's my process for creating a brush. I click. OK, delete that. Then choose my brush tool by hitting be on my keyboard or clicking over here and the tools panel clicking on this brush. And then I'm ready to start doing my brush work. So that's pretty much it for how to create the brush. It's super simple And now, as I do my brushwork, I'm creating a nice line that spin and thick, which is exactly the process that I used to create all of these flowers here because you have got different thicknesses. And that's like I said, You can control that based on your settings in your brush panel here, and that's all covered in my other courses. So I'm not gonna dio a lot of detail here now. One of things I usually do, as in going along when I'm doing this kind of a drawing is I will peddle a relief and then I'll go in and I'll select the endpoints of all the lines by dragging over. Such is dragged over. You can see here that these anchor points are not solid, so that means they aren't selected. These are soul it So they are selected. And then I'm going to do manned option and J. And that brings up my average and this allows me to put those points directly on top of each other. I've got it on both here I click OK, now there absolutely in the same place. So that's just it saves me a step later on because I don't want any of the past to be open when I go into four to shop. So I go through and I do this as I'm drawing. It's just faster than going and trying to do it. Afterwards, I could see here that I've got a little jag on this line, but get rid of and I'm switching back and forth in outline, view or wire frame you by using the keyboard shortcut command. Why? So that's the basics of making your rush and getting your line drawings. So in the next lesson, we're gonna assume that you've already gone through and created your template and done a lot of racing's of your flowers. And I'm going to start talking to you more about the actual creation off the pattern tile. So I'll see you in the next lesson.
4. Composition of the Pattern: you guys welcome to less than three. So in this lesson, we're gonna talk about composition and probably the next couple lessons. We're gonna be focusing on that completely before we actually start. I'm going to talk a little bit about my archive of usable parts. So this leaf is something that I didn't have in my original drawing for this pattern. But I decided to use it as a good filler item for this corner here. So what I have is a huge folder that I call flower Parts. And in this folder are just a ton of flowers that I have done that are basically just single usable flowers or motifs. So in this folder, I can often find great little fillers. And I think this is one of the ones that I use is going to actually open this up, and I'm going to show you how easy it is to just copy it over from my archive and put it into my pattern. And all our times, I just kind of keep a bunch of extra things here to the side, or I go through and quickly make him into brushes. You can see that one of those other brushes that were on that document has actually been added here as a scatter brush. So what I would do is just take this, drag it in here. In this case, I think I'm going to make it into the scatter brush as well and click, OK. And of course, I've got all of these different options that I conduce Teoh affect the shape and size of my gosh. I'm gonna leave it like that for now because I'm not even sure where I'm going to use that sums gonna click, OK? And so once it's over here, I can delete it. This is when I didn't add. So I'm just gonna leave this one here in case you can use it somewhere. This brush here, you can see now that I can use it anywhere on my document just by a single click or as a scatter brush. I can actually draw path, and my brush will be applied to that line. One of my other horses teaches the creation of a scatter brush and just like any other brush, it could just double click on it at I can affect it by adjusting a lot of these different things here. So that's adjusting the size that's adjusting the spacing so I can use these sliders Here is long. I've got my preview on. I can see what's happening with my line, and in this case, I haven't got pressure sensitivity. I could do that if I wanted to, but I just want to go through the trouble right now of explaining all that, because I do cover that in another one of my courses. So that's how easy it is to affect the brushes. And having account log of useful brushes is super handy when you are working on pattern design to be used in the background like this as feelers. So I am going to use that little flower maybe right here, and one of the things that you can do to adjust the size as well is to double click on the strokes palette. Here you can use the line. Wait Teoh, adjust the size of your flour as well. So that's just another quick little tip. Their Teoh help you out, and I've already been doing a lot of work on this tile here. Teoh, try to get my repeating pattern to work properly, So it's different than this one I created because there's no way I could go back and figure out what I did there. But you could see that there are things in this one here on that are different from this one. So I am just going to continue working away at this one, and I'm going to explain things as I go along. So when I am testing my pattern, what I do is select all my artwork and then you go to pattern and make. So you see my shortcut. There is the command key and the apostrophe. Okay, So I would suggest if you don't have that shortcut, create the shortcut for yourself because you're gonna be using this a lot. So I do command apostrophe and tells me the new pattern has been added to my swatches panel . I'm going to say OK here, and I know that I've set up my child to be 10 by tan, so I'm going to change these sightings here to 10 by 10 and take a look at how my pattern is shaping up. So the reason that this one flower here is actually showing as white you can see that on this dark art board here. The reason it's showing in white it's just because that one already has been expanded and has a Phil. And I'm gonna explain that as I worked my way through this project with you. So overall, I'm seeing that, you know, the pattern is generally working. There's a little bit of an issue right here where the flowers are touching. So I'm gonna make some adjustments there. And over here there's a lot of overlap in these little florals over here. I think that created these with the scatter brush, so there are some adjustments to make, and there are a couple of different ways I could do that. I could do the editing right here in my pattern template mode or my pattern testing mode while I'm in my pattern auctions. If I click on any of these, you can see that they're still quite creditable. I like to actually take a screenshot, says the way I do it. Everybody is gonna have a different process, but I like creating a screenshot. I find it's a little confusing working here because this pattern tile does not match up to the art board, and and sometimes it's just a little bit confusing as to what I'm supposed to be adjusting . So I personally like making a screenshot, which I do real quick with a short cut a man shift for move my cursor over here. As you can see, when I do command shift for I'm giving these cross hair and Aiken dragged across here to whatever area of the screen I want and it takes a screenshot. You see, that shows up over here. It's so remote. A place my screenshot so real quick. Just place it has saved to my desktop. One of my desk talk. It'll be my most recent screenshot, which is this one that will check the times. You did this already. Once earlier today, I'm gonna grab this one. This is a more recent one and a bit hit place, and then I can just drag it to wherever I want what size I want. So here it is here, so no, I've got this reference. I can be size it if I want to make sure that you heard of this guy over here, so I don't think I'm going to use them But now I've got this reference here. I can lock it. I don't want to move. I'm going. Leave it unlocked so I can move it around. But this way I can kind of refer back to it and see where my problem areas are, So I can see right here. I caught those that big leaf I imported and placed kind of overlapping where I don't want it to. And then a lot of stuff. Any to adjust here with these little flowers, which I kind of expected. So I will start doing that now and I want to do is like a drank silver a little bit closer . I want to elect this leave here. Got it already. Group, which makes it easier. And you can see here. I want Teoh make it a little bit smaller. I can see that. I also may be want to make this part of this leaf stick out a little bit less So I want this to be pulled in a little bit. So I'm going to use the illustrator profit work tool. So unlike the photo shop wine, you know, in the photo shop I had to go under edit to get the puppet work. I have my puppet work actually here because I use it so much as a tool. If you don't have it in your toolbar, you can grab it from your main tools panel. If you want to make changes to your toolbar, like on these three dots and you'll get to the tools drawer. So if you click here in the upper right hand corner, you can check advanced tools and that will give you all of the tools on your to a panel. Now that I've got it selected, you can see here. It's very much the same as what I had in four shop, where I have these little packs that I can use to lock the position. I'm going pretty much lock it in everywhere that appears to be okay to me, and then I am going to start moving them around. So this one I know I wanted to just move in a little bit. Now if I wanted to make sure that it stays put right here in here, I could put Paxian, and then when I pull down, you can see it's on Lee affecting that one leaf. So I would do the same thing over here where I would click anywhere that I want stable. And then I can use one of the tax to actually whole and adjust the position of particular pedal or particular part of the leaf. This is just super helpful with pattern design because you're always working with white space that you're trying to fill. I just don't know how I would have done this before because it would have taken a lot more time to do this. But you see how I could just pull it in to fill in some of the spaces that I want filled, and that's invaluable. Okay, so I've kind of done what I want here. And I could just hit any other tool here, and all the adjustments are applied. So we're gonna keep working on our competition in the next lesson. I'll see you there
5. Filling Out the Background: Hey, guys. Well, we're getting there. Hey, so in this lesson, we're gonna focus a little bit more on doing some feeling in of the white space and background elements of our pattern. So I'm gonna continue with all the fine tuning of my pattern here just to center it on my screen, I'm gonna hit command one. And I don't know if you guys use this navigator panel, but I use it a lot, especially when I am really enlarged on something. And I want to move around in my document rather than using my hand tool that I can access with the space bar. I find that it's super fast and more accurate to be able to just pull this little box around. So I've always got my navigator right at the top and easy to access. Okay, So the next thing I wanted to do was to make some adjustments on these flowers here, and you can see here on my screenshot that there are a lot of problems with those flowers overlapping on my big sunflower. So I'm going to delete a bunch of these at the bottom, and then we'll go from there, so I'm leading this group here and just move this over here. I'm going. Teoh, I think I'm just gonna move this one, See if I can put it over here a little bit smaller and shorten this stem here. How far do I want to go? I'm going to use the C e. So I'm hitting. See, which will give me the scissor tool and I'm gonna cut it right about here. So now I can delete this portion of the path without deleting the whole path. And so I've got that cut down, and this one here has to move up a little bit. So I keep referring back to my screen shot there, and I'm gonna hold my auction and shift key to select both of these together and actually this one as well. And I think I can slide all three of these up into this area here. And it's so easy to test the pattern that really I could stop here and do a little bit of a test, but I can see a couple of things that I might as well do while I'm here. This area here, So right in here, I want to do a little bit of Phil. So I'm going to open up my little stockpile of flowers and see what I've got that I could use to feel in here. We'll back into my flower parts and take a look at what I've got here. I'm actually gonna look at it as icons so that I could do this really quickly and see which one I'm going to go with this little tiny striped flower. And this one, I could see I've already expanded appearance on there. So it's not paths anymore. It's actually shapes making up this flower, but that's gonna work just fine. So I'm just gonna You know that, and I'm gonna paste it. Sure it's grouped, man. She makes sure of that for me, and I'm going to reduce the size of it. Now I can see right away that I don't like this one because the style of it really doesn't match the brushwork that I've got on these over here. So I'm actually just gonna delete it, and I'm gonna look for another one. So maybe this little tiny one I called begonia copy paste shirts grouped and the number to resize it and that one matches the style off this artwork a lot better. It's got the thin then thick lines. These were still strokes, so I can still go in and change the thickness of the stroke by selecting. So the ones that I want to change So I was gonna option shift select. So I get all of these outside ones when you go to my brush palette, and I'm gonna experiment with different brush thicknesses. So that was not bad, actually. Already, I can see that that matches that quite nicely. So that shows you how easy it is to adjust, long as they're still in pass. We haven't been expanded. So the area that I was working with is this area here. It looks like I would have to you all the same. Tighter, maybe making a bit smaller. I'm going to do that. And then I'm going to grab this one here. I'm auction, dragging it so that I get a duplicate. You could see have a double arrow there, and I'm going to make that one smaller. Okay, so I got spittle flowers there. That should likely fill this area pretty well. Quickly access my main selection tool I hit V on my keyboard. Get to it really quickly. And if I want to go to the direct select really quickly, I hit a on the keyboard. You can see I'm switching back and forth using just V and a Let's be That's a so obvious for moving. So I got a couple done there that can use this, this one over here as well. So I'm gonna move that into here, make a little bit bigger in this spot and may be rotated a bit, so it doesn't look exactly the same. And I think I'm want Teoh test my pattern again. So I'm going Teoh elite that for now Leko hit my Adam shortcut, which is command apostrophe, and change those settings to 10 by 10. And I've got this is a just regular grid pattern, As you can see over here, it looks like those old flowers worked out OK, here. This leave still needs a bit of adjusting up here, and I still got extra little flowers going on here that need to be adjusted or removed. I mean it. Just tape out of here. That's a whole group. So I got an option shift. Select that one to get rid of it of the group on. And I would like this one to be a little bit bigger. And then it was believed this one here, that this particular leave here that I needed to learn a little bit. So all of my previous tax are gonna work just fine. And I'd be those three changes real quick. I did notice also that I've got a bit of a hole here, so I'm going to feel that, and I think I'm going to use this flour here. This is a scatter brush so I can actually go into my brushes and just select that one and use my brush tool. I can click here and let's use my broke settings to adjust. I don't know if you saw there. I used the move Tool selected it, and then I just used the transform controls to pull it to make it a little bit bigger so you could do that as well. So but I was quicker for you. Some people like the position of being able to actually type in an actual measurement. You can do it this way. It's one of those things that knowing all the different ways you could do it is ideal because then you can work according to what you like, what your preferences are. And sometimes it works best one way, and other times it works best another way. So it's just it's really personal preference. So learn all the different ways you can make the changes, adjustments and you'll find that that's much easier. So we're getting closer, closer to finishing our pattern, and in the next lesson, we're just going to continue with the fine tuning, I'll see you there.
6. Fine Tuning, Checking and Testing: guys, welcome back. So I call this next stage kind of fine tuning of our pattern. The first thing I'm going to talk to you about is thesis cattle brush, but we're gonna cover a lot of different techniques. Transform Tool doesn't work on the scatter brush. So I use the strokes palette. Teoh, control the width of my line, which controls the size of my brush, will try 35 That looks good to me and kind of move it to using my arrow keys and about another spot field so you could go nuts here, feeling all the white space. Personally, I often leave this till I'm working with the color because a lot of times I'm going Teoh make fillers in the background in different colors on a different layer. So for now, I just want to really double check all of my florals. And the reason I want to do that is to be sure that I have no little flaws like this. So I go in really nice and close and I make sure that those kind of things are adjusted most of time. When I'm creating the flower, I'll do that. But I didn't so that I could show you this. I'm going to do that Drag select right here in the middle. I'm on my direct select. So I'm just drag selecting rate in the very middle here and you can see everything else is still hollow Anchor points. The solid ones are the ones that I'm going to effect. I'm gonna do command shift J and hit OK, And that aligns all of those in the middle. This one looks like this one here. Notes. This one here. I'm going. Teoh, cut this one off. So I'm going to use see keyboard shortcut and eliminate that part of the line. This is one of those times when using my navigator really comes in handy and I'm going to scroll out a little bit and I'm gonna go through and check. So sometimes I'm using my hand tool to move. And sometimes I'm using my navigator. So if it's very short distances, the hand tool works just fine. And if I want to move here across the other side, then I would use this navigator. And at this stage of game, I used to keep it open here so that I can do this really quickly. Now the other thing I check very carefully or is making sure that there are no open segments like this. If this was open, this would be a problem when I get to photo shop. So I make sure that in a case like this that I do that averaging to make sure that that path is closed there. So, command Option J. Is your friend right now, and I can see I've got something hinky going on right here. So I'm going to make some slight adjustments. There's that I try to do. It's much of my repair work here in Illustrator before I take it into four shop. Just because it is sometimes easier to do this here, kind of moving around real quick here, just checking me. Some of these things can be erasing forward shot, but it's just more time consuming to do that. Here's an example of a spot that is open, which would have caused the problem when I'm in photo shop, so I'm going to spend a little bit of time making these changes and adjustments, and I'll just time lapse it so that you can see what the finished product will be like Sometimes in a case like this, I will overlap it slightly because sometimes for shop will create a little gap there. So overlapping is a is a good idea when you've got something like that to really thin points of the line meeting and overlapping like that, or just meeting is usually not great when it's just the thin parts of the line. Now what's that? Okay, you may have to at times switch into wire frame so that you can see what's going on. I'm trying to figure out what this line here is, and it looks like it doesn't have to be there at all, so I'm getting getting rid of it. So in this area for this flower here, I wanted to show you a couple of advanced techniques that I use. So I want to add. But I want to thicken the outside strokes here of the little wherever they are in the middle of the flower. And I wanted to be like a thicker outline all the way around the outside. So I've just selected that same brush stroke, and I am going to just basically draw a second line here and I'm gonna have it fit around these other circles. Now you can see that that snapping was affecting what I was doing. So I'm going to go in and double check what I've got here. Snapping. Looks like everything stabbing. So I'm gonna turn all of this off, and I'm going to go and turn off the smart guides that will allow me, Teoh move points without having it be affected by the snapping and by the guides here. I want to just eliminate that point. So I'm going, Teoh, hit the minus key and delete it and then go back to my brush tool and continue. Just thickening just the outside I don't want I don't want the inside lines here to be thickened, so I'm just working on the outside here, so I'm kind of following the shape, but just thickening this part here. Hey, so gonna work my way all the way around and make adjustments wherever necessary, But while I'm on the brush tool, I can hold down my command key Teoh access my directs electoral so I could make the adjustments kind of on the fly way. So that's one of the things I want to show you over here. And the other thing I want to do was to add some more of these smaller pedals over here on this side. I've already got on my brush work here, So if I was to just draw a pedal here, obviously it's not going to cover the lines of AC drawn. And I don't want individually go in and cut all of these lines or move them. So what I'm gonna do is I'm going Teoh, change the fill of this particular stroke that I've created right now, all the brush strokes I have on this entire document have no Phil. But in this case, I wanted to have a feel. So what I'm gonna do is keep that as that path is selected here, I'm going to change it to have this white Phil and that does a great job of hiding those other lines in behind, but also now hidden the middle of my flower, which obviously I don't want to have happen. So I'm gonna open up my layers panel and I hope that I have grouped this and I have and so I can find this group by scrolling down and looking at these. See the dots on this side here. Once I see one that's selected, which will be a little square, then I know that I'm in the right place. So if I was to hide, you'd see that that was now the entire group. So what I want to do now is I want to move this to be above this one here. So I'm going. Teoh, just use my shortcuts and shortcut I'm using for this is command bracket and mad bracket brings it up. One leader at a time and command shift and bracket brings the whole group in front. So it has now changed the location of that group here in my layers. You can see it's now the front most group, and it is now over this pedal. So that worked out just great. And it was really quick. So I'm gonna do the same thing now I'm going to draw pedal using that same brush, and then I'm going to select it and fill it with white. And again, if you look at the layers, you'd see that that new drawing, that new pedal is in front of of the circles and by default. That always happens. Whatever new item I draw will be on the top of the stack, so I could use my shortcuts. Or I could go into this layers palette and just move that down. Now you can see my outlines that I had drawn. The thick and line thickening is also covered, so I hadn't group that with my other parts of the middle of the flower. So I'm going to go into a wire frame mode. I'm using my shift key to select all of them and come back to my drawing mode, and you can see where they are here, these three in the layers palette. I can either select thes three and just move them up. Or I could have used my keyboard shortcut, command shift and bracket. So that's just one of the ways to quickly do something to cover up lines that are already there. Okay, No, I'm going to break this line here when you see, do you cut it and break it? Because I would like this part of lying a little bit dinner. I could select another brush. That's one way I could do it, or I could just go into my strokes palette and reduce it in this way. That works just fine, too, as you can see him just kind of slowly working my way around and fixing all of these little things that I now want adjusted. And that's the process. I'm just gonna drag and select right here and average that to make sure that all those points are touching or working nicely together. That's when they shortening still and I'm going to continue doing this and I will Time lapse it for you to see and I'll just stop when there's something important that I want to explain. So this was another spot where having it filled in white was really helpful for covering up lines in the background. I also want to show you real quick what I can do to extend a line rather than just pulling that point there. As long as I've got the lines selected, I can actually brush and it'll connect to that original line and just extend the line. It looks like I'm kind of getting to the tail end of my little fixes. Something's after and large pretty during big, to see if we ever want to go to just fill my screen command. One is the shortcut for that. So I think I'm going to do another test of the pattern right now. The select all that my shortcut command apostrophe and just my settings here to see what's left to fix and adjust. Wouldn't mind making this flower a little bit bigger filling this space a little bit and then I'm gonna have to deal with what's happening down here with the stems. I don't want to leave this area open because it's gonna affect what I'm gonna do with you and put a shop. So those were things I'm gonna have to adjust. So I'm going to do another little screenshot that encompasses those two spots. Actually, I'm gonna do one that includes this area in here because I want to fix that up a swell hit escape. Whenever I want to get out of editing mode and I'm going to place that you can see here. I've actually got a short cuts of my place, command and command shift p and Dr to my desktop and select that last screenshot so I can now take a look and do some repair work here. I'm going to time lapse set for us. So you have to sit here and watch every little thing. I dio could actually duplicate this flower here so I can work on these little stamps here, and I'm gonna change them into a guy just to help me out of it. So what I'm gonna do is select this flower. Hopefully it's all grouped. Yesterday is and I know I've got a tenant. Repeat. So I'm going to use my move tool, and I'm on the selection tool right now, so I hit return. I can use the move tool to specify exactly where I want it to move to a preview. It can see I've got my article set, a tan of hit preview, and I want to make a copy. They don't want that original one to be gone, so I'm gonna hit copy here. So this is now position where I need it, but I don't want the actual Leinart there. I just want ah guide created so you can go under view two guides and make I know that the shortcut is command five and now it won't print. It's just there is a guide and I can get rid of it after when I don't want it anymore. So let's take a look here. We're just going to enlarge right here. And I can make adjustments here on my artwork to have it meet up with that flower. E think in this case I'm going to do You knew this line. So I've selected that line and I'm just re brushing down to this area here, and I can still go in and make adjustments, obviously. So I'm going to actually get rid of a couple of these points, press the minus key on the keyboard. I can subtract points and course I could just individually move things that I need adjusted . Actually delete that point when doing a really long curve like this, it's actually easier to have less points rather than more points. So I'm getting rid of a bunch of them and then I can just use I'm going to get rid of that one, too. I can use the handles to just make a nice, big, smooth curve and adjust everything else you fit in with it. Some wife addressed that problem with E stems. I'm going to move some of these. Obviously, we're touching this plant. That looks pretty darn good. Let's see over here. Now, there was this spot over here that I wanted todo something with that I think I'm going. Teoh, repeat this flower maybe slightly bigger. They get rid of that screenshot unless get rid of this guy down here. So under view, go to your guides and you can clear the guide or you could just hide it. I'm going to clear it completely, and they're gonna select all and we'll give this one a test run and see how it ISS and Yep , that's worked perfectly well down here. So all my lines connect like you look at this. So off camera, I added a bunch more leaves here and went in and did it were filling in the background. And I think that the only thing I haven't showed you is just doing some quick adjustments on some of the line thickness is so something like this. If I wanted the line to be a little bit thicker, you know that we could change it here with the strokes palette, or we could change the brush settings by double clicking on the brush, But I want to just quickly show you this with Tool because it's sometimes handy to use. So I've got it selected here, and I've got that path selected. And you see, when I hover over the line that I get a little white anchor point there, that anchor point, I can just simply pull on to make my line thicker, and you see how it thickened the line for me. So that's just, Ah, quick tip that I don't think I had in any of my other courses. I'm getting pretty close to being ready to go into photo shots. I would have cut this lesson short, and my next lesson will be all about finishing and finessing or tile. We'll see you there.
7. Finishing and Finessing: you guys Well, so we really are getting there. So it looks like, really, at this point, all we're doing is really finessing our final design. So let's get started right away and try to get through this as quick as we can so we can get on to the next stage. I've been doing a lot of adjustments here, and I want to add some leaves here and there. So I've copied one of the leaves from over here. This leaf and I pasted it over here, and what I want to do is create a brush face on this. Particularly five. Got it. So that's feeling with white, which will allow me to paint over other lines and block out whatever lines air in there, so to create the brush. Basically, it's the same technique as I've used to create all of my art brushes, and I'm just going to straighten this up a little bit because it's a lot easier to control the brush if it is drawn at a perfect 90 degree angle. If you've taken some of my other classes on rush creation, you'll have seen me talk about this. So I've got this fresh complete. I'm going, Teoh, select it and drag it into my brushes palette. I'm making it into an art brush. Click, OK, and I'm not going to change any of these settings because I know my brush is going to be the size that I need it. I've created the brush and it's down here on my brushes palette. Then let's just give it a test run. Okay? So there's something happening here where the inside line is not showing. So I'm gonna keep that brush. But I'm going to make another one. And in this case, I'm going to expand the appearance of all of these lines so they will not be strokes anymore. I have selected the whole thing. I'm gonna go under object to expand appearance, and you can see here that it's created actual shapes and I'm gonna go into my Pathfinder and I in the shapes. So let's try dragging this one into the brushes palette and then giving it a testorides. Oh, this is the brush here. I'm going to switch to my brush and you can see here that it's drawing a leaf. And if I go over other lines, it's filled with white. It covers where I need it to. Okay, I'm gonna erase all of these, and I'm gonna go ahead and paint in some off the leaves that I wanted. You got the right one Selected brush tool and heat belief. So it's doing exactly what I wanted to, which is to cover the lines in the background. Okay. And they're fully closed shapes. So that's gonna work when I take it into four shop. So I've taken a few minutes off camera Teoh. Absolutely. Finalize what I want my designed to look like. And I'm ready to actually reduce my final pattern tile. So we're gonna do that now. One of things I want to do is just changes Interface back, toe white. Just to make it easier for us to visualize how the patterns going to look do that real quick by going into preferences and the shortcut to get to preferences. Command chain a few hot down here to user interface where it's got campus color, you can choose white. So that's what I'm gonna do. That just will make it easier with me, the whole pattern filling up the screen. So I'm gonna select all and use that shortcut that I have the command apostrophe. It'll open up my pattern Options dialog box so typed in 10 by 10. And now we could see my whole pattern repeat on the white background to see how it looks, just to see if there's any final adjustments I want to make. I've done this a couple times. I've made my final adjustments, and one of the other things I wanted to point out to you is that I can turn off this blue line here, which shows me the edge of the tile by un checking this show tile edge. That gives me a really good idea of how the pattern repeat looks. And I'm really happy with that. It's gonna work for what I want to do. So I'm going to save it. And you're going to get out of this editing mode by pressing this arrow here to exit pattern editing. Or I could just hit escape. You're probably wondering why I've got this one leaf here, way out in the margin. I don't know what was going on, but for some reason, when I did the pattern repeat that pedal right here was not showing up for me. No matter what I did wasn't coming up. It's part of my pattern. So I duplicated it over here and make sure was in the exact same position. And I did that by selecting it. So I bought this all selected, and I'm on my move tool here. So I have to do is hit Return and Aiken type in minus 10 as my measurement and just hit copy and previewing it. So I know what's doing it right in the right spot. Okay? And that gave me my duplicate leaf. So then the pattern repeat work. So don't ask me what that was all about. Sometimes you just have Teoh figure out workarounds and do some creative problem solving. Now, the other thing I like to do is I like to save this exactly as is on this art board. Just in case I ever need to go back to edit. I want to create another art board to do my pattern tile on my fully filled in powder tile . So I've selected the art board tool and I'm going to just stronger randomly sized box here because I know I can go in here to the control panel at the top here and just type of my measurements. Exactly. So I know that that art board is 10 by 10. Doesn't really matter where it's positioned, and I'm gonna make a rectangle actually a square. But using the rectangle tool, which I can access with em on my keyboard or by going into the toolbar here, same thing. I'm just going to type in 10 by 10. And actually, that was already set from last time I tested. I guess so. I'm gonna hit okay here, and I want to make sure it's perfectly aligned and has no stroke or fill. So I'm gonna take off that stroke and I'm going Teoh, align it to the art board. So I've made sure that selected and I'm going to hit the center aligns for both the vertical and horizontal line. Now I know it's absolutely perfectly centered. So gonna fill my tile with that last watch that was created and it looks really good to me . Let's hope that everything is fine on it. And now I am going Teoh export this art board. I'll probably even export both of them. But I'm gonna do is file and save ass right now, it's a AI file, and what I want to do is save it as a pdf, and I'm going to save both of the art boards. I could change is if I wanted to. Just the one I'm gonna replace that test that I did before, And I believe these are the defaults, but you can just double check. You want a really good quality. You don't want it to down sample. You want the output to include the color profiles. I would just include all profiles and I'm gonna save pdf. So we're done here in Illustrator, and the next thing we're gonna do is going to photo shop and import this file. So I'll wrap up this lesson and I'll see you in the next one.
8. Importing to Photoshop and Testing Tile: Well, we're finally there. Guys were in the lesson where we're going to import this Watch into photo shop and we're gonna start working on our color background. Let's get started. So now in for a shop. I'm going to open that final. Pdf, we choose our poor number two. I do want it. 10 by tan, 300 pixels per inch and RGB color. Everything else seems to be okay here, so click. OK, so it opened up my pattern and these two panels are for the adobe textile designer Plug in and we'll talk a little bit about that later on in the lessons. So I'm just going to collapse. Sees for now. So my pattern is open here now, and that is a perfect repeating photo shop pattern tile so I can select all under edit to define pattern. And I've got a keyboard shortcut set up for that and I will have a perfect I'm gonna call it Black Line art pattern tile. So if I was to create a new document, let's go 20 by 2300 pixels per inch. Everything else over here is great. I've got that correct RTB profile, but it created it, and I'm gonna make a new feel layer. So a new pattern feel Layer. I've also got a shortcut for that command auction shift J. And it brings up the pattern fill. It will be the last pattern that I created. So I'm gonna hit, OK? Or I could go through here and and choose, you know, any any other pattern that I created. But I know the last one is the one that I watch. So I've got a perfectly repeating pattern you can see here. Looks great. Like everything. Is there nothing missing. So I'm gonna go back to the final the pattern final here before it was made into the black and white pattern tile Because I want to now add color. And this is where, having carefully checked all of my shapes to make sure that they're closed. This is where that's gonna be important. I'm going to know, take a couple of minutes. I'm gonna use the magic wand tool, and I'm gonna go in and select the background. So what I'm doing is with the magic wand tool just clicking in the background area, I've selected sort of the main area here and to add to that selection, I just hold down my shift key while I am clicking. You can see there that that has added a little plus sign to my magic wand, and that's what's allowing me to add to my selection. So I'm gonna zip through this real quick, and then we're gonna fill that background. So when I feel as though I have selected 90% of it, what I do is create a new layer and fill it with the color that I want. And I think I kind of want rich turquoise e blue, not super dark, maybe a little bit bluer and grab my Pete bucket over here and I just fill it in. So it's pretty good. I can see that I've missed a couple of little areas like this. I think this one along here. But I could keep this color that I've done so far. I'm gonna flip back Teoh the black and white, and just to be on the safe side, I'm going to save this selection before I start doing anything else and I'm gonna call it you. Call it whatever you want. I usually call it first past or something like that for his past, for color and hit. Okay, The beauty of doing that is if I accidentally de select somewhere, say, and you select it. Oh, my God. All that work is lost. I can just go under select toe load selection and loads the first path for color. You can see I had another one. They're identical. Now my selection is back. And so I want to add these little areas in here. So I'm gonna enlarge over here my magic wand again. Make sure I've got the plus key, and this doesn't even have to be selected anymore. I could actually just de select start selecting the areas that had missed. There was something down here on a little bit here. And you're where else? Have a lot? Looks pretty good. Looks like I've got it all. Here's a little spot right here. So go up here to select it and, oh, no, it's selecting everything inside and out. So there's something wrong here, and I could see immediately. That problem is that this area here, it's not completely closed. So that's a problem stemming back from the illustrator file. So if I was to go back to my illustrator file and locate that spot. Sure enough, that was not closed. So that's pretty good. If it was just one, it's not so bad. I could go in and join that and re export it and all that. But I think I'm just going to you really quickly just de select here. I'm going. Teoh, add what I've already selected here to my other selection. So I'm gonna go back, Teoh, save selection and get that first past for color. Right now, I'm going to add to the channel and say OK, and you might wonder why it says channel. But that's because that's where that selection is being saved. Gonna get rid of this one because this is the one that I'm currently working with first past for color. So to go back to my document, just click back to the full RGB and to my layers. I am just going to make that little repair right in here. So I'm just going to select, get my brush here it's black. Make sure I'm on that outline layer and just quickly draw the end of that path that you can't see it because it's being covered there a little bit. With that blue overlay we will eventually sent to the back. But now that area has been filled. When I go back to that and use my magic wand, I can cut it out of here. It has switched back to block here because that's what I was painting with. So I'm just going to grab my eye dropper and sample of the blue color here. I'm going Teoh go under edit to fill the foreground color, which is now that blue looks like that's done the job for me. So I want to make this into a pattern. Tile, when I want to do, is make sure that these two are flattened, so I'm going to select them both. And I am going to put them into a folder, duplicate that folder by dragging it onto this little folder icon at the bottom and flattening it using the keyboard shortcut. Command E. So now I've got this tile defined the powder that's going to save it into my swatches. And let's just go ahead to the other documents and Estep, we're gonna get rid of that black and white layers. I'm gonna make that knew. How did feel Layer gonna say, OK, and there is my lovely pattern. So do you see anything? Have I missed? Anything that can see is right here And there's another spot like that right here. And I think I caught something else right in here. So I'm gonna quickly go back and just fill those areas in. So I am going. Teoh, get rid of that group. Open up this one again, And I'm gonna use this to refer so around my little flower down here be. I see that now, right? So this is one of the spots here? Sure, my, my black layer. Selecting that one and middle or in this leaf, Where is that sucker? Right here. And the other one was down here in my little tiny flower, This one and this one in this one day back to this layer drop in my blue again and that has just go under edit to fill. And all of those spots have now been filled. So let's take one last look at this one and just make sure. Yeah, it looked like right here. This leaf right here and that little flower. So I think we're pretty good now. So I'm going to delete this one. Go back to this and she placate the group. Latinate Command e at it defined pattern on. And I'm gonna call this one final color and let's get give that one a test run. So command option ship. Jay's my shortcut. New pattern feel layer. Okay. And looks like that problem has been fixed. The area there is good. That leaf, that leaf I see once for here. See that? So I missed that as well. And this little spot here so admitted to keep that on my screen one more time. No, but it's hard to tell when you're doing it like this, but it's that leaf that's at the end of that big stem. So not this one, this one and it's the repeat. So it's thistle spot right up here for use my wand and select that spot he select liken, selected with the magic wand on and spot right here. So like that with a longe border, that colored layer and edit bill foreground color. Okay. All right, let's test up. It seems tedious when I'm explaining it. Honestly, it really doesn't take very long. Once you've done this a few times, it's pretty quick. Teoh fill in all the areas in the background, so select all the flying pattern. Delete this layer and make that new layer. Okay, Looks like I fixed all of the problems. So that's perfect. So it looks like we've accomplished our main goal to create the pattern tile with line arch and a solid colored background. And like I said at the beginning, now it's time to have some fun and experiment with different ways that we can finish this pattern. So in the next lesson, that's what we're gonna do. I'll see you there.
9. Exploring Backgrounds and using ATD: Hey guys. So this is one of my final lessons. What this system will focus on is creating some unusual backgrounds, and it's really experimental, so I hope that you enjoy it. It usually takes a while to kind of figure out what look you're going for. And I really believe that experimenting is part of the artistic process that gets you there . I also wanted to remind you that Adobe Textile Designer it is available here for reviewing patterns and experimenting with color ways. I'm going to open up the textile Designer so that we could take a look at our pattern here to review a couple of little things about the panel that I've covered in my last courses. So, as you can see here, I've got my layer reviewing. So my pattern is here so I can see it repeated really nicely, kind of just dragging it around with my hand tool here. But you can also enlarge and reduce the pattern to take a look at it. Like I said, all of this, I've got covered in my other classes. We did just a straight grid repeat. That's what I created when I was an illustrator So that's why I've got this selected is grid and you can see that everything worked out beautifully. So just real quick. One of the first things we can do is take a look at different color ways. And this is the Color Ways panel from the Adobe Textile Designer. And I reviewed this in my last couple of classes, so I won't spend too much time on it here. So basically what you do is you choose the number of inks you might have been told, how many you could use by manufacturer, or maybe want to just use this for experimenting. There's very few colors in here. I'm gonna put three, and that should probably cover the blues. Any graze that there might have been in this document, the black and the white actual ist change that before and you can base it on a color reference. But again, it's like these may be dictated to you. I, your manufacturer. So I just wanted to show you quickly an experiment doing this, and we're gonna do a quick separation here. So you hit, create separation and your color list is gonna come up down here and you can see over here in my layers panel that the color references have showed up here. So if I had based that on color reference like a Pantone color book, these would come up in the Pantone colors. I could export save this separation right now exactly as is, or I could have a little bit of fun experimenting with color. So let's experiment with maybe just changing the color of the flower. So the white is the color of the flower. I am going to click on that color, and I think I'm going to try it in just kind of a soft yellow like okay. And I have now changed the color. So that's something taken. Do you right here and for the shop real quick with the adobe textile designer. I don't really like that at all, but it just shows you how that could work. A. So that's the first method that I wanted to show you real quick cause we hadn't covered that. So I'm going to close down these panels and next thing I want to do was to discuss having a textural background to here in our pattern so I would replace this blue with a somewhat run . Gee, I guess what you would call just a texture, just a very plain texture. And of course I have to create is a repeating tile because we don't want any of the edges of that texture. Could be really obvious. So I found one that I want to use. Which one was it? This one here? I just thought this was just a rough rushed ink kind of picture that I created and I wanted to use. I think I want to basically isolate this middle area. I want to get rid of these really dark. It's so what I did is I took and copied perfect squares. I'm holding down my shift key so that I get a perfect square copied it made a new document , and the clipboard is going to be the size off that selection that I just made and then that shows you the actual texture that I copied. So I want to make sure that this is five by five. Exactly. Because I know that my finish square I want is 10 by 10. So the technique I'm gonna show you here is on how to take any sort of texture and make it into a seamless repeating pattern. So I'm changing this to five by five and I'm going to leave in a 300 click OK, and then I'm going to change my canvas size. So the shortcut for that is command option C. And I'm going to change this to 10 by 10. And the reason I'm choosing 10 by 10 is because us finished size that we did our floral pattern. Okay, So depending on what you have used all along or your measurements, this is what dictates the size of your canvas. Here. Ready? Click. OK here. And my pattern is right in the very middle and it's surrounded by 2.5 inches on all sides. OK, so that's important. Let's take a look at this again and see how many pixels that is. So when we changed this two pixels, because we're gonna do some of our calculating here based on the pixel size. So 3000 by 3000. That means that my ex chair has to repeat on both sides 1500 pixels, and I'll show you how to do that really quickly with a super hidden feature here. I don't know if you use this much. If you go Teoh filter and you go down to other is this offset and sort of like the move tool in illustrator? I don't know why they haven't so majorly it in here and why they call it offset. As you can see here, I've made it keyboard shortcut for myself because I use this a lot. So that's something that you might want to dio. And the keyboard shortcut I chose was command option. Shift em. I'll just quickly show you where to do that. You go to edit keyboard shortcuts, so you go to filter through all the way down. It's one of the very last things under other offset. And here you'd be able to type in your new keyboard shortcut. I've chosen option shift command em, but you can choose whatever you want. And I know that that shortcut originally replaced another one and it was okay with me because it was something I didn't use very often. So then you hit, okay? And so you're offset. When you type in your keyboard shortcut, your option panel comes up and you see it's already moved. My square asleep. Before I do that, I'm going to duplicate this. I think I need either one or two copies. I can't remember exactly. So let's do two for now. You can either drag down to this page icon or you can use the shortcut Command J. So I've got three copies, so I'm gonna take that 1st 1 and I'm gonna do my offset. And that's fine. I've done it vertically. This is one of the ones that I need. So I hit. OK, and I'm gonna flatten these two together. OK, so that's got that whole strip, and then I'm gonna replicate that horizontally as well. So now they're all in one layer. You know what? I don't think I even needed that second layer, So I'm gonna go back into off SATs time. I do want to move horizontally, not vertically. Put zero for vertical and or horizontal. I do half of the 3000 which is 1500. Remember, what you're supposed to do now is duplicate that layer. You've got that going to your offset. Horizontal 1500 vertical zero Hit. Okay. And I know that this is a perfect repeating pattern. The outside here is what's really important. And inside here, all of these really obvious lines I used to get rid of by using my rubber stamp tool. So I've got a pretty big brush their sample somewhere else in the image by holding down my option keys toe. Let's do this light area here, and I can with Percival flatten these. Okay, so these were flattened. Now I can use my sample for my over stamp tool sample anywhere that I want in the image. But I want to do this, maybe get rid of these dark areas here. So that's what I went ahead and did. And I ended up with that as my fully extra will pattern tile. Okay, You still see there's quite a bit of, um, like, really obvious sort of patterns being formed here because my pattern, the floral is so busy, I don't think it's going to be a problem, so I'm not going to spend too much more time on it. So I want to do the same thing here with this one so that we have a couple to play with. So I've copied my five by five square and I've got it centered on my 10 by 10 canvas, and I'm gonna make a duplicate hide that duplicate temporarily. And and I'm going to use my offset. Teoh, change the vertical offset by the 1500 pixels up and down. Okay, just the same as we did on the other texture hit. OK? And I can show this one again. And you could see that. You know, there could be some work done here on how these to actually join up. But I covered all this in one of my other courses how to view the pattern tile. And like I said, with my busy pattern, I don't think that's going to be a problem. So I'm going to flatten these two together, advocate that layer first, and then do your offset. And, you know, you've got a perfectly repeating tile here. We could Latin it and you're quick Check using just the pattern maker in photo shop here. So we're gonna select all actually, don't even have to select. I'm just gonna define pattern click. OK, get rid of this. And I know that I've got that now as a repeating pattern tile. So that's tested on this 20 by 20 documents and we're gonna use pattern. Choose that new pattern tile I create. And you see, it's a seamless repeating tile at the greatest tile because of thes really obvious lines that air in it, that I just want to show you the process so we can get rid of that. And I'm gonna get rid of this is not something I'm gonna need to save. Now that I've got it saved in my patterns here and go back to my main documents, we'll show you three or four experiments that I've done for this 1st 1 What I did is I used another one of the patterns that actually have up here is the pattern are created for one of my course of the course that shows you how to produce a repeating textile pattern that has a bunch of texture. So that's what that background is. At the moment. What I did is I went in and on that plane color layer that I had I added a pattern overly so if I was to turn off the pattern overlay, you could see this, which is also very, very pretty. I had changed the color of my actual line drawing and then added that pattern overlay overtop that gave me a really pretty pattern. We'll show you real quick how Teoh change the color of the outline. If you ever want to do that, go back to my original group. And here is that black outlines I would do is go under human saturation. She get to by hitting man option and you. And if you want to reset it, hold on your option key And you see that that council has this council there. If you hold on your option, key turns to reset, and then it will go right back to whatever you have on your screen, whatever your original Leinart color is, and then what I do is I hit colorize and mess around a little bit with the saturation and lightness. First, get it to the approximate color value that I want. And then I can slide the huge slider all along and I can pick a new color for my own line. If I did that on most of the new samples that I produced the experiments that I did. Okay, so I'm just gonna count out of that because I want to keep that original group, as is actually going to call this original and experiment the bus arrows going to stay there. Rotate key just came up. Must have hit it accidentally. So that was experiment number one course. I saved a pattern tile experiment. Number two. I didn't exactly the same way. I went to that background layer and I chose pattern overlay. So let's go into that pattern overlay right now because I want to point out a couple of things so I can choose any of the patterns or textures that I've got here. And you can even just experiment with using the extras that are already built into photo shop here. I'm gonna go back to this one here, which is my head and I created for that other course. And the important thing here is to make sure that the scale of your pattern and I know that my original was 10 by 10 there as well. I do work at that size frequently. Doesn't matter what size you work with. You work with a by age 12 by 12. I do by tan, and I need to change it for client. I can do that quite easily how I picked out this. Saturn made sure it was 100% and I used multiply as my blending option. This is another thing you can experiment with. Views lighten. You can use overlay, but I used to multiply so that I could see it quite nicely. Then I clicked. Okay. Everything I did was I added a color overlay that could have done exactly at same time when I did the pattern. Overweight? I probably did actually. So when you're in the layer style sandal, you can choose any one of these Also affect how your layer looks. And I wanted to add one to make it kind of a blue jean colored pattern. I don't know, just soft, and I'm kind of a look. So this color overlay was done instantly on that. These effects are all done non destructively, which is great. You never have to worry about having affected your originally. If I wanted to save this is a pattern tile. I would just go under edit, defined pattern and bullet in him or whatever you wanna call it. So that's experiment number two. Now, this one's Ah, no, I guess I got onto that jagoff. Dan. Um and so this is the one that I used that crazy grunge texture that I had. I changed the line drawing to read by using that hue and saturation. And then I brought that background texture in. And you can see here that I used a layer mask to block out. She get him from going in behind the flowers, get rid of a couple of these extra experimental layers that I did that one. So this is the light blue, And what I did is I created a layer mask for this layer by using the magic one tool looking on that light blue background. It's selected part of it, but not all of it. So I would go to select similar it selected everything that was that color, and I went down to this layer and created a layer mask a so to create a layer mask. Once I have all that selected, I just clicked on this, which creates the mask, and there you have it that covered up areas that I didn't want to have that texture in. Okay, if you want to learn more about masks, check out my fake a water color photo shop course. In that course, I teach you how to use the masks extensively. When I was doing this, I thought, Oh, yeah, earlier, Massive. For about all about later mass. So I decided to make a group layer mask. So before doing anything else, I would save this as a pattern tile. I would define pattern bridge, grunge local. This one, red and blue. Maybe red, red and blue Grun change just quickly. I'll show you now. Anything that I have in this group to see that the mask all option. Click on it. So you can see this is the mask. Nothing is gonna show in the areas that are black, but in these areas that are exposed in white, anything that I put into this folder that will end up with the texture. So let's drop some artwork into that. Let's try. This is another one that I created a pattern out of. I'm just going to use it temporarily to show you this thing here. So I'm pasting into this folder and was to show through what my need to have. I need to hide that, but you can see Okay, what? It is is I've got this inverted. So I'm gonna go back into the mask option click, and I'm going to invert it because I want that texture to actually show in the background. So that's another thing that you could experiment with, and I ended out using this sort of a look. This I guess you'd call collage that I did in one of my sketchbooks. And it was just strips of paper that I glued down. I can actually remember doing this. I was at school in a class, and one of the things that we were doing is just making out backgrounds using collage. I did this in the class, along with my students. Once the collage was completed. Then I glazed over the whole thing with a Matt medium. And then I even went in and added some extra low heating. Doing some and these details that are out of the yellow in the Reg it's white here were added with the murders, but thousands of thes grunge backgrounds, honestly, that I have myself I own. I created. So it's very rare that need to actually buy anything for a background. This gave me the idea to create the background repeating tile of that magazine texture. So I ended up not using this in here, and I went ahead and created this Saturn and I used that grunge texture in the background. Here I created a seamless repeating tile using the absolute exact same method as I had for everything else. So So I'm going, Teoh, make my flowers pure white. And what I've done is I've selected the white areas of this color, and I'm gonna go under select to select similar and that selects that entire sort of peachy colored background. And I'm gonna select inverse by the command ship. I make a new layer and fill it with white. You could fill it with any color you could choose. Like I said, it's all up to you. Your design and your design sense is what's going to tell you what works. So now I have my flowers completely in white. So normally, what I do is I go through and name all my layers. I haven't been doing that, but you call this one Leinart at ground color, white flowers, texture, that sort of thing. And this helps me out in the long run If I ever open up this file again three months from now, it just makes it so much easier to see what's going on. See that this section is not in the folder. So I'm gonna drive that in there. Now, we can just decide what we're gonna do with this background because right now is hiding my texture. And I just want to see I think I want to go to a more pinky kind of a colors. I'm gonna hide that, actually, because I don't know if I even need that and I'm going to just use hue and saturation and I'm going to slide along here until I get more of it. Pinky background. So that's getting close to it. What I did in this one here. So let's try. This will make this one pink and then go really light on that. There you go. Now that's a lot like this. Just this one's a little bit more peachy. This one's a little bit more pinky, so I could adjust this overly now to be whatever I watch. And now I've got this you or just color Adam that I've created again. I can go in and defined pattern, and I'm gonna call this one needed Peach. We've come full circle, have done the entire artwork. We've created some fabulous, different options on my most favorite thing to do at the end is to check it on on actual mock up. So that's what we're gonna do in the next lesson, I will meet you there.
Delores Naskrent, Creative Explorer
