Watercolor Without Fear: Painting for Pattern Design Part 2

1. Introduction: Watercolor is an amazing medium but one of the challenges that presents is that if you make a mistake, you can't paint over it. Because of the nature of the paint and the quick drying time, watercolor paintings tend to be small. There's nothing wrong with small. But what about big? What about fabric and wallpaper and murals? I'm Catherine Jennifer an artist, surface pattern designer and top teacher here on Skillshare. This class is Part 2 of my class, watercolor without fear, painting for pattern design. In that class, I share my process of using small blocks of paper to create a larger Canvas so that you can paint freely without fear and create large repeating patterns. I show you how to move the blocks around so that you can easily create a half drop repeat. In this class, I'm going to show you how to do the editing, joining up your paintings to create your pattern tile. It's easier than you think. I use two main tools in Photoshop. One to get rid of the joints, and the other to isolate my motifs from the background. Prior to finding this method, I really struggled with editing my art in Photoshop. It drove me bananas. I hope that by sharing what works for me, you will be able to turn your own beautiful paintings into beautiful patterns for use on fabric or wallpaper or murals. So if you are someone who loves to paint but you want more real world applications for your paintings, join me in this class, Watercolor without Fear, Painting for Pattern Design: Part 2. Let's do it. 2. Project: The project for this class is to use the paintings that you did for part 1 of the class and sew them together digitally so that your join is invisible. You can either do a basic project which is joining two pages together, or a more advanced project which is joining multiple pages together and creating a half-drop repeat pattern. Either level is fine. The basic project is a great skill to have if you work in a sketchbook and then paint across the spine and then find that you've made such a beautiful painting. You want to join it together and make it into an art print or a card, or whatever. The advanced project will take you all the way from your individual panels that make up your painting, right through to having a pattern tile ready to upload to print on-demand site like Spoonflower. The steps are as follows. First, we will scan the artwork. Then we will join the panels together to create a single painting. The basic project ends at this stage. Then there's setting up your file for the repeat. The top and bottom join, the side joins. Checking your pattern works and building your final repeat tile. By the end of the class, you will have a step-by-step process to follow to turn your own paintings into a half drop repeat pattern. In the class resources, you'll find a downloadable sheet showing the steps. You can use this as a handy reminder because [LAUGHTER] it's so easy to forget. Speaking from experience. How did I do that? The finished project should be a quick photograph showing your finished artwork with an invisible join. It would be really great if you could include a photo of the separate pages so we can see if we can spot the join. If you're doing the advanced project, then your finished project will be a pattern tile ready for uploading to Spoonflower or other print on-demand sites. But do share the steps that you take along the way and please share a photo of all those individual panels that you started with. Also, please share any thoughts you have about the process. I'd love to hear any feedback you have on the class. If you get stuck, please use the discussion section, and I will do my best to answer any questions you have. In the next video, we'll look at what materials you'll need. 3. Materials: I'll be demonstrating most of this class in Adobe Photoshop. I use an Epson Perfection V39 scanner. This is a small entry-level scanner, not too expensive. I was worried that it might not give good enough quality scans, but have found the quality to be excellent. It can scan up to 1,200 dots per inch, which is more than you need. The only downside is that it fits my seven by 10 inch arches pads really well, but anything bigger than that doesn't fit on the screen. But if you don't have a lot of space and you don't want to spend a lot of money, then the scanner is a great choice. I also use a Wacom Intuos Graphics Tablet. I mainly use this because I find using a mouse really clunky for precision work. You don't need one of these to project. That's really all you need, as well as your painting, which you did for the previous class, oops. Or anything you've painted in your sketchbook across the spine is also fine. In the next section, we'll start scanning our artwork. See you there. 4. Scanning: Just a quick note about having a scanner versus using photographs of your paintings. You can do this process if you don't have a scanner by taking photographs of your work. The main difficulty I encountered using photographs was that the lights sometimes shifts from the top of the page to the bottom. Then when it comes to join, there's a shift again, whereas on a scanner, because it's flat and properly lit, this problem just disappears. But depending on the nature of your painting, photography might work fine for you. If you do work with photographs rather than scans, just try to take your photographs in natural light. So let's jump into the scanning. This is my Epson scanning window. I'm going to scan it in photo mode. I'm scanning it in color. For the resolution, I'm going to scan these ones at 600 dots per inch. If I'm scanning a painting that I know I want to sell, then I might bump up the resolution even higher than 600. But for the purposes of this pattern, 600 is more than enough. I'm going to scan these as TIFF files, TIFF is lossless, which means the quality is really good. I'm going to change the name. I'm going to make it start at one and I'm scanning it onto my desktop. Here, I have all six of my panels scanned and saved into their own folder. In the next section, we will start creating our canvas. See you there. 5. Creating Your Canvas: Here we are. We've got all our paintings scanned or photographed, and we're ready to start working on them digitally. This is my first scan, and what I'm going to do first is unlock the background layer by "Double-clicking" on it. This changes it to layer zero and I'll click "Okay". The next thing to do is change the canvas size so that I have room to play. In the image menu up here, you will see image size and canvas size. The image size of this panel is 4,000 by 6,000 pixels. That's fine. The canvas size currently is the same. But what I'm going to do is increase the width by roughly three times, so that's four, three to 12, 13,000 pixels. I'm going to increase the height by roughly double. Six, two to 12, I'll make it 13 as well, and hit "Okay". What you can see has happened is I've now got the image floating on a much bigger canvas. The next thing I want to do is get rid of any extra bits that are on this image. To do that, I'm going to just start the top corner with my rectangular marquee tool, which is this one. I'm going to click and drag from that corner to this corner. I don't want to cut off any of the actual painting. It's better to have a little bit extra at this stage than to lose information. That looks fine. I'm now going to go Command, Shift and I, which selects the inverse, everything else on the canvas, but not the painting itself. I'm now going to select the layer and then hit the "Backspace" button. As you can see, the extra information has gone. I'm zooming out, and I'm going to open up my other paintings in the same way. This is the second painting that I scanned. I know it's already the same resolution and the same size. I'm going to just drag it into my first canvas and pop it there. I'm going to close that one, because I don't need it. My third one, drag it into my first painting. As you can see, the layers are building up there. The fourth one, drag it in. The fifth one. Now this one, for some reason, has come in sideways. I'm going to go Image, Image rotation, 90 degree clockwise, and drag it across. I need one more. Here are my six paintings in six layers. The next thing to do is sort them so that they're in the right position. Because this is just like doing a puzzle. That joins there, that joins there, and that joins there. Now, I need to get rid of the extra bits around the edges on each layer. So here I'm on layer 3. I'm going to hide the other layers by holding down the Alt key and clicking on the eye there, and then I can just see a little more clearly. You can also do it by dragging a marquee like this, and then just hitting the "backspace" button. You have to be on the layer for that to work, and then de-selecting. Drag a marquee. Deselect. I'm going to nudge this one up a bit, deselect, and get rid of that edge. That's that one done. I'm going to do that for the rest of the panels. It's always better to have a little bit of extra information at the edge rather than losing some of your painted information. If you miss when you draw your marquee tool, you can just nudge it using your left and right arrow keys. Keyboard shortcut for the marquee tool is M. Make sure you're on the layer, otherwise, it doesn't work. All of my layers are now trimmed and ready for joining together. I want to line them up as best I can. I've selected the top three layers. I've got auto select, and I'm going to change out to layer up here. It means that if I click on each layer and hold down the Shift key, it's selecting all of them, and I'm going to just use this top Align button to line them up. The same for the bottom three, I'm going to use the bottom Align button. The Align button isn't always the best button to use. As you can see here, there's a bit of a disjunct between these two layers. I'm going to manually nudge this one up and across a bit until I get the best join. I'm looking at this leaf and at this bed to be my guide. That's about right. Then here, this needs to come across. I'm using my Arrow key to pull it across. I'm going to increase the canvas size just a little bit more. I'm going to just change out to 14,000 pixels wide. Just gives me a bit more margins each side to play with. I'm going to pull this one out until I see the gap and then use my arrow tools to line it up as best I can. That looks about right. Then the top three, I'm going to click and drag to select all of them. I'm going to just pull them across a bit. Now, this one needs to come this way. This one needs to come across. I've got snapping on which is making it hard for me to line things up. I'm going to go to View, Snap To, and I don't want it to snap to anything, so I'm going to just say none, and that should make it easier for me to get these things lined up. I'm going to bring these two up a bit. The better I can get it lined up now, the less work will be for me to edit. It's worth taking your time and just tweaking things a little bit to get it beautifully lined up. There we go. That looks about as good as I can get it. What I'm going to do now is select all the layers and "Right-click" and make them into a group, and I'm just going to call that layers. Then I'm going to "Right-click" on that group and duplicate it, and I'm going to call that one flat. I've now got two copies of each layer. I'm going to hide and lock the bottom one, so that I don't accidentally mess it up. Then I am going to merge the layers. When I work on a very complex pattern, I prefer to work on just two panels at once. I might merge this panel and this panel and then fix this seam before I then flatten the next two panels. But as this is quite a simple painting, I'm going to just flatten all the layers. I've selected all the layers, I'm going to "Right-click" and merge layers. I now have everything on one layer. I can bring that layer out and just delete that group. That is going to be our painting. I'm going to just change that to Pandas. That's the canvas all set up and ready to be sewn together. There's one more thing to do, which is to save the file, and I'm going to save it as a Photoshop file. I'm going to File, Save As, and I'm going to save it as a Photoshop file, and I'm going to put it in a Designs folder. There is my Photoshop file ready for us to start sewing the seams together. In the next video, I'll show you the two main tools that I use for editing my work. See you there. 6. Clone Stamp Tool: It's actually a bit embarrassing how easy this is once you know how to do it. But anyway, here it goes. The two main tools that are used are the Clone Stamp Tool and the Freeform Pen Tool. I use them at different stages of the process for different tasks. The first stage requires the Clone Stamp Tool. The Clone Stamp Tool is this one over here. If you press and hold, you'll see it's got the Clone Stamp Tool on top and the Pattern Stamp Tool underneath. We are going to use the top one. The Clone Stamp Tool basically allows you to select a bit of the painting that you want to copy or clone and then paint it into a different area of the painting. To make it work, you have to select the layer that you want to work in and it works in conjunction with the brushes that are up here. I generally stick to a hard round brush. You can adjust the brush size using the slider. You can also adjust the hardness. If you want a hard edge, you keep it at 100 percent. If you want a softer, more feathered edge, then you just slide it down a bit. You can also adjust the opacity of the bit that you're painting so you can slide them up and down. I usually stick to 100 percent unless I'm doing something quite complex, where I might bring it down a bit. It's really easy if you use a keyboard shortcut to make your brush bigger and smaller. The keyboard shortcut is the left and right square brackets on your keyboard. The right square bracket makes the brush size bigger. The left square bracket makes it smaller. A very quick summary of the Clone Stamp Tool. It only works if you're on the right layer. You can select your brush and then adjust the brush size using the left and right square brackets on your keyboard. You can adjust the hardness of the brush edge if you want a soft edge. You can paint with full opacity or less opacity if you want to create subtle blends. Now you know how the Clone Stamp Tool works. Let's get on with joining our paintings together. 7. Joining Your Paintings: The main requirement for this part of the process is patience. Not my strong point, but I did a lovely little mental reframe of the process and now I see it as an easy part of the process. The kind of work you do in the afternoon when you're a little bit tired, you can put on a podcast and just really get into the zone of photo editing and then feel super virtuous when you come to the end of the day and the horrible seams in your paintings have magically disappeared. I'm going to start by working on this part of the painting here. The keyboard shortcut for the Clone Stamp tool is s. I select my layer and click on "s" and as you can see, I've now got a brush tip. I'm going to use my Alt key on the keyboard to select where I want to copy the information from. If I hold down my Alt key and I tap over there. It now basically allows me to take information from there and paint it wherever I want it. As you can see, what's happening here is I'm getting the green from the leaf being copied over and that's obviously not what I want. I'm going to Control Z that. I'm going to go back up and hit my "Alt key" to define where I want the information to come from. And then I'm going to paint again. It's best if you do this in small little bits. I tend to go back-and-forth painting over the area that I want, define the area and paint. That is how easy it is. I've come down to this bit here and I need a smaller brush so I'm going to use the left square bracket to get a smaller brush. I'm going to do Command and plus to zoom in a bit. I'm going to go back to my clone stamp tool with my S keyboard shortcut. I'm going to define the area there using the Alt key and I'm going to paint in here. My brush is still too big. I'm going to define it again. I'm going to use my left square bracket to make my brush smaller. I'm going to paint in over here. I can see where I've defined the area because I can see the cross over there. I know that that's where the information is coming from. If I keep going down, I'm going to start painting white into my flower obviously that's not what I want. I'll just go Control Z to undo and then define the area and fix that a little bit. Now I want to work on this flower, so I need a slightly bigger brush so it's the right square bracket. Make it a bit bigger. The S4, make sure I'm on the correct tool, clone stamp tool. I'm going to use Alt to define my area where I want to get my information from and then let go of Alt and then just paint in and cover up the seam. Now over here, I've got some nice darker pinks there, and I want to bring some of that across. The skill becomes the actual digital painting where you get the information from and how you carry it across. I'm going to get the information from here and just paint over that seam there. As you can see, I've got a bit of a hard edge coming in there. I'm going to undo that. I'm going to come up here to my brush tool and soften my edge a little bit, maybe 70 percent. I'm going to go back here, define my area, and paint it in. Now you can see the edge is less hard. I think I wanted to even a little bit less hard than that. I'm going to come back, make it 50 percent, see if that works better. Yes. That's lovely. It's basically giving it a feathered edge. I'm going to come down a bit. I need a smaller brush here for the white bits, left square bracket. I wanted to take my information from there. Now that's a very small area so I know that my movement in where I'm painting also needs to be very small. Otherwise, I'm going to start picking up some of the pink and I don't want to pick up some of the pink. That is basically all it is. It's very simple. It just takes a little bit of time and if you think of it as actually doing digital painting, because sometimes you have to adjust the shape of things. It's as much a part of the skill as when you're actually painting with real paint. Here, I've still got my feathered edge on and I'm not liking that, so I'm going to go back up here. I'm going to make it 100 percent hardness again. Then it will give me a nice hard edge. Now, this petal here is obviously meant to be one petal. I'm going to enlarge my brush. I'm going to take my information from here because they are very much the same color and I'm just going to paint in here across. Now, if I was to keep going, I can see my cursor up there is going to run out of information. It's better to stop that movement by lifting up your mouse and then define another area and start another brush movement. I like this edge here, this lovely watercolor edge and I want to bring some of that in. I'm going to define my point there and then I'm going to do a little bit of painting in there, define the point, bring it in. If you do it in short bursts like this, you get that authentic look about it. It's fine if you define your area and then you increase your brush size. That's no problem. I want to bring in a bit of that nice edge and there's not much to work with here that's on the correct angle. I'm going to borrow some information from here. I'm going to put my source point there. I can kind of see what's going to come in and there it is. It's really as simple as that. It's just a question of working your way down the seams and painting using the information that you've got elsewhere in your painting. I generally try to cover up the seam and not just have it exactly where the seam was but bring it a little bit of cross, either this way or that way, because that hides the seam a little bit more. Something to be aware of is tonal shift. This is where it's harder with a photographed work because the light can change across the different parts of the image. This is why scanned images work so much more easily. But even with the scanned image, this bit of paper is slightly lighter than that bit so when I fix the seam, I take a little bit from this side and a little bit from that side. There you can see where I've got rid of that seam. Now I'm just going to go and get rid of all the other seams and then I'll show you the second tool that I use. Over here, I've got rid of the seam, but I'm lacking the edge. I'm going to try and find something that's of the same angle as that, which is roughly here and I'm going to plot my source point there and that will hopefully bring the edge in. Now, as you can see, that was really ugly. I'm going to Control Z to redo that. I'm going to make my cursor much smaller and try and be a little bit more precise. I think the problem here is the angle isn't right. I'm going to take a bit from here. That works better. Sometimes you have to do it a bit of a mix and match and then a little bit of artistry afterwards to get it to work. [MUSIC] You need to be quite aware of the different tones in your colors so this is slightly more maroon and I want to bring that across. Then I might do a little bit of blending rather than going from this dark red to this light red, I'm going to borrow some information from here and then a little bit more realistic. Over here, it's looking a little bit unnatural. Because there's not an edge here that's at the right angle, I'm actually going to borrow a little bit of this edge or I could borrow bit of that edge which is closer in tone. I'm going to put my source point there and then go with that. That's much more realistic. Another tool that often comes in useful is the Spot Healing Brush tool. The keyboard shortcut is J. If you click on "J" and just drag it over, it basically takes information from both parts and place it together so that you've got a smoother join between the two parts. [MUSIC] There we go. That's our six panels all sewn together. If you looked at that, you wouldn't know that that started out as six different pages. In the next lesson, I'll show you the second main tool that I use, the Freeform Pen tool, and how to isolate your foreground motifs from your background. I'll see you there. 8. Freeform Pen Tool: We've joined our painting together using the clone stamp tool. If you're going to work alongside me and you haven't already done the preceding steps, this is a good place to pause the video, scan or photograph your work, join up your panels, and then jump back in here so you can follow along with the next steps. This will be the best way to avoid overwhelm. The next step is to isolate the motifs from the background. This is something you may or may not want to do depending on your painting. For this painting, I like the white background, but I think it will also look really nice on a beautiful blue background. I think that will make the colors really pop. The main tool that I use to do this is the Freeform Pen tool, and I use it with magnetics turned on. Prior to finding this method, I really struggled with editing my art in Photoshop and I would get so frustrated. But this method works a treat. Hopefully, this will save you loads of time and loads of frustration. The Freeform Pen tool is over here. If you click on it, you will see there are several pen tools in this drop-down list. We're going to use the second one. To use it, we need to come up here and make sure it's on path. If we come across here, we'll make sure we've got magnetics turned on. Then if you click on this Settings button, this is the key information that you need to know to get this tool to work for you. The bottom half of this panel is what we're going to look at. Basically, we're going to use the pen tool to draw a path around our motifs. These settings here determine how closely or loosely the path is drawn. For curve fit you can enter a pixel value between 0.5 and 10. If you enter 10 pixels, this results in fewer anchor points on your path and a less complex path. If you enter 0.5 pixels, this results in more anchor points and a more precise path. I'm going to leave mine on one pixel because I want my path to hug my motifs closely. I'm not going to try to edit it. Bear in mind though, that if you have lots and lots of points on your path, that actually makes it harder to edit the path. For width, you can enter a pixel value between one and 256. The magnetic pin will detect edges only within the specified distance from the pointer. I'm going to leave mine at 10 pixels, which means if I have my pointer going around this leaf, it will find the edge within 10 pixels of where I'm drawing. For contrast, you can enter a percentage value between one and 100. This specifies the contrast required between pixels for that area to be considered an edge. If you have low contrast images, then use a higher percentage value. I'm going to keep mine at 90 percent. It seems to work well. For frequency, you can enter a value between zero and 100. This specifies the rate at which the pen sets the anchor points. A higher value anchors the path in place more quickly. Then the final thing is pen pressure. If you're working with a stylus tablet, check that box. Then when that's selected, an increase in pen pressure causes the width over here to decrease. The best advice is just to have a go. If you find it's not really working for you, you know that these values are there. You can come back to this screen and fiddle about with those until you find what works for you. Let's have a go at using the Freeform Pen tool. The first thing is make sure you're on the layer and then grab your pen, make sure you've got the right one. Then the way I find most easiest to work when I'm trying to isolate motifs is actually to isolate chunks of the background rather than the motifs themselves and paste them onto their own layer. I'll show you what I mean. I'm going to just zoom in a bit, grab my pen. I'm going to start here. I'm going to place a point by pressing down and then I'm not pressing anything. I'm just hovering over with my mouse and I'm just following the shape of the motif. I usually find that my hand can reach a certain distance without moving. When I have to start moving my actual hand, that's when things go a bit haywire. There I'm going to close the path. There is my path. Now, if you look down here in the paths palette, you will see it's created a work path. What I'm going to do is click on this, which makes it into a selection. Now you can see that that area has been selected. What I'm going to do now is cut and paste it onto its own layer. I'm going to go Command X to cut. I'm going to create a new layer. I'm going to go Shift Command V to paste it in place in its own layer. Now, if I turn that layer visibility off, you can see I have cut out that bit of background. Then I'm going to close my pin. If you get a line that you don't want you to just press "Escape" to remove it. I'm going to close my pen and start a new path. I'm keeping my pen as close as I can to all the bits of information. It's just a slow meditative process grabbing as much of the background as can fit within your hand. I do this in small chunks like this. There's my path. Make it into a selection, that's looking great. Cut it, Command X. No, it hasn't worked because I'm actually on the background layer. Go back to my panda layer, cut it and then paste it, show the layer, paste it back into that layer in place. It's Shift Command V, and there it is. The Shift key is important because you want to paste it back into the original position. Now it's actually created its own second layer there. What I'm going to do is just merge those two layers. Shift and click on the two layers to select them both. Then right-click and merge layers. Now, if I hide the panda layer, you can see I've got that information on its own layer. I'm going to now just pull that down and hide it so I can see what I've done. Go back to my panda layer, go back to my pen tool, and grab the next little bit. The secret with this tool is that you have to close the path. You do that by getting that circle. Did you see that tiny little circle there? That means I'm at the right point and then I click down and that closes the path. Come over here to my paths palette, turn my path into a selection. Make sure I'm on the right layer. Command X to cut. Go back to my background layer, Shift Command V to paste. It's made a new layer. Make both layers visible and merge the two layers. You don't have to keep this background layer. If you know that you want a background that doesn't have the watercolor texture, then you can just cut your watercolor paper away. But I think it's nice to keep the texture so that it's uniform throughout the whole painting. Obviously, it depends what your painting is like. I'm just going to carry on isolating the background and placing it onto its own layer. The nice thing about this tool is that you don't have to place points. You don't have to tap down on your picture to place the points, but you can if you want to. It's got quite a lot of flexibility. Another useful thing to know with this tool is that if your selection isn't quite how you want it, you can see over here, it's jumped out. Then what I do is I have it selected, I use my Lasso Tool, which is this one up here, just the Lasso, not the Magnetic Lasso. Then if I hover, not over my selection, but out of my selection you can see the Lasso on the cursor there. If I hold down the Shift key, you can see it changes to a plus. If I hold down the Alt key, it changes to a minus. That means if I want to add something to my selection, so this is my selection. If I want to add something, I just hit my Shift key. I've got my plus and then draw where I want to grab some more information. Close my path, join it up with where I started. You can see my selection has moved out. It's added those two things together. I'll do it again. Shift key to add it. Draw in the little bit that was left out. Let go of Shift and let go of the mouse, and then it's edited. It's the same if you want to subtract from your selection, you just press the Alt key. You can also use the Magnetic Lasso Tool for this. It's underneath the Lasso Tool, the third one down. It's the same thing except, and I'm holding the Shift key, except it will snap to the underlying image. If you get these unwanted bits like I've got now you just press Escape. That is basically all there is to it. Here, it's pasted the background layer above the foreground layer, the panda layer. I'm just going to pull that down. You got to stay aware of what you're doing because it's easy to make a mistake. If you accidentally merged the wrong two layers and don't notice it, it's very frustrating. I find it's always useful to turn off the visibility of the background layer in between because then I can see where I got up to. Sometimes it can help to add a new layer in a different color so that you can see more clearly what you're doing. I'll show you what I mean. I'm going to make a new layer. I'm going to get my paint bucket tool, and I'm just going to fill the whole layer with a color. In this case, I'm happy with this blue. I'm going to pull it down underneath my foreground layer. Innocently, I can see much better what I'm working with and whether my vision is going to work. I like that color, but here's the fun part. If you pull it down again underneath your background layer and then you show your background layer, you can add the texture that is on your background layer to the color. I'm going to take my background layer and I'm going to change the layer mode, just hover over. I start to see how this pattern might look with different color backgrounds. Obviously, this isn't what I'm after, but it's always nice to see things that I wasn't expecting to see. That's quite nice, although I'd think the background needs to be a bit darker. That's quite unexpected and yet has a contemporary feel to it. That's quite soft and lovely. That's the color I was never expecting to use as a background, but actually could work. You start to see that your pattern could be versatile in ways that you weren't expecting. In this case, I'm just going to pop it on multiply. Then I'm going to zoom in and see the texture isn't showing up very well. What I'm going to do now is just experiment and pull my background layer below, and I'm going to put the background layer back to normal. On my color layer, I'm going to see what happens if I change these layer modes just by hovering over them. A lot of texture comes out there and this is why it can be useful to keep your watercolor paper texture if you want it. It's interesting how just a shift in brightness can have a massive effect on a pattern. As you can see, depending on which way round your layers are, you can sometimes get similar results and sometimes the results are different. But all of this is a useful thing to know when you're doing your cutting out. It also means you can zoom right in and look for any mistakes. Like here, there's a bit of a hairline crack there, so I'm going to go back to my panda's layer. I'm going to get my Pen Tool. Actually, just the Lasso Tool will be fine and cut that and then make sure I'm pasting it and merging it into the correct background layer. I'm going to bring my blue layer underneath for now and I'm going to leave it there. Then when I had my background layer, it's even easier for me to see which parts I still need to cut out. I've cut out all of my background and I've cleaned up any hairline cracks that I found which were visible because of the colored background. In the next section, we will get our image file ready to become a pattern tile. See you there. 9. Image File to Pattern Tile: You've got your lovely painting all joined up and now we need to create the repeat. The first thing we need to do is get our image file ready to become a pattern tile. I've cut away all of my background. If I hide this background layer, you can see it there. Interestingly, if I hide my foreground layer, you can see all of the watercolor paper that's there. Before I go any further, I'm going to crop my image so that there's nothing extra. I'm being quite careful here to not take away anything from the material that I want to work with. I'd rather have a bit of extra background than lose foreground information. Enter to crop. Now, I'm going to check what size my image is. I'm going to Image, Image Size. I've got 12,739 pixels wide and 12,319 high. Now it's much easier if everything is in even numbers. Also, this file is way too big for me to start working with as a pattern. It's always better to work from bigger to smaller. I'm going to save this. I'm now going to reduce the file size to something that will be more manageable. I'm going to go to Image, Image Size and I've got re-sample checked. I've got Bicubic Sharper reduction, that's the one I want. I'm going to make it 8,000 wide by 7,736 high. I've purposefully changed it so that it's even numbers because that will make it easier to work with when we start using the offset filter. I'm going to hit, "Okay". I'm just going to make a note of that image dimension. I'm now going to save this as the file that I'm going to work with going forward, so Save As and I'm going to change it to Panda Painting Tile. We now have our painting joined up with separated layers, cropped, and resized to a resolution suitable for our end usage. I've kept mine quite big because I know it might become wallpaper. We know the dimensions which are even numbers. We're ready for the next step, which is to start creating the repeat. In the next lesson, we'll start working on the top and bottom joins of our pattern to create the vertical repeat. I'll see you there. 10. Top and Bottom Joins: Now we're going to join the top and bottom sections of our painting to create the vertical repeat. Imagine that your painting is like a long strip of paper. What we're going to do is basically wrap it around and join the top and bottom sections of our painting and that is how you create the vertical repeat. To do this, we're going to use the offset filter. I'm first going to do it for the image layer, the pandas layer, so I'm going to select that layer and I'm going to hide the background layer. With that layer selected, I'm going to go to Filter, Other, and Offset. Now, this is where I need to know my image dimensions. I don't want to move it horizontally at all because I'm just looking at the top and bottom joins. For horizontal, I'm going to put zero and for vertical, I want to basically wrap it around and join it halfway down. Half of my height dimensions 7,736 divided by 2 is 3,868 pixels and I've got it on wrap around. If I click "Okay", you can see that it's wrapped it around and you can see the join. If you show your background layer, you can see that hasn't moved, so I'm now going to click on that and go to Filter, Other, Offset and do the same thing. Horizontal zero, vertical 3,868 and wrap around. My background has moved and my foreground has moved and you can quite clearly see the join. Now I'm going to go onto my pandas layer. I'm going to get my Clone Stamp tool. I'm just going to paint in to hide that seam. It's as easy as that. It's amazing how much you can do with just two tools. You can basically adjust an entire pattern. I'm going to do these legs. [MUSIC] This is where a little bit of skill is involved in creating a good join. Because they are two separate layers, I just need to remember to make sure I'm on the right layer depending on which part I'm fixing. But I'm basically just using the Clone Stamp tool and painting over that nasty edge. This has got a bit of a gap and I need to get this part to come across. Now I'm going to go back to the background layer. I'm also just fixing up any mistakes that I can see, any cracks and any discoloring of the paper. Back to the foreground layer, background layer, foreground layer to fix the flower. Basically, that is what you do to fix the top and bottom join. You just work your way along the seam using your Clone Stamp tool and it will magically disappear. Just remember that if you separate your layers before you do your top and bottom join, remember to make sure you're on the right layer when you're using the Clone Stamp tool and you'll have to do the image layer separately from the background layer. So here we have our top and bottom joined all beautifully sewn together. What you can do now is put the offset filter back to how it started, so Filter, Other, Offset and horizontal naught, vertical 3,868. It doesn't matter in this instance whether it was plus or minus. It ends up the same in the same place. Then do the same for the background layer, Filter, Other, Offset. Now we've got the painting back the way it started. We can also just for fun, move it down, say a quarter of the distance and have a look at how that looks. If we go onto our foreground layer, Filter, Other, Offset, we don't have to be exact. I'm going to move it down, say 1,500 pixels and go "Okay", and then background layer, Filter, Other, Offset 1,500 pixels. You can just get a different view of your pattern and you get the idea that it's vertically seamless. Now our vertical repeat is looking great. In the next lesson, we'll start working on the sides of the painting to create the horizontal repeat. I'll see you there. 11. Side Joins: This is our painting so far, we've sewn our six panels together and then we have created our top and bottom join. Basically we use the offset filter to wrap the painting around and we fixed up the scene at the top and bottom. Our painting now repeats on and on and on in a vertical direction. If you haven't yet done your top and bottom join, pause the video, fix that seam, and then jump back in here. It'll make it easier to follow the next steps. The next thing we need to do is sort out the side seams to create the horizontal repeat. This is what we will start with on our screen. I've put the pencils into show the midpoint of the painting and the screen. The first thing we'll do is create horizontal and vertical guides to show the middle. Then we will use the offset filter to move the painting half way. Effectively we'll move it 400 pixels that way, or the other way. It doesn't really matter. This will come in. We'll wrap around like that. If we start with that, wrap it around, it's going to end up like that. As you can see, that doesn't join, that's the same as that and it doesn't join up. What we'll do next is we're going to take that panel and put it down and that panel, and up. Now you can see that that joins there and that joins there. Then all we have to do is work our way down the middle of the scene with our Clone Stamp tool and fix up that seam. Once that's done, we will have the horizontal repeat. The reason it works to swap these two around is that if you remember from the previous class where I showed you how to paint the repeat, if this is your whole entire painting, our six panels joined together, then it's repeated up here and here. That's the vertical repeat. Then on the side, instead of repeating it here, you repeat it halfway up, so that's the one and then halfway down, so that's the next one. That block joined on here and this block joined on there. That's the middle of our screen. Then to see that in action basically, that's the whole painting and then this block is the whole painting moved across and up, and there it is. This block is the whole painting moved across and down. But because all you see on your screen is that, this is how it looks when you have to sow together. Let's go ahead and do that digitally. The first thing I'm going to do is create my guides. If I go to, View Guides, New Guide, and I know that my horizontal guide is going to be half of 7,736, which is 3,868 pixels and I'm going to go to View, Guides, New Guide, and my vertical guide is going to be 4,000 pixels. I'm going to lock my guides so that they can't move. The next thing to do is the offset filter, so I'm going to go to Filter. First I need to select my layer. Then I'm going to go to Filter, Other, Offset, and I'm going to move it horizontally by 4,000 pixels vertically, no pixels, and wrap around and there it is. Now I'm going to do the same for the background layer. Clicking on the layer, Filter, Other, Offset, 4,000. There you can see everything is moved. If I hide my guides for a moment you can see the join and you can see that it doesn't match up. To my guides on again. I'm now going to go onto my panda layer, get my rectangular marquee, and I'm going to select the top right quadrant. I've got snapping turned on, which is in view snap to. I've got it turned on for snap to guides and snap to document bounds. That helps me get the selection right. On the panda layer, I'm going to cut that, which is "Command" "X", and then "Shift" "Command" "V" to paste it in place and you can see here it's now in its own layer. I'm going back to the panda layer, and I'm now going to get the bottom quadrant/ "Command" "X" to cut, "Shift" "Command" "V" to paste, and there's my bottom quadrant. Going back to my move tool, I'm now going to pull my bottom quadrant up to the top and wait for it to snap into place, and I'm going to get my top layer and pull it down. Now you can see that that's joining up, that stem is joining up, and that petal is joining up nicely. I'm now going to take those three top layers and merge them into one layer. I'm going to call that pandas. I'm going to turn that off for a second, the visibility, and I'm going to do exactly the same thing with the background layer. Rectangular Marquee Tool, select the top quadrant, "Command" "X" to cut, "Shift" "Command" "V" to paste. I'm going back to the background layer. I'm selecting the bottom quadrant, cutting, pasting it back in place. I've now got three background layers here. I'm going to take the one that's currently at the bottom and drag it up. Let it snap into place. I'm just going to turn that off so you can see what we doing. Then I'm going to take the one that's at the top, this one, and drag it down and show the layer. You can see that everything is now joining up again. I'm going to now merge those three background layers by selecting them all right-clicking merging, and I'm going to call that background. Make the panda layer visible again. I'm going to hide the guides because they're a bit in the way which is "Command;" to hide, and now we just get the Clone Stamp tool and we start working our way down the seam. Remembering to make sure we're on the right layer depending on whether we're doing the foreground or the background. Sometimes you have to imagine how the paint might have gone if you had a join. For here I'm going to take some of these pixels and paint them in here as a extra way of disguising things. I'm going to use my spot healing tool just to brush over that and get it to blend a bit better. There we have the vertical seam all joined up. I'm just looking at it to see if anything is jarring on the eye and I think this bit here is still a bit jarring, so I'm going to see if I can improve that. If I plant my Clone Stamp tool there and then just make a long brush mark, that way. That looks terrible. I'm going to undo that. I bring this bit up, yes. It's just a question of tricking the eye. That looks better. There's our vertical seam. It's going to hide the front layer and check how the background looks. Over here there's a bit of green and yellow that's crept in there, so I'm going to use my quick selection tool and I'm clicking on the area that is not filled and if I go "Command" "Shift" and "I" I'm going to select the inverse, so now I've got everything that's got this background paper on it selected and I'm going to go back to my Clone Stamp tool and now when I paint it only paints within the selected area, so it's not missing up my edges. I'm just going to brush over anywhere where there's discoloration of the background to make it all a little bit more of a similar color, because watercolor paper can get smudged or a little bit stained when you work with it, and that is our half-drop repeat tile all complete. I'm just going to save my file, and I'm actually going to change the name of this file, so I'm going to go save as and cool it, half-drop. It's panda painting, half-drop tile. In the next section, we're going to check if our repeats worked. See you there. 12. Checking the Repeat: Now we're going to check that the pattern works and make sure that no glitches have cropped up in the process. Photoshop has a great tool called the pattern preview, but it only works with block repeats. We can still use it to check our pattern at the end once we've turned it back into a block repeat. I'm now going to test to make sure that my half drop tile works correctly. I know that my image dimensions are 8,000 wide by 7,736 high. What I'm going to do is make a note of those dimensions and then I'm going to make a new file that is twice as big as that. I'm going to go File, New, and for width, I'm going to make it 16,000 and for height, I'm going to make it 15,472 pixels high. Now, obviously this is a massive file, bigger than is necessary, but for now, I'm just going to keep it this size. You can work on smaller files. The general rule for print is 300 dots per inch at the size you want to print it. I'm now going to create some guides. I want one guide that's halfway down. If I go to View, Guides, New Guide, and horizontal guide, I'm going to make it 7,736 pixels. There it is, and I'm going to go to View, Guides, New Guide, and I'm going to make a vertical guide that is 8,000 pixels. Perfect. Now I'm going to divide each section, top and bottom section into half again, so half of 7,736 is 3,868. I'm going to go View, Guides, New Guide, horizontal guide 3,868. Now I want one that's 2/3 all the way down. I'm going to go 3,868 plus 7,736, and that gives me 11,604, horizontal, 11,604. Perfect. I'm going to lock the guides. Now I'm going to go back to my original artwork. Just for the moment, I'm going to merge these two layers. This merging is just temporary. Make sure that you unmerge your layers before you save this half-drop file. I'm right-clicking on the layers and then merging them, and I'm going to go Command A to select everything on the layer, Command C to copy, back into my new file, Command V to paste, and it pastes it in the middle of my new canvas. I'm going to move this across to the top. I've got snapping turned on. If you remember, snapping is in View, Snap, Snap to, I've got it snapping to guides and document bounds. So snapping is helping. Now I'm going to hold down my Alt key, and as you can see, my cursor changes to a double cursor. I will duplicate that layer and pull it down and wait for it to snap. There we go. If I come off that layer and I hide the guides, you can see it joins up beautifully, showing my guides again. I'm going to go back to that top layer, I'm just going to click on auto select layer so it makes it easier. Now I'm going to go across and halfway up and wait for it to snap. Now I'm going to go back to that top layer and pull it across and halfway down. You can see it joins up. I'm going to go to this bottom layer and pull it across and halfway down, and it snaps into place. Now if I hide my guides by Command and semicolon and just zoom out ever so slightly, you can see the pattern is all joined up. You can see the half-drop repeat has worked. I'm just going to zoom in and check for any lines, any mistakes, any glitches. That all looks fine. Now, we can use a very fun thing called the Pattern Preview Tool. If you go to View and Pattern Preview, because we've effectively changed it back to a block repeat, the Pattern Preview tool now works to treat, and you can keep on zooming out as much as you want and you can see your pattern working. Because you've got the half-drop, we've created quite a nice diagonal in that pattern, and I'm happy with that. I'm just going to come out of that by going back to View and uncheck Pattern Preview. Hooray, we know that our half-drop tile works perfectly. Well done arts. In the next video, we're going to build the pattern tile again, but this time, keeping the foreground and the background layers separate so that we can adjust the color of the background and make our final tweaks to the pattern. I'll see you there. 13. Building the Layered Block Repeat Tile: I'm now going to build out the block repeat tile again, this time keeping the layers separate. Here I'm back in my block repeat tile. I'm just going to group those that I've already got into one group and hide it, and I'm going to hide my background layer. I'm going back to my half-drop repeat tile. You can see here that I have unmerged my foreground and background layers. I'm going onto my foreground layer. I'm going to "Command" "A" to select everything and "Command" "C" to copy. Now I'm going back to my block repeat tile, and I'm going to go "Command" "V" to paste. Switching my guides on again. Now I'm going to drag the foreground layer into the right position and make duplicates and drag them to create the half-drop repeat. I'm going to put those into a group and I'm going to go and get the background layer now. Clicking on this background layer, I'm going to go Command A to select all of it, Command C to copy. Coming back into my next painting, Command V to paste. Now I just move the background layer into position like I did for the foreground layer. So these are my background layers. I'm going to make them into a group. I'm going to call that background texture. I'm going to drag the background texture underneath. Nope, not into, underneath. I'm going to show this group which I'm going to call Panders. Now if I add a layer underneath my background texture layer, I can put any color onto it. I'm just going to fill it with my foreground color which is blue. Now with this group selected, I can go through these layer modes and see what happens. There is my Color Dodge. I'm going to turn off my guides. Now I can see a little better what's happening with my background. Now is also the time to have a closer look to see if there are any other problems with the background. Any gaps showing between the tiles, any discrepancies in value. If you need to fix anything, you just go back to the half-drop tile, repeat the process, bring it back into the block repeat tile, and job done. That's my background layer. I'm going to create a group. I'm going to show my foreground layer, and that's looking great. I'm going to check how that, looks with a Color Dodge, and that looks really good. I now have the ability to change the background. I can also adjust how much texture I want. If I'm going for Color Dodge but I don't want quite as much texture, I can just pull down the opacity. Of course, that also pulls down the whiteness. There is another beautiful option for this pattern. There is one more thing that I don't love about this painting, and that is this flower bud right there. I'm going to go back to my half-drop tile and I'm going to see if I can improve that a little bit. I'm doing this with a combination of the Clone Stamp tool and the Spot Healing Brush tool. I'm happier with that flower compared to that one. I'm going to build the block repeat tile again using the new foreground layer. There's my foreground layer with that flower bed fixed and I'm happy with that. I'm going to have a little play and see what else I can get with this background a grayer color. That's quite fun. That's a slightly softer gray. There are a lot of different options if you do separate your foreground and your background. Now your half-drop repeat is basically gone full circle and you've got it as a block repeat. You might say to yourself, why did we go to all the trouble to do a half-drop? I think it's worth it because a half-drop repeat flows beautifully and you also get beautiful diagonal elements coming into play and it's much easier to hide your repeat with a half-drop repeat. What you can also do at this stage if you want to do is make adjustments to your pattern, like if you thought, there's a bit of a hole over here, then you can use your Freeform Pen tool to copy a little leaf or a blossom or something and just paste it in there, so you can make those adjustments. I think this pattern would look better if I fill that gap, so I'll go ahead and do that now. I'm going back to my half-drop tile and I've chosen this leaf over here to copy and paste. I'm using my Freeform Pen tool just to draw around it and make a selection. Then I've copied it, pasting it where I want it. Now you can see I'm just adjusting the size of it and cutting off a little bit of the stem, because I want it to look like the leaf is coming from behind the flower, but in front of the Panda. I'm selecting a second leaf using the same process Freeform Pen tool. Make it into a selection, copy and paste, twist it around, pop it in place, and adjust the size and position. It's such an easy way to make these small adjustments to your pattern if you spot any holes that you didn't see before. Then it's just a question of merging the two leaf layers and I'm using the Clone Stamp tool to hide the join in the two stems. Now I just need to select all of the foreground layer, copy and paste it back into my block repeat tile, and move the half-drop tile into the right position to create the full block repeat. This is the new pattern. That's the old one. I think it's better with the leaves added. In the next lesson, we will save our final pattern tiles in the various colorways, and I'll show you a major tip to save you a lot of anxiety. See you there. 14. Saving Your Final Pattern Tiles: Spoonflower does actually allow you to upload a half-drop repeat tile, but I just find it easier to make my half-drop back into a block repeat. Then I can save it as a pattern in Photoshop and it's very easy when I want to make mock-ups or a quick low res pattern for some marketing material. I'll show you how to do that now. This is my block repeat tile. I've tidied it up so that I've got my color layer, my background group, and my pandas group. I've got rid of any unnecessary layers. All that you do to save it as a pattern is you go Command A to select everything, and then you go Edit, Define Pattern. This is your opportunity to give your pattern a name. I'm going to call it Panda Painting Block Repeat Cream, because this is my creamy white background. I'm going to go, Okay. The reason I do this is because if I want to use my pattern for a mock-up or for some marketing material, let's say I make a new file, I can make a file any size I want. Let's go for 1920 by 1080 and create. Here's my new file. Now, if you look here in the layers panel, this button over here, if you click on it, the third one down is pattern, and with this window, if you click on the drop-down arrow, it will list all the patterns that you've ever saved into Photoshop. Right down here at the bottom is Panda Painting Block Repeat Cream. I'm going to click on that. Now, it's a very massive file, so it's coming in extremely large. I'm going to scale it down to 10 percent, and there's my pattern. I can now move it along, up or down, and it goes on and on. I can change it to five percent scale, or even less, two percent, and I can make it even bigger at 75 percent. It just depends what I want it for. I'll put it back to 10 percent and I'll just say, okay. That was how to apply a pattern to a new document. Now I'll show you how to apply it to a mock-up. [NOISE] This is a mock-up that I've got ready using a different pattern that I made. In this case, I can just click on this layer or I can make a new layer, doesn't really matter. I can go down to this button and then third one down is pattern, and you get this dialog, click on the arrow, scroll to the bottom, and there's my block repeat cream. Obviously, the scale is too big, so if I change it to about 25 percent and go, Okay, and now I'm going to just take this layer mask up to there, go yes. There is my pattern and you can see it as wallpaper. Using mock-ups is another whole class. This is just to show you why you would save your pattern into Photoshop. You can then click on this and adjust the scale of your pattern however you'd like. In this case, I think bigger is quite nice, so I'll leave it like that. Then I can save this as a Photoshop file and also as a JPEG for use in marketing materials. That's a really useful way to save your pattern into Photoshop, but don't stop there. Here is a top tip to save you a lot of anxiety in the future. Save your pattern tile as its own file into your designs folder. [MUSIC] I recommend you do this because Photoshop saves your pattern tile into some obscure place that is hard to find, but every now and then, Photoshop forgets that you've made this beautiful pattern, and you go into Photoshop to create a mock-up of something and you go to your patterns, and it's gone. You can save yourself all that heart-stopping anxiety by simply saving a copy of it into your designs folder and then you know where it is for when this happens. I'm going to do that now. This is my block repeat tile. I'm going to go File, Save a Copy. I've made a folder for it called final color versions. I'm going to call it Panda Painting Block Repeat Tile Cream. I'm going to save it as a tiff file. I'm not keeping my layers. This will be a flattened file, which is fine, but I am embedding my color profile, and I'll just click "Save." I'm using LZW compression, which is a lossless form of compression, so I won't lose any quality. Now I know that my file is saved safely. If Photoshop does lose the patterns or move the patterns so that when I go and look for them they aren't there, I know that all I've got to do is go back to my final color versions and there's my tile. As you can see, this is a very big file, but it's always better to work from a big file and make it smaller rather than the other way round. I'm now going to repeat the same process, but do it with a different color. I'm on my background layer. I'm going to go to Color Dodge. I'm going to bring my opacity down to about 54. That's for the teal version. I'm going to save a pattern first of all, so Command A to select everything. Edit, Define Pattern. I'm going to call it panda painting block repeat teal, okay, and deselect. Just another thing you might be interested to know, if you go to your Window drop-down, there is now also a patterns pallet. Your pattern is also findable in here. There it is there, panda painting block repeat teal. If you click on these three lines and look down here, there's a option for legacy patterns and more. If you've lost patterns in the past, you might find them in this folder here. That's just a little extra bit of information you might find useful. I've saved my teal pattern into Photoshop. Now I'm going to save a copy of it. I'm going File, Save a Copy. I'm going to my folder, final color versions, Panda Painting Block Repeat Tile Teal. I'm going to save it as a tiff file without layers with the profile LZW, okay. There is my teal tile sort of master copy ready for if I want to use it. I'm just opening it. Here it is. As you can see, it's a flattened file, but it's a block repeat. If I've lost my pattern, all I do is open this up, go Command A, and Edit, and Define Pattern, and there I can create a new pattern for Photoshop. In the next lesson, we'll do the final step which is preparing your tile for uploading to a site like Spoonflower or another print-on-demand site. It's a very easy step. See you there. 15. Preparing the Pattern Tile for Spoonflower: Now, I'm going to get this file ready for uploading to Spoonflower. This is my block repeat teal tif file. What I need to do for Spoonflower is decide on the scale that I want and adjust the file size accordingly. I'm going to go to image size. As you can see, this is a massive file 16,000 by 15,472 pixels. The first thing I'm going to do is uncheck this resample box. Now, watch what happens here with centimeters. I'm going to change the resolution to 150. As you can see, the centimeters has changed, but I haven't actually changed the overall dimensions of the file. All I've done is getting ready to be at 150 pixels per inch. If I put it back to 72, watch what happens again. When it's 72 pixels per inch, it's 564 cm wide. When I change it to 150, it's 270cm, so it's basically more pixels in a smaller size. Spoonflower wants 150, so that's great and I'm just going to go, Okay. Now, I'm going back into my image size. Now, because it's already in 150 which is what we need, I'm going to check the resample box. I've got becubic sharper reduction here, which is what I want for making a file smaller. Now, the overall file size is still 16,000 by 15,470 pixels. But I'm now going to change centimeters from 270-125 centimeters wide. As you can see the file size, the number of pixels has now got smaller 7382 wide by 7138 high. I'm going to go Okay to that. Now, I'm going to save a copy. I'm going File, Save a Copy. I'm going to find my Spoonflower tiles folder. I'm going to call it Panda Painting Block Repeat Tile Teal, Spoonflower, large, 125 wide. That's just for me to remember. I'm going to change it from tiff to JPEG. Spoonflower exits JPEG's tips and PNG files. I'm keeping my color profile SRGB embedded because that's what Spoonflower wants, and I'm going to go Save. Normally, I wouldn't want to compress a file to merge a JPEG, but Spoonflower files have to be less than 40 megabytes. I'm going to bring this down to 10 and see how big the file is when I do that. Here is my file that I've just made and it's 37.2 megabytes which is perfect, it's just under 40. That's all I need to do to get my file ready for Spoonflower. Now, back on my original master copy, my flattened tiff file, I'm just going to close it without saving it because I don't want to make it smaller. That brings us to the end of the class. In the next lesson, we'll do a quick recap on what we've learned and celebrate our success. I'll see you there. 16. Conclusion: [MUSIC] Now you have the tools to paint whatever you can imagine and then make it into a beautiful half drop repeat pattern for use on fabric or wallpaper or murals. The possibilities are endless. If you've watched this class but you haven't seen Part 1, watercolor without fear, painting for pattern design, then I strongly recommend you go back and watch that class. It might just open up your mind to a whole new world of creativity that's waiting for you. We looked at scanning your artwork. The two main tools that are useful for editing watercolors; the Clone Stamp Tool and the Freeform Pen Tool. Step 1 was to create your canvas. Step 2 was joining your panels together to form one painting. Step 3 was setting up your file ready for the repeat. Step 4 was joining the top and bottoms of your paintings. Step 5 was doing the side joins. Step 6 was checking your pattern works correctly. Step 7 was building out the final repeat. Now it's over to you. Please share your project. I'd really love to see how you get on. You don't have to finish the whole complete pattern before you share your project. In fact, what I suggest is if you did the previous class and you've got some paintings ready to start working on, create your project now and upload a photo of your two or more panels so that we can all see where you're starting from. Then as you go along, take a quick snap screenshot of your progress and update your project because then we can all encourage you to keep going and not give up. To upload a project, make sure that you're in the browser window of Skillshare, not in the app. Click on "Create Project," here you can add a cover photo and give your project a name, but then don't forget to upload the same photo into the body of the project. Then the next time you come to update your project, it's ready and waiting for you, and it's just a case of adding a quick screenshot to show your progress. If you enjoyed this class, I'd be really grateful if you could leave a review. It makes a huge difference. I'd welcome any feedback you have about the class. Also, don't forget to follow me on Skillshare to receive updates and information about new classes. If you want to connect with me on Instagram, I am @catherinejenniferdesigns. I'd love to see you there. Or if you want to connect on Facebook, my page is facebook.com/catherinejennifer designs. If you share work done for this class on Instagram, please tag me on @catherinejenniferdesigns so that I don't miss it. Until next time. Happy painting, happy editing, and thanks for watching. [MUSIC] It drive me bananas. But I did a lovely little mental reframe of the process, and at the end of the day feel super virtuous. Now you have a fabulous painting all join up and ready for the next step of the process, which is [NOISE] The main requirement for this part of the process is patience. Not my strong point. But I did a lovely little mental reframe and [NOISE] Now we have a beautiful, clean, seamless repeat that goes on in all directions for miles and miles. [MUSIC]