Creating Repeating Patterns
Um this situation um creating a seamlessly tiling pattern um is a trick that's been around for a million years? A lot of people have forgotten it it's been lost in the uh geologic column of old photoshopped tips but very, very useful and basically what you want to do is take advantage of filter other offset filter other offset because first thing you need to see the scene that would be created if you were to tile this one and put another one next to it or above or on any of its sides so this filter does exactly that so you first have to see the seam and then you have to fix the seat okay, so we're gonna come up here filter other off said I was gonna ask you for off set and basically if you set the background that shows you the, um offset that you're doing all right so you can see what we're doing here if you repeat it it's going to do a wonderful job of seamlessly wrapping those edge pixels which aren't gonna help us. So that is that on that and then here is the scene so you can see it...
right here that would show up it shows a consistent tone that I did in the image um but you'll see that obviously things um are not working so depending upon what that texture is is how you're going to hide that seem it could be that you, um what let's try let's try I'm feeling a little adventuresome taking gonna take chunks of it you don't know what the shortcut for um the content where phil is content where adobe has been working on content where everything they're coming out with a line of content wear shoes next year uh content aware is where photo shop we'll try and create the content basically out of nothing it's gonna look around it and it's going to use it to fill holes it will use it to extend a canvas it lease it to shrink it that idea that it can look for material than a photograph and either add or remove it intelligently as opposed to just squishing it is what content aware is all about thie great shortcut for content where is shift delete shift elite is not only the shortcut for content where it's this shortcut for all phil's so foreground background color, any color pattern, any pattern and the history that's a natal thing to know you mean I can go in? And if I did something and I did too much over here, I can select an area say history and whatever is chosen on that little teeny, you know column on the left hand side will fill so you can feel something from a while back so remember not only do you have fill in a brush from history but you also in the sense of painting it you also have phil in this little shortcut area so history pure black, pure white and fifty percent gray we all now know how cool fifty percent gray is in terms of different blend modes they put in fifty percent grace so you could start off with a layer that's fifty percent gray paint light or dark on it and you're dodgy and burning it's a great way to make a dodge and burn layer that both dodges and burns were going to come up here will say content where it will say okay and let's hide that so not bad probably if you're putting it over a another painting it's probably going to do fine um I'm going to do it one kind of gap at a time to see what that does you no better than nothing probably not great in mind you'll see this is going to end up being a somewhat blurry dh if I used content where for all of it would be good enough for most people I'm not most people so what I'm a do to hide that is I may take these little scenes here these little edges and I will take those and layer new v a copy commander control j and then edit pre transform and I'm actually going to add a little edge over that seam right there to try and match this brush stroke as it comes up and it completes with a little dab and aiken scale it and I can do whatever I want I can't even come up here to image warp and bend it so it matches exactly with something below it that's if you really don't have a life and you want to do this but you this is the control you have and so to get rid of that seem tto repeat patterns teo get rid of it rather than just retouch it in by something like, you know, content aware which is great and again you've got a contact somewhere in the brush now as well so you could you know, do that but that you see why I did smaller sections of it let's actually take our, um spot healing brush with content aware and uh and let's just see what it does in terms of this so here I'm using over here the spot healing brush set to content aware I'm sampling all layers, which means I'm putting it on its own little layer so I can confirm it later and now I'm coming up here and I'm trying to create kind of ah I wantto create an irregular shapes of the patch that it does has its own little you know shape to it okay it was also here too okay, so not bad so I'll leave that up to you as far as how you I want to do it I'll show you some other patterns that I'm giving to you all that um okay, not bad it is there is that, um, pattern some of these you wouldn't be able to use this technique at all because it's not an irregular shape. So, um I'll show that to you so we'll just say that's good enough what you then do is if you are using multiple layers do that little patch you can then merge those all down that shortcut is commander control e emerge and then you want to run the filter again and you'll keep running the filter because now this has a seam right here where that one was in this edge was there's a chance it would come up so by doing command f command f now the scene is where well one it's not too bad is this not really eat so it's right here. Okay, so you can just keep doing this and keep doing that command f which we runs the same filter so it's going to keep shifting it over whatever that wass it's going to shift it over and the other scene was here okay, so then command f I didn't use multiple layers, so I didn't have to march it down so you know this isn't really floating my boat here this one right here is this is why I did not use country where but again not bad and for because if you were really using this if it's never going to be seen except over um you're painting then it could be fine when you're all done and you go that's great I don't see any seams then again you're going to go at it to find pattern just like we used it to put it as a source for our painting you have a name great jess oh pattern you no one to whatever resolution you want I would make the's a different resolutions in other words I would you know you small medium and large versions of it so it's appropriate for whatever resolution of file you're working on but now this one is set and I can use it I could put it into a brush I can use it as a patina if I am so here is that when I just opened up and we will use that pattern we just created that craig jess oh and set it to like soft light and looks to me like it's not quite fifty percent gray that's the one we did in in light room so and also I could make that scale more appropriate I would use a small one for that that's really like oh um one thing that's interesting and we're going to get into this because this is part of the action this is when we get into the mixer brush, you'll notice that this I just swapped out a pattern that was already here at the top. I'm the reason why I'm getting not quit at what I was expecting is this has a, um, blair mask, and I purposely made this layer mask to have the jess oh, texture a little bit more organic and to get woke over this tomorrow, but I used a filter known as the difference clouds to kind of make this random light and dark one so that the pattern this pattern kind of fades in and out so you don't see the exact same pattern. Repeat, if I turn off that mask, here's the pattern and it probably will look more, um appropriate in terms of this right here, but I can tell that is lighter. I didn't quite get that at fifty percent where I would like it, but, um, that is the pattern overall, and this is the pattern taking advantage of that layer mask. Then I seen with the layer masses that, um, difference clouds just run the filter. Nick makes this organic, you know, dark and light dark, they're gonna hide a portion of the image light's gonna let it show through okay, so that is repeating patterns. The main thing to remember about creating a repeating pattern is you're going to take advantage of the filter other offset that's gonna allow you to see your seam how you get rid of that seam is up to you and how detailed you want to be the content where phil's and brush options are there as well a selecting a portion of something and moving it over if you have certain things like this document here and will create another layer um, new phil pattern just to show you some of the other ones that are part of the one click wow um set from the er my website these air ones that I'm giving you the watercolor intense canvas salt staying overlay overall for the paper we use that one there's the background for that same one the campus background I have coke will and pebble board and different things like that if you're familiar with those techniques um, but also things I've gone ahead not to give to you guys because they're not really into painting, but, um I just use patterns for graphic design, so I'll create patterns that I'll use for to fill in typography or backgrounds or things like that so there's all sorts of hawaiian fabrics that I've made that tile and then also um there are a whole set of organic ones that I've created to use for background because again I liked polynesia and he's also seamlessly tile so I've liked duplicated one of these put it on its own layer and then I can use it to hide the seem so that these are seamlessly tiling in her basically resolution independent so these air all ones that are part of the um the one click wow set that's part of the uh while creative arts dot com when click well I got work rice paper black rice paper white rice paper you know different recycle papers would you get the idea okay questions about the patterns creating repeating patterns and using those as kind of lotina's yes if for say um that filter on the uh previous picture wasn't there and it actually wasn't actually fifty percent is there a way to fix that what you have to go back and completely restarted uh that's a very good point it depends upon where that uh came from I mean that's still here right that should still be right here so and I can open up my history ram which is available here that is or is not history history graham that is in my soul that is that's even though that's showing you it's nowhere near and that's why I was doing so much lightning of the file so what I would do is that would come up here go to my um layer new adjustment layer we'll use levels we could use curves and with my, um levels I can come up here and I'm gonna darken it now the thing is here we need to have a separate properties of history, graham is that this one should be updating and I'm going to try and get it toward that you know, fifty percent but that's where there's a the middle tone value that it's not, you know, getting close to so that's what I'm going to have to do, I'm going to do it after the fact um as opposed to let's just go ahead and add so you can see what it originally was um like if I come up here and go layer new phil layer pattern and shoes not that one that we just created but shoes medium or large here if we look at this in the history graham, this is what it should be it's manning not being ableto have the bottom of my palate so the again that is looking because that's a fil layer that's interesting it's not reading that as a pixel filled layer if this is a procedural layer actually, maybe if I just close it there it's more like it, so here you're seeing the bell curve of going through it's basically fifty percent it's got some highlights, which are the speculum highlights of the thing of the brush strokes. So that is what I was going for, and so you can do it after the fact by coming up here and adding, you know, levels adjustment to it or curves or whatever else you'd like to it. Um, probably brightness and contrast may have been a better one just because it gives me more consistent again. I may not need that much more contrast, so I did it when I did the original tonality it's from the original raw file when I scanned it from this original painting. So here I'm working with the j pegs through here, so I'm not getting that these spikes that you're getting the history am showing that I've already tweaked it a lot, and it's already lost a lot of its tonal range. But that gives you an idea of what, um, how do you do it so you could do it after the fact, and then just we save it as another pattern. So very good question.