First, pick a picture with a strong difference between your focus and the background. The easiest ones will always be photo shoots with solid backgrounds.
Today I’m going to use this photo:
1) Open up your photo and select the Selection tool. Make sure it’s on plus.
2) Click and drag around your focal point until you have your background selected. Switch to the minus to remove parts if it selects too much.
3) Next, invert the selection.
4) Then add a vector mask by clicking the square with a circle in it.
Example: Your layer should look like this.
5) Double click the black and white box on your layer and this window will pop up.
6) Select the Refine Edge Brush Tool and make sure it’s on plus.
7) Zoom in and paint around the edges of the hair or finer details. If it adds too much, click the minus sign and repaint over the spot.
Example: The left half of her hair has been brushed over while the right side has not. You can notice a considerable difference bectween the hardness of the pixels. (also, feel free to adjust the Global Refinements/Edge Detection to your liking, just play around with the sliders and you’ll catch on quick!)
8) Click OK and review your image.
9) Reselect the black and white vector mask and change your PS colors to black and white. Using the brush tool, go in and paint back (or out) details. Or, use the Polygonal lasso tool to make a selection and fill it with black to remove or white to add. Here, I removed a section between her arm and her waist.
10) Finally, add a background color/pattern and add any psds/actions/etc.
Of the divinatory techniques with which I am familiar, bones
are my personal favorite. Yes, they have that very witchy vibe – but it’s more
than that; the bones are honest. They don’t sugar coat, and while they have to
be interpreted, once you know how to read them – there’s little room for interpretation.
They are very direct and are much better suited to answering yes or no questions than tarot. With a
little imaginative methodology, there few questions the bones can’t answer. And
even fewer they won’t answer (as tarot cards can be known to do). A few
examples of things I think the bones are better at answering than tarot:
questions involving time, questions regarding health, sickness and maledictions;
they present a broader grasp to any given situation – incorporating things
outside of the question presented and how these things relate to the question
or the reading, showing the interconnectedness of life – and how these things
all relate back.
Our countless cultures have countless methods for collecting
and reading the Bones – and I can only rightly attest to my own methodology: one
in which the Bones need not necessarily consist solely of bones, but a
collection of gathered trinkets and curios, all with their own meaning, their
own story and their own energy. My collection consists of: bones (bare and
painted), coins, stones, shells, jewelry, twigs, buttons, animal teeth and
other squabbles. The only rule I implement is that the item can be easily
gathered and (safely) tossed without breakage or injury (save your razor-blades
and glass shards for witches’ bottles!).
Collecting the Bones and Bobbles
Most any small bones will do, though its recommended that
you use bones that haven’t been cooked, as cooked bones have a tendency to get
very brittle – especially in the case of chicken, which is quite common. In my
collection I have a number of different animal bones: most are chicken, but I
also have some raccoon and possum bones, as well as teeth and claws. I built a “base”
of bones, but am continuously adding or replacing as I see fit.
A short list of “Bones” I like to include – most of which
serve as my “base” bones:
Self Bone – used for the reader
Other Bone – used to represent another person or the person
you are reading
Magic Bone – represents the need for or use of magic
“Evil” Bone – malicious or hateful acts, disadvantageous
Love Bone – represents romantic love
Male Bone – represents male fertility, masculinity,
sexuality or a man
Female Bone – represents female fertility, femininity,
sexuality or a woman
Health Bone – represents physical or mental health
Wealth Bone – represents financial standing or monetary
Family Bone – represents familial connections or a family
Fate Bone – represents destiny and your lifepath (I use a
shell for this: open side up means an event can be altered, destiny is not set
in stone; open side down, this path must be walked – prepare in lieu of fighting)
“Key” Bone – (I actually use a small key) which represents
the key to any given situation, the remedy or problem at hand and its cause
This list is by no means comprehensive and I have many more
bones in my collection with more menial meanings. This is simply a small list
of options to be added to and adapted by whosoever casts the bones.
Reading the Bones
There is no right or wrong way to read the bones, there is
simply your way and their way. Below I will dictate how it is that I do a
general reading – again, this is just an example of one way, take and adapt to
fit your own unique style or tradition!
Begin by collecting your bones into your hand. I keep mine
in a leather pouch, but don’t like to toss them directly from the bag as it
doesn’t allow for much control – i.e. the bones fall out either in a massive,
unreadable pile or they fly out in such a scattered way nothing is close enough
to read. Throwing them from the hand allows for a rather contained casting, and
one that can be read easily. I do not include the Self or Other bone, instead,
the Self Bone is placed before the caster and the Other Bones is placed either
in front of the person you’re reading for or simply in the middle of the
casting area. When reading for yourself,
place the Self Bone in the center and discard the Other Bone.
Throw the Bones. This can be done on a square of cloth on
which a circle (or any number of complex shapes) has been drawn or simply upon
a flat table. If throwing in a circle, discard all bones that fall outside of
it. These bones are null for the reading, though they can also be read as “far
from the person’s mind/current situation.”
Interpret the Bones. This is done by noting the location and
connection of the bones present. For instance, note the Love Bones proximity to
the Other Bones and the Male Bone. This could be interpreted as being the male
love of the querent – but if the “Evil” bones is introduced, this could symbol
ulterior motives or a hostile or explosive relationship. Read based on both
their proximity to the Other Bone – the closer, the higher priority the matter
is – and their relation to one another. It’s very much like investigating a big
puzzle, putting it together piece by piece to form a comprehensive
understanding of their life or situation. Also not their relation based on the
third dimension: x bone seems to be overlapping y bone – is the x issue
eclipsing an underlying problem or truth represented by y? It depends. Only
through practice will you find clarity.
Convey the message. I always like to spend a few moments
making a variety of “hmm” noises when reading for others – it builds up their
anticipation. Or you can throw in the occasional gasp or snarky smirk. Their
responses are usually hilarious – even more so when yours are genuine! If you
are reading on your own, it may be a good idea to sketch out a general map of
the readings as opposed to taking a picture as often bones overlie others, which
makes for a rather misleading photo representation. You might also find jotting
down notes rewarding, especially in synthesizing a cohesive read.
Once you’ve garnered all the information you can from that
particular toss, feel free to specify: take the bone/situation you wish to
examine and toss the rest again over it/them, reading the others through that
particular lens. I.E. Who is this person
mentioned? What are their qualities? What is the nature of this love? What
magic is being referenced here? Follow that rabbit hole as far as you wish,
building your understanding.
Do not be afraid to adjust your style! Want to narrow down a
time frame? Make a sort of timeline with the bones. Wish to determine the
source of an ailment? Shape the bones into the form of a body. I find the bones
allow for far more creativity and ingenuity than cards. And above all – TRUST
Photos: These are photos of my “base” bones when I first started reading; since then they have probably doubled (if not tripled) in number and do not incorporate my other animal bones, claws or teeth.
Regarding Fractals and Non-Integral Dimensionality
Alright, I know it’s past midnight (at least it is where I am), but let’s talk about fractal geometry.
If you don’t know what fractals are, they’re essentially just any shape that gets rougher (or has more detail) as you zoom in, rather than getting smoother. Non-fractals include easy geometric shapes like squares, circles, and triangles, while fractals include more complex or natural shapes like the coast of Great Britain, Sierpinski’s Triangle, or a Koch Snowflake.
Fractals, in turn, can be broken down further. Some fractals are the product of an iterative process and repeat smaller versions of themselves throughout them. Others are more natural and just happen to be more jagged.
Fractals and Non-Integral Dimensionality
Now that we’ve gotten the actual explanation of what fractals are out of the way, let’s talk about their most interesting property: non-integral dimensionality. The idea that fractals do not actually have an integral dimension was originally thought up by this guy, Benoit Mandelbrot.
He studied fractals a lot, even finding one of his own: the Mandelbrot Set. The important thing about this guy is that he realized that fractals are interesting when it comes to defining their dimension. Most regular shapes can have their dimension found easily: lines with their finite length but no width or height; squares with their finite length and width but no height; and cubes with their finite length, width, and height. Take note that each dimension has its own measure. The deal with many fractals is that they can’t be measured very easily at all using these terms. Take Sierpinski’s triangle as an example.
Is this shape one- or two-dimensional? Many would say two-dimensional from first glance, but the same shape can be created using a line rather than a triangle.
So now it seems a bit more tricky. Is it one-dimensional since it can be made out of a line, or is it two-dimensional since it can be made out of a triangle? The answer is neither. The problem is that, if we were to treat it like a two-dimensional object, the measure of its dimension (area) would be zero. This is because we’ve technically taken away all of its area by taking out smaller and smaller triangles in every available space. On the other hand, if we were to treat it like a one-dimensional object, the measure of its dimension (length) would be infinity. This is because the line keeps getting longer and longer to stretch around each and every hole, of which there are an infinite number. So now we run into a problem: if it’s neither one- nor two-dimensional, then what is its dimensionality? To find out, we can use non-fractals
Measuring Integral Dimensions and Applying to Fractals
Let’s start with a one-dimensional line. The measure for a one-dimensional object is length. If we were to scale the line down by one-half, what is the fraction of the new length compared to the original length?
The new length of each line is one-half the original length.
Now let’s try the same thing for squares. The measure for a two-dimensional object is area. If we were to scale down a square by one-half (that is to say, if we were to divide the square’s length in half and divide its width in half), what is the fraction of the new area compared to the original area?
The new area of each square is one-quarter the original area.
If we were to try the same with cubes, the volume of each new cube would be one-eighth the original volume of a cube. These fractions provide us with a pattern we can work with.
In one dimension, the new length (one-half) is equal to the scaling factor (one-half) put to the first power (given by it being one-dimensional).
In two dimensions, the new area (one-quarter) is equal to the scaling factor (one-half) put to the second power (given by it being two-dimensional).
In three dimensions, the same pattern follows suit, in which the new volume (one-eighth) is equivalent to the scaling factor (one-half) put to the third power.
We can infer from this trend that the dimension of an object could be (not is) defined as the exponent fixed to the scaling factor of an object that determines the new measure of the object. To put it in mathematical terms:
Examples of this equation would include the one-dimensional line, the two-dimensional square, and the three-dimensional cube:
½ = ½^1
¼ = ½^2
1/8 = ½^3
Now this equation can be used to define the dimensionality of a given fractal. Let’s try Sierpinski’s Triangle again.
Here we can see that the triangle as a whole is made from three smaller versions of itself, each of which is scaled down by half of the original (this is proven by each side of the smaller triangles being half the length of the side of the whole triangle). So now we can just plug in the numbers to our equation and leave the dimension slot blank.
1/3 = ½^D
To solve for D, we need to know what power ½ must be put to in order to get 1/3. To do this, we can use logarithms (quick note: in this case, we can replace ½ with 2 and 1/3 with 3).
log_2(3) = roughly 1.585
So we can conclude that Sierpinski’s triangle is 1.585-dimensional. Now we can repeat this process with many other fractals. For example, this Sierpinski-esque square:
It’s made up of eight smaller versions of itself, each of which is scaled down by one-third. Plugging this into the equation, we get
1/8 = 1/3^D
log_3(8) = roughly 1.893
So we can conclude that this square fractal is 1.893-dimensional.
We can do this on this cubic version of it, too:
This cube is made up of 20 smaller versions of itself, each of which is scaled down by 1/3.
1/20 = 1/3^D
log_3(20) = roughly 2.727
So we can conclude that this fractal is 2.727-dimensional.
Start by focusing yourself on your breath for 5 minutes.
Go back to a forest or other outdoor natural setting. Find your sacred space, your personal clearing in the woods that is only yours. It can be a picnic, a tent or a shack. You’ve decorated it yourself with herbs and a circle of flat, white rocks. There are two bushes there, stinging nettle, for protection. Be sure not to touch it.
Sit here and notice your body, where your feet are, how your ankles and knees are bent, where your arms are. Bring your attention to your skin. We’re going to put a silver metal onto it. Imagine the liquid silver climbing up from your toes, up your legs, across your stomach, and up your back, over your shoulders, and up over your head and face. Let the metal harden like armor, able to move when you move but hard enough to keep out anything. Sit and feel what this changes in yourself and how the outside feels like now.
Now imagine this silver armor expanding like an egg around you and encompassing your aura. It is dark in here, in the silver metal. You can place your palm on the metal surface and feel its smoothness.
Expand the silver out further until it is as big as your space, enclosing the picnic and even bigger to gather in the entire clearing which is yours. Let it reach into the trees and form a nice, smooth circle along the ground.
You can barely see the trees here. Let’s make the silver translucent. The hard material changes color, turns to glass, but unbreakable. We can see the trees now, the sun shining down, through the dome. Set your intention to your dome: to be safe, to ward against all influences and spirits not in accordance with your own energy, with peace and quiet.
Lastly. let’s change its material. Let that hard dome shift in an instant to a cloud, airy and still there, still filled with your intent, but we are able to pass through it easily now, able to let our thoughts breathe through it.
Finish by creating a little project here. Gather some twigs or rocks or feathers and flowers and create a symbol or sigil of protection with them.
A pentagram, a spiral going counter-clockwise, circles within squares and squares within circles. As you create, send your intention into your symbols and creation.
Your space is now protected. Sit and feel the difference in its energy. Come back with a big inhalation. Ground afterward with a snack.
Commission for Jen for her in-production AU A Little Patience~ I’m excited cuz in this fic neither Dean or Cas are dom/sub they both like to switch~ In this scene they’re both trying on collars and stuff and Cas is all gung-ho about it like “this has to be perfect, Dean, the best” and Dean’s just like “hnrnrhghrhghhhhhhhhh….” *blushy blushy*
You can’t really tell but the metal bolts on the collar are green~ I think Dean’s having a little bit of a tough time closing that clasp……
So apparently show is “making a full circle”. Alison figure is standing on a square, instead od circle like other girls, so that makes her different. She is also wearing the shirt from the night she disappeared. They all look like in season 1, any thoughts?
Lapis redesign because I dislike her canon one. Specifically because of the fact she doesn’t really have any shapes that really DEFINE her, like Garnet = Squares, Amethyst = Circles, Peridot = Triangles ect, I associated her with a water drop shape cause…. y’know w a t e r.
Also got rid of the horrid neon blue colors and gave her speckles of yellow, like the ACTUAL LAPIS LAZULI GEM HAS. Why didn’t she have any sort of yellow incorporated into her design in the first place.
this is my v first sims 4 CC creation !! I’m in LOVE with minimalistic/dainty/simple tattoos so i decided to create some. I hope it goes well since this is my first time making stuff. Please message me if anything goes wrong !!
2O swatches of minimalistic tattoos on your sim’s wrist (click under the spoiler to see the full list)
i just expect too much is all. i don’t understand how other people don’t have the inherent need to be close to people. they go through their lives without deep conversations and they’re fine with it. “how was your day?” “fine, how was yours?” “good.” it’s a simple life, sure, but a life i don’t know how to be a part of.
because it’s hard to live a simple life when you’re so complicated and everything makes you feel strongly. so when i get too close to people, i share everything. i tell them the whole story about my coworker’s relationship troubles and about how my old one is getting engaged. about the conversations i had with my cat, smoking weed in the back bedroom, how my mom asked me if i wasn’t in my room because i was eating oreos and i said yes. i tell them every pointless story that happened in my day, about how i have a test this week and how i’m studying the heart and hey wait did you know that a heart murmur is just a sound different than wub dub, the sound of your heart valves closing as blood flows through them? i tell them about how i slept on khalid’s album, everything my friends told me about the last time we were drunk. i tell them everybody’s secrets, including my own.
when i get close to people, i get really close. i leave no room for anyone else. they become my number one priority. i drop everything for them and i expect them to drop everything for me. but that’s the thing, you know, when you go too far for people - you can only have one person you go too far for, otherwise you’re sacrificing your mental health, and i know that, so it was always you to me.
i guess what i’m saying is you were my person. and i guess i was never yours. and it feels like a part of me is missing because you never shared yourself with me the way i shared myself with you. you can tell anybody “good” but i can’t tell everyone about the time i called the cops on my dad when i was 14. i try to reach out to other people but i am too afraid to get close because i know what happens when i get close and it usually ends up with me facing rejection or ignoring everybody else. and even if i could, nobody feels like you. nobody acts like you. nobody is you. you are irreplaceable to me. but i can’t be close to you anymore even if i wanted to be because you’re not you anymore; our relationship has changed.
so i’m stuck in this reality where i can’t even reach out to you anymore. it doesn’t feel the same. we’re different people now. i don’t feel anything when i talk to you now. there’s nothing but splinters and empty space. and this is what i always wanted - to get over you, but i’ve never felt so alone. it feels like my heart is breaking all over again.
because who do i tell these things to now? who can listen to me talk the way you did without telling me i’m being annoying, without telling me to shut up? you know, it’s okay when i’m happy. but when i’m down - and i mean really down - who can i share my deepest fears with without oversharing?
so i share a handful of stories to every person in my life because i don’t have anybody to tell everything to anymore and the people in my life still say i talk too much but there’s just. so much to say. i don’t know how people don’t turn 2 minute stories into 15 because there’s so much that happened to me today between the people i saw in traffic, the smell of the rain, the new shoes i bought online, what i learned in school. and i feel like if people don’t know every single thing about me, they don’t even know me. getting close takes a lot of vulnerability. and nobody’s ever known me the way that you did. and nobody’s ever left more drastically.
so i don’t light up the way i used to because i don’t know how to be interested in things when i can’t tell you about them. small things aren’t enough. food doesn’t taste as good anymore and i don’t like school anymore and my favorite songs make me cry and everything makes me cry, really, and i don’t know how to open up.
because loving you is like forcing a square peg into a circle. you don’t fit into my life anymore and it kills me.
When you’re writing your posts about the anomie of modern individualistic atomized existence, and talking about how we need to find some more-communitarian more-interconnected more-tribal-level mode of life…please remember what tribes are actually like.
Tribes are, basically, big families. You know how families work, probably. You were probably raised in one.
And – don’t get me wrong – there are many great things about families. It is cool that, due to the power of collective identity, resources can be distributed in a literally final-stage-communist fashion with very little friction. It is cool that you can get to know everyone super well, and keep an accurate map of all the relationships. It is cool that people care about you, no fooling, they really care about you, they are not going to drop you just because you’ve become inconvenient or whatever.
Nonetheless. Somehow, I’m betting that most of you fled from the bosom of your families in order to go live out in the big cold atomized impersonal individualistic world, and you’re not exactly champing at the bit to go back.
Because there are costs, and they are crushing. Families do not understand, cannot understand, personal boundaries. The counterbalance to “your family will always care about you” is “your family will feel free to use and remake every part of your existence.” Families are places where every point of incompatibility or tension will be rubbed raw until it bleeds and festers, because people can’t just agree to leave each other alone. Families subordinate your dreams to their own collective ambitions and values. Families run Every. Single. Thing. through a system of manipulative personal politics.
Different people have different levels of tolerance for such things, and so the individualism / tribalism tradeoff plays out differently in every case. But if you’re reading this, I am prepared to bet money that you really really really benefit from the advantages of social individualism, no matter how much loneliness and anomie you might be feeling.
Squaring this circle is super hard. It is one of my major long-term intellectual projects. Finding a system that combines “people really care about each other in a reliable fashion” and “resources get shared in a non-stupid way” with “people will respect your individual preferences/ambitions” and “people have the space not to impinge upon each other intolerably” is…well, it may be impossible, and if it’s possible I’m pretty sure no one’s figured it out yet. But I’m betting that, at such time as we do figure it out, it’s not going to look anything like segmentary communitarianism.
A true legend has passed away today, and one less Guerrero walks our planet. Chavo Guerrero Sr., a superstar who is internationally known for being one of the most polished and precise wrestlers to enter the squared circle, has passed away. Chavo was a champion in multiple regions, between Oregon, Florida, the NWA, New Japan, and holds the distinction of being the oldest WWE Cruiserweight Champion ever. Chavo’s son, Chavo Guerrero Jr., carries on his legacy. Rest in peace, Chavo. I wish our paths had crossed.
What kind of parents do u think dip & flip would b seriously? Like they just adopted a baby & then what?
Sjdifjfgnn omg thank you for indulging this bc I think about this so fucking often and I talk to Roo about it and shit ok here we go
So I’m gonna start with phil. I think he would be a really great dad, good listener, super supportive of his kid, but completely unable to say no. Like he and Dan would have almost a good cop bad cop dynamic bc Phil just couldn’t deny their kid anything. He would spoil that kid to hell and back. He’d be the softie that let the kid and the dog both sleep in bed with him and dan bc of nightmares for nights on end and Dan would get fed up with it bc he misses his husband’s hot bod. And I feel like he’s the type to make like, dumb shit for their kid that the kid would grow out of in .5 seconds? Like he would buy a custom onesie that says “I love my dads” on it or some shit bc he’s gross like that. He would also be the parent to plan giant birthday parties and stuff, and just like, really extravagant stuff, bc he loves his kid so much.
Now Dan. I think he would, like I said, have to be more of a disciplinarian with the kid. Like he’d lay down the law when they draw on the walls or try to ride the dog into battle while Phil would be standing by taking pictures. But Dan would also be so so gentle. Like if they had a girl, he would learn how to braid so he could plait her hair for her for school. And he would make lunch for their kid every day and cut the sandwiches into whatever shapes the kid wanted even if it wasn’t practical (“triangles or squares baby?” “Circles” “Okay can do”). And I think a kid would bring him and Phil even closer, strengthen their relationship bc they’re such a good team
Are you okay if people try to eyeball it from the video if it's for like their personal project / not to sell or make a lot of or if they're trying to learn how to make their own patterns?
Generally, no. That might seem harsh, but again, this is my job. If every person who is making a personal project decides not to buy my patterns and just rip them off by looking at the tutorial video, it represents a huge loss of business for me. So I’d really, REALLY prefer if people just spend the $5-$9 and buy the pattern. They’ll get a 100% correct version of the pattern along with high quality photos and written instructions as well as knowing they are supporting an independent artist. (( To go on a tangent, though you didn’t mention this, I have had someone tell me “Well you make money when I watch your video so I don’t have to pay you again”. In the entire YEAR of 2016 I made an estimated $16.60 from video ads. Google adsense doesn’t even send you a check until you reach $100. At this rate I might get a payout in a few years. ))
As for watching my videos to learn pattern making, I do think there is some benefit to watching them if you are watching them and thinking critically about not only HOW the pattern contributes to the final shape, but also WHY I am choosing those shapes. In general, though, copying my how to videos isn’t going to teach you how to make a plush pattern because my videos aren’t meant to explain my patterning choices. It’s only teaching you how to copy my plush pattern.
For example here’s a generic 4 piece sphere pattern that I prefer to use:
Great! If you see me holding these shapes up in a video, you can pause, eyeball it, and you know how to make a sphere! Now you have a pattern to use every single time you need a spherical shape. This is where the person who is just copying my pattern from a video stops. This is the extent of what they’ve learned.
I like to say that pattern making is coming up with 2D solutions to a
This person has copied my solution, but they haven’t learned how to solve the problem. Jumping to an analogy, the person who copied my pattern is exactly
like someone who copies your answer in math class. They learned that
2+2=4. If the next problem is 1+3=? they wont be able to solve it.They might have the correct answer to this one problem, but they didn’t learn anything.
Now a person thinking critically and not just copying might stop and think about what these shapes are doing and why I am using them. They might realize that any combination of these football shapes will give you a sphere. Which is true! By varying the width, you can use anywhere from 3 to (theoretically) 100 little football shapes to get a sphere. Though I’d probably stop at 9 pieces.
Here’s an example of a 6 piece sphere pattern:
And if you are really thinking about it and you draw them out like this, you might start to see that the little football shapes don’t even have to be separate. You can combine them with darts on the bottom and top and make a sphere pattern with just 1 piece:
So by thinking critically about how and why I’ve selected my shapes, the person watching my videos to learn and not to copy has more options to work with. Using the math analogy, they now know that not only does 2+2=4, but also 1+3=4, and maybe even 1+1+1+1=4. Now give this person the problem 2^2=? and they wont know the answer because all they’ve learned is addition.
In other words, all they’ve learned is this one specific method of finding a solution to this one specific set of problems. They can make spheres from pointy football shapes.
But we don’t need to keep that football shape, here’s a sphere pattern that I like to call the telophase pattern (hello science nerds). You can use this to get seams like a baseball:
Even a pattern like this with just darts can make a sphere if you have enough darts and your fabric is stretchy enough. You can use this when you need a large area without seams. A good time to use this pattern is when you want an embroidered face:
Every single one of these will make a sphere and there’s even more combinations out there. You can use hexagons, you can use squares, you can use a big circle and gather it around the edges, you could use a spiral, and so on. There are literally hundreds of possibilities. And that’s just for spheres.
When people ask how to get started patterning, I always tell them to start by making things from other people’s patterns. Then I recommend making minor alterations to those patterns and seeing how that effects the final product. Then I recommend drafting your own patterns, starting from simple 2D shapes and moving on to more complex 3D shapes.
Back to how I said patterning was finding 2D solutions to 3D problems. By working with an existing pattern, you are memorizing a single solution to a single problem. By altering patterns, you are learning how to come up with your own unique solutions to a problem. When you learn how to make your own pattern, you’re learning how to find your own solutions while creating your own problems!
To wrap up my own super long explanation, copying is a really, really poor way to learn how to do anything. If you want to learn how to make patterns, by all means, you can start looking at my solutions to help you come up with your own. But do us both a favor and just buy the pattern. Like I said before, they’re $5-$9. That’s less than most people make in an hour for something that took me a week or more to create and years to learn HOW to create. If you can’t afford it, there are many free patterns available online, but please don’t rip off an independent artist just because it’s for personal or educational reasons.