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v0.7 — Applying the Base Color Layers

Building Masters | 123 | Phase 2

Last Updated: May 5, 2026

 

BASE COLORS & OVERLAYS

Overview

In this video, you will learn how to clean up the file and apply the base color layer before moving on to the sleeves.

First, we simplify the workspace by hiding all unnecessary layers. This makes it easier to see what you are working on and reduces the chance of errors. We then focus on the base layer and work from the bottom up to keep the file organized and consistent.

Next, you will see how to copy the cut layers and paste them into the base color layer while aligning them precisely using the base as a reference point. This includes using the coordinates (0,0) carefully to ensure everything lines up correctly.

The video also demonstrates how to:

  • Identify & correct symbol stroke sizing issues so that symbols appear clean and accurate.

  • Use quality control (QC) checks to catch problems early, such as production lines that are the wrong color (for example, green instead of yellow) or lines that fall outside the intended clean edges.

  • Adjust sew line alignment to sit on the outside where appropriate.

  • Verify that measurements match between layers so the artwork scales correctly.

  • Confirm that all panels are oriented properly, using vertical reflection when needed to correct their direction.

By the end, you will understand not just what steps to take, but why each step matters for producing clean, accurate base files that will support the rest of the production workflow.

STEP-by-STep guide

1. Clear the workspace and focus on the middle layer 0:00

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  • Start by shifting from 1D work to the export files that include 2Ds, 3Ds, and 1Ds.

  • Hide unnecessary layers to reduce clutter.

  • Close the production layer for now.

  • Turn on the middle layer and lock anything that should not be edited.

  • Work from the bottom up so the file stays organized.

2. Strip the file down to the base layer 1:19

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  • Open the middle layer.

  • Hide all layers except the base layer.

  • Inside the base layer, hide any panel-specific base layers that are not needed yet.

  • The goal is to leave only the clean base layer visible.

  • This may become a new master version (the speaker mentions possibly updating the main master to a stripped-down 1.5 version).

3. Use QC to catch unexpected layer issues early 2:48

  • While reviewing the stripped-down file, check for anything unexpected.

  • If a strange shape appears, identify it quickly by checking the overlay/layer naming.

  • Example: a shape that looked wrong turned out to be a collar layer.

  • This is a reminder that QC helps you find and locate elements fast.

4. Understand which assets are already set and which need adjustment 3:28

  • 2Ds are already set and should update automatically when the technical sketch changes.

  • 3Ds should also generally stay in the correct position.

  • The technical sketch work is handled by Ryan, so there is usually nothing to fix manually there.

  • The main work here is making sure the base and symbol setup is correct.

5. Check symbol sizing by comparing cut vs. base 4:24

  • Unlock the overlay and inspect the sleeve/collar symbols.

  • Do not assume the cut size and base size are interchangeable.

  • Copying the cut height directly into the base can be wrong because symbols with strokes behave differently than symbols without strokes.

  • Use a visual check: if the symbol bleeds or does not line up cleanly, the sizing is off.

6. Paste the correct artwork into the correct layer 7:40

  • Copy the artwork from the cut layer.

  • Paste it into the base color layer using the correct paste method (Command-Shift-V was mentioned).

  • Make sure you paste into the artboard/layer you actually want before pasting.

  • This avoids placing the artwork in the wrong location.

  • After pasting, compare the dimensions to confirm the base is slightly different from the cut and sized correctly.

7. Apply the correct color and panel orientation 9:10

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  • Set the appearance to the correct color, such as orange for the left side in this workflow.

  • Use the master panel/quick guide to keep track of color meanings.

  • The speaker also notes thread colors and team colors as part of the master setup.

  • This is part of keeping the file standardized across production and design.

8. Fix cut-line placement so it sits outside the shape 10:33

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  • The speaker notices an older-file issue: the cut outline is on the inside when it should be on the outside.

  • This is easier to catch during the base color stage than later.

  • Hover over the symbol to inspect whether the line is clean and positioned correctly.

  • Green is for production, yellow for 3Ds, and red for 2Ds.

  • If the line is not outside, adjust it now before moving on.

9. Rebuild the cut outline correctly when needed 13:00

  • Select the cut shape.

  • Use a path operation such as unite or divide to move the line from inside to outside.

  • Do this one piece at a time if needed.

  • Do not unite both sides together if that would remove the middle.

  • The sew line itself does not need the same inside/outside correction because it is a stroke alignment issue, not a cut-path issue.

10. Use the base layer as the source of truth for alignment 15:01

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  • Hide the base temporarily if needed so you can work cleanly.

  • Click through the cut shapes one by one and correct them.

  • The speaker emphasizes that this step really belongs earlier in the migration process, but it is being fixed now as a catch-up QC step.

  • The key lesson: if you do this during setup, you avoid rework later.

11. Verify line quality by hovering and checking the symbol edges 19:42

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  • Hover over the artwork to confirm the lines are clean and aligned.

  • Clean lines should sit properly on the outside/middle as expected.

  • This is one of the main benefits of using many symbols: you get immediate visual feedback.

  • If the hover view looks wrong, the symbol likely needs adjustment.

12. Confirm the base size before moving on 20:51

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  • Double-check the base by copying the cut, pasting it into the base layer, and comparing measurements.

  • If the size is slightly off, adjust it until it hugs the line correctly.

  • The base is the most important part because everything else is built from it.

  • Once the base is correct, the rest of the workflow becomes much easier.

13. Align collars and sleeves using the base as the anchor 24:52

  • Hide the bottom and overlay layers to compare the remaining pieces against the base.

  • Since collars are built from the bottom, use the bottom/base as the alignment reference.

  • Turn the overlay back on only to confirm centering.

  • This saves time because you do not need to adjust every piece individually.

14. Make sure all panels are centered and locked correctly 26:52

  • Keep the overlay hidden when you do not need it so you do not accidentally move it.

  • Ensure the production panel is locked.

  • Check that the artwork is aligned to center/middle, not top or another position.

  • Small misalignments will show up in the final files, so this step matters.

15. Copy the remaining sizes into the base layer 30:42

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  • For new sizes, copy the relevant layers and paste them into the correct base artboard.

  • Use the artboard you want to paste into before pasting.

  • This avoids dragging and dropping everything manually.

  • The workflow is: select the artboard, copy, click the base layer, then paste into the correct artboard.

16. Clean up the pasted symbols by switching them to base symbols 33:36

  • After pasting, some symbols may look messy or have a strange hangover effect.

  • Fix this by changing the pasted pieces to the correct base symbol.

  • The issue comes from the sew line being embedded in the primary symbol.

  • Once converted to base, the artwork becomes clean again.

17. Flip right panels to left panels when needed 35:23

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  • If a panel arrow indicates it is a right panel, use Transform > Reflect Vertically to make it a left panel.

  • Repeat this for each relevant piece.

  • The base layer should be the foundation for all later copy/paste work, so it must be correct.

  • The speaker stresses working smarter by using the base as the master reference.

18. Finish the base color layer and confirm all sizes are complete 36:46

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  • Follow the file’s top-to-bottom organization: collar, front, back, sleeve right, sleeve left, etc.

  • Watch for accidental cut pieces appearing in the base layer and remove them.

  • Once all sizes are aligned and the base color layer is applied, the task is complete.

  • The speaker confirms the base color layer has been successfully applied to all sizes and the file is ready for the next step: sleeves.

19. Save the updated file version 38:23

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  • Save the file as the next version.

  • Update the version number once the save completes.

  • This locks in the QC’d base color layer work before moving on.