Bounce Letters: Adding Character to your Hand Lettering | Teela Cunningham | Skillshare

Bounce Letters: Adding Character to your Hand Lettering

Teela Cunningham, Hand Lettering + Graphic Design

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6 Lessons (38m)
    • 1. Bounce Letters Trailer

      1:07
    • 2. Supplies Overview

      5:12
    • 3. Bounce Letter Dissection

      6:08
    • 4. Look + Letter, Letter Direction

      4:58
    • 5. Letter Over, Skeleton Method

      8:01
    • 6. Real Time Examples + Farewell

      12:21
40 students are watching this class

About This Class

Whether you’ve just started with lettering or you’ve been at it for awhile, there’s no denying that applying some ‘bounce’ to your lettering creates some seriously cool personality.

In this class, we’ll dissect adding the bounce by going over how to add bounce, the best lettering combos and opportunities to add bounce, and how much is too little or too much. We’ll go through some quick exercises to practice and develop nice letter combo muscle memory so you’ll be able to begin adding bounce to your own specific style by the end of the class!

A lightbox is great if you have it, but you’ll only need a pen (or pencil) and any kind of paper you have on hand.

Bonus practice words worksheet, letter direction cheat sheet and a lettering utensils resource list are also included with your enrollment in this class!

Transcripts

1. Bounce Letters Trailer: If you're a fan of lettering, chances are you've come across that bounce effect that's prevalent in a lot of lettering these days. That bounce effect adds tons of character and personality to your lettering immediately. In this class, we will go step-by-step practicing different techniques and exercises to really bring that bounciness forward in your own unique lettering style. My name is Teela Cunningham and you may know me from Water Brush Lettering Essentials and if you took that class, you already have a head start. You probably already have plenty of materials to practice with and you already have a basic understanding of how letter forms are created. In this class will take things one step further by looking at the opportunities to add exaggeration to dips and peaks throughout your lettering and we'll go over different lettering combinations where the best opportunities exist to apply those exaggerations. By enrolling in this class, you'll have access to a bunch of free resources of practice words, cheat sheets, and a full resources list of everything mentioned in the class. So grab a pen and a sheet of paper. That's all you'll need for the class, hit enroll and let's bounce. 2. Supplies Overview: Thanks so much for signing up and enrolling in this class. Before we get into anything too specific, I wanted to go over my favorite writing supplies. For this class, all you'll need is a basic pen and any paper that you have on hand. So nothing fancy. But if you want to take things a little bit further, I wanted to go over some of my favorite writing utensils. For this class, the type of pen I'm using is a micron. These are actually my favorite types of pens because they have a really rich black and they don't soak through the paper. Even regular printer paper like this, it won't soak throw. I really love that. I'm going to write out a couple of words using every single writing utensil here. You can see the difference between them. This micron writes like this. I'm going to do bouncy letters for all of these so you can get excited and see what we're going to really dive into in this class. That's a micron, this is a 0.45 millimeter thickness for the tip. They come in all different sizes. I like getting a variety pack because then I've got plenty of options whenever I need either a really fine line or if I want a much thicker line for my overall writing. That's microns.The next thing is you can actually even use a regular marker, nothing fancy at all and you can still get really great results. Please don't feel pressured to go out and spend a ton of money on supplies that are top of the line because even your basic crayon or marker is going to do the trick easily. Some of you might know me from the water brush lettering essentials class, were we went over all the basics using a water brush. This is a water brush right here, this is a small water brush and i love using them with these are concentrated watercolors. I don't want to dive too deep into these.These are definitely on the pricier side. I usually use this with a regular paintbrush, but I do use it with a water brush sometimes. These ones are super-rich, if you don't want to do any intense color blending, then these are a great option. I like using this cheap pentel watercolors. If you took the water brush lettering class, then you already have all of these supplies. You're good to go already if you want to take things a little further. I just squeeze them all out and do irregular paint palette. I'll wake this one here, let me put some water in it. This is really nice if you want to start introducing some vibrant watercolor into your bounce letters. This is a water brush,we made it. Let me get the color out of this. The last one is a water brush filled with ink. If you don't have the ink or if you don't want to get the ink, black watercolor is also really nice option, you're going to get some fade in here. If you want it to be more opaque then I would suggest the ink. If that doesn't matter to you then keeping black watercolor is definitely fine. This one is a large one, it's going to have a much thicker strokes. This is just a ink in a water brush. You can see the difference between a large tip and a small tip between these two. These are the supplies that I typically use for lettering or bounce lettering. Just to mention, the resources that come with this class. Since you enrolled, you have access to all of these and you can get to them by clicking on class project, right below this main video. Then scrolling to the bottom and you're going to see all the resources for this class. There will be an entire page of all of the supplies that I mentioned right here, with links to all of them. If you want to pick up the same thing that I'm using, everything that I use is right there. We're going to go over this in more detail in the next few videos. There's going to be this resource lists which talks about letter, direction, and the best opportunities to introduce bounciness to your letter forms or your words. This is a really great resource. I've got an entire list of practice words both written and regular pen, with a water brush filled with ink as well. You can compare your own or just get an idea of the difference between the two when you're using those different utensils. I also have a practice sheet of using a font. This is my own font called Tuesday script, I'll leave a link to that as well on the resource list. It's nice to have a font sometimes that you're inspired by or that has that bouncy quality to it because you can easily set letters out. Then you can practice and get an idea of how certain letter combinations work together to give you that bouncy effect. This is just a really simple sheet of some catch words and really nice practice and inspiration to influence your own bounciness with your letter forms. In the next video, we're going to get into specifics and dive right into creating bounce letters. 3. Bounce Letter Dissection: In this video, we're going to talk about basic letter dissection, which sounds really scary, but it's super easy and not threatening at all. We're going to walk through what makes up a letter and the best opportunities to introduce bounciness to your letter forms. I want to start by just writing out a bouncy word and then I want to talk about the letter is a little bit and then I'm going to give you some nice practice exercises so your hand can start creating that muscle memory, so then it will become more of a natural action for you to use with your own style of lettering. I want to talk about where those opportunities exist. I'm just going to write out bounce and then we're going to talk about each letter. Here's the word bounce, written out, bouncy and you can even come in later on and older downstrokes, you can think in those up, so it becomes a little more obvious where all of your embellishments occur. But right now we're going to talk about these connections. Let's break these up letter by letter. First we have our b and you can see that when you draw b, there's a basic b, this is how it ends, this is the direction that it finishes it goes like this. Because it goes up in the air, we know that our next letter can be above our x-height for this, this is our x if you'll remember from water rush lettering essentials. Your x-height is the height of any lowercase letters, so if you have a c, this is your x-height, if you have an e, this is your x-height. If you have a d, this is your x-height, this is your cap height right here. Right here you can see that we're ending up, so this gives us an opportunity to put our next letter above, but it doesn't allow us an opportunity to dip because if you made a b, that went down enough like that looks terrible and that would never read correctly to anybody. You have to pay close attention to how your letter forms ends. Because this b ends in an upward direction, we know our next letter is o, so we can start our o up here instead of coming straight down like this, like you would if you had a normal baseline. This is what a normal baseline would look like, where you've got everything all on the same baseline and they all share the same x-height. Here we're already having a nice opportunity to raise it above our baselines and create that bouncy effect as it's going up instead of an extreme dip, we're just moving upward. Our next letter is o, and as you'll notice with an o, we also come back up. We can keep the u right in line with it because it's nice to have that variation, you don't want your letters to be all over the place, you still want to feel like they go together, so don't feel like you have to go to extreme, you still want to keep in a nice pocket of how far you go with each of your letters so it feels consistent. We can keep our o on the same path, you can see right here, they're basically the same. Their baseline is a little different, but the very top of the letter forms hit in the same spot. We can bring our o right here and then with our u it can dip right down because our u ends, our letters already formed by the time we get up here, so bring it down with using a script, we know that this is the direction. Since we're moving down, we can exaggerate how much dip we put into it so we come down. Now we're already creating a nice little effect of coming down and not just up. With our n, when you look at an n, our n is already formed by the time it gets here and because we can take it lower, that gives us a nice, great opportunity to once again exaggerate that dip. I'm going to come back down and then I come back from c, so we've got downward motions here, upward motion here, upward motion here. Or you can actually even stay straight if you want it to, it can go like this, but I like either going up or down. Our c, you might think that c could go down, but you need the rest of the curve in order for it to read as a c and because you need that extra curve moving up for it to read as a c, this is the direction that it goes, it goes up. We know that right here, if we're going to add any bounciness, it's got to be coming up but because we've already got one coming up here and then we've got a dip and a dip, I like ending a little more consistently. You could definitely come back up with it, I just personally prefer keeping it in the same plane for this and then we can just end the tail right there. An e could come down because an e is already formed by the time you get here, so you can bring it down a little further, I don't like going to extreme and dips after an e, but you could go a little further if wanted and it's still going to read as e. Readability is really the most important thing because if you're going to letter, you want to be able to communicate whatever your lettering, so make sure that your letter are formed enough where they're extremely readable. This is a basic dissection of your letters and if you refer to the cheat sheet with all of the letter directions, you can see I've labeled down here at the bottom, the best letter c bounce with. These are letters that have a downward motion so you can exaggerate their dips and all the other ones either have an upward or more even line. If you want to exaggerate, dips down here are the best letters to exaggerate dips with and if you ever wonder about the direction a letter is going, so you can start applying your own dips. You can just refer to this and just check out the blue arrows and see where they're lining up and then take into consideration whatever letters are going to follow it. In the next video, I want to walk you through some really easy practice exercises that will get your hand really comfortable making those movements that you can apply to your own personal lettering style. 4. Look + Letter, Letter Direction: So for this first practice exercise, we're going to use the Look In Letter method and If you took water brush lettering essentials, then you're already familiar with this method. It's nice because you don't need a light box and you don't need tracing paper. It's a little more difficult but I feel that you learn much quicker if you use this method, than any of the other methods. It also uses the least amount of supplies. I wanted to go over this one first. All you'll need is this practice words sheet or you can come up with your own word. That's perfectly fine. I'm going to use the word Smile down here. The first thing I'm going to do is write out my word Smile as if I would without applying any bounciness. Just use your own personal lettering style and just write it out. It's all going to have the same baseline. Actually I'm going to take my pencil, and I'm just going to draw out a line. Actually, I can just give myself in x-height right here to work with. I'm just going to write out Smile. Because all of these share the same baseline, now we can refer to our cheat sheet for letter direction. We can start looking at opportunities we have to apply bounce to this. If we look at the letter S, it goes in an upward direction. See if you can see it. The S goes in an upward direction, so we already know that the N can come up a little higher maybe if we wanted to. Let me use my pencil for this/ we know the M can come higher. We don't have to bring it higher, it's about recognizing where our opportunities exist and then deciding which opportunities we want to take and which ones we don't want to take. Right here, we could bring the M up if we wanted to. We could exaggerate the height of our first curve. So we can bring this one up and make the next one is smaller, if we wanted to. We know that the M goes in a downward direction right here, so we can bring this dip far lower, and because we're coming up, we don't have to come all the way back up to the x-height for the I,' we can bring this one lower. We know that the 'I' also, we can exaggerate the dip on the 'I.' So we can bring this one down as well and then we can go super high with the 'L' since we've got a cap height here/ we're going to bring this all the way back up to where it was before because it's all about exaggeration when you're using bounce letters, or you are creating bounce letters? So now we can bring it back down. We know the 'L' is a downward motion so once again, we can exaggerate this dip. Then we can come up with our 'E.' We can come shorter or we can come all the way back up to the x-height. Again, it's really up to us. I think I'm going to keep it a little lower. You can also have this practice word sheet that you can refer to. So you can see, in the example that I wrote out, how I decided to take my opportunities or delete them. So this is the outcome of mine and it's all about practicing and seeing which ones look best for your combination of letters because sometimes you'll have letters that you can use a ton of dips with and sometimes you don't really have any dips. So it's all about how extreme you really want go with it. So I'm going to bring my 'E' a little closer. I'm not going to come all the way up and then bring it like this. So now when I write it out again, I'm not going to draw the x-height but I'm going to pay attention to where I've got my pencil marks of opportunities that I could take for this. I'm just going to start with my regular 'S.' I know I can bring it higher and I can bring up my 'M' really tall and then I can dip way down and not come all the way back up from my 'I, ' but dip down again. Come way high for my 'L' and then finish off even with my 'I' and my 'E,' and there we go. If I don't like how high my 'M' is coming, which I don't really like right here, I feel like it's drawing too much attention to the 'M' and less attention to the word as a whole. I can see that now, so now I can adjust and write out my word again and maybe not make my 'M' quite so extreme. Bring my 'I' down, bring it down again, my 'L' way up, and then kind of keep my 'E' lower down. So that's feeling a lot better. If you want to finish this off, once again, that faux calligraphy look, all you have to do is wherever there's a down stroke, so wherever your pen was coming down, when you're drawing your letters, those are the strokes that you can thicken. So I'm just going to go through here. This is a nice quick way to add some really nice visual interest to your letter forms. That's the first practice exercise, and I have one more exercise to share with you in the next video, and that's called the 'letter over method.' 5. Letter Over, Skeleton Method: In this video, we're going take everything that we learned in the previous video, only this time we're going to use an exercise called the letter over method. Which once again, you're already familiar with if you took water brush lettering essentials. What I have here is the resource printout of just a few words using Tuesday script. I've got an extra sheet of paper, I also have a lightbox that we'll be using. If you don't have a light box, don't worry about it. All you need is some tracing paper or some really good light, and you'll be able to see through. Since these are pretty heavy black letters, you can still kind see through it on the paper, so you can really use this method, whatever you have on hand. I've got two clean sheets of paper, ones got my letters printed out or my words printed out. I've got my pen, just a basic pen once again, and I've got my light box right here. I'm going to set my lightbox, and I'm going to line up these two sheets of paper, hook them in here, and then I'm going to turn this on. This is a really great method for whatever kind of fonts that you admire or that you would like your lettering style to be influenced by, this is a great way to get a jumpstart on style. Right here I've got my words, and all I'm going to do is trace over these, but I'm tracing over these, I call this the skeleton method because whenever you are applying extra weight to your letter forms, I think of that as the me on the skeleton, but it's really important to have a good bone structure before you add any of the extra weight. Because that's where all of your style comes from. If you use a font that you really admire, then you'll have a better chance of developing your own style that's influenced by style that you already admire. Right here, I'm just going to use the word anniversary, and I'm just going to come in and write in the middle of the letters is where I want to trace, and this is going to start developing my muscle memory as well, because my hand's going to start learning how these connections occur, and where the extra dips happen. I can also refer to my letter direction sheet right here, if I want to see how these differ from this or any other opportunities I see where maybe I went to exaggerate things even more so than the font does. This is just a really nice practice to start developing your style in creating that muscle memory. Right here, I'm just going to go in the middle of the letter, for each of these, I'm not going to put any weight on. The whole point to this is getting a good bone structure, so when I do add in the weight, it starts creating a really beautiful style. Then I can come back in later on and see where I would change things up to make it more my own, because that's really important. That's what's going to make your lettering more unique than other lettering that you see. Also pay attention to any letters that you really like in the font that you've being influenced by. If you're just starting out with lettering, this is a really great way to make your hand acknowledge the basic structure of letters and what makes them beautiful, if you're just starting out with lettering, I would highly recommend doing this method because your style will develop really quickly once you start forming letters based on letter forms that you already enjoy looking at. Now that I have this, I'm going to look at different opportunities where I could change it up and make it more my own. I'm just going to move this up a little bit, and I can see right here, if I shut this off, this is looking really nice, and I know that once I start adding on some weight to the down strokes, it's going to really come alive. But before I do that and put in all that extra effort, I want to make it my own. I'm going to turn this on again, and I'm going to also compare to my letter direction sheet, and I can see my a, I can make this come down a little further if I wanted to. Let me do this with a pencil so I can get an idea before I go at it. I'm going to come make my a go even deeper and then bring my n way up, and I want my n's to look a little different, so I'm going to make this a little lower. Let me turn this off so you can also see and my i, I know I can come up, I can bring this one way down, but maybe I don't want to. The places the opportunities you have with dips, which are all these letters down at the bottom of this sheet, those are just opportunities. If you don't want to take them, don't feel like you have to. Maybe I'm not going to exaggerate the dip here because I already have some extreme dips right here and I don't want to go overboard with them. Now when I come to my v, when I exaggerate that, at least I've changed it up right here, so I have a little more variety. Then I've got my e, and I can dip this one pretty low too. I can bring my r way up further than the font did, and maybe I want a different kind of s in here. I want an s like this, and because my s is moving upward, I'm going to bring my a here, and maybe I don't want to exaggerate as much as the first a, so bring it here, bring my r up again, maybe I want a low y to end things off. This y comes up, and maybe I want my y to end like this. I've changed it up quite a bit, it's still being influenced by a font. I've got a really good base, my hand already had knowledge of how these letters were formed, so when I change it up to become more of my own, it wasn't so out of left field and I already knew I was going to get a really beautiful outcome because it was based on something I already really liked. Actually, I don't even need to turn this back on, I'm just going to use this sheet now. Let me get rid of the light box. Now that we have our original that's traced completely from the font, and then we have our alternate, which is more of our style but based on the original. Now we can come in and do it one fell swoop, we're going to write it all out, but this time we're going to look right here, so now we're doing the look in letter method like we did in the previous video. We're just going to write it out and follow it exactly, so then we can ink it in and exaggerate those down strokes with extra weight to really bring it alive. Now that we have it all written out, I'm going to speed up the video and I'm going to darken in all of these down strokes. Now that we have all of our down strokes exaggerated with the extra weight that we've put on them, it's really looking nice and much more complete and finished. Now's a great opportunity to think of some of your favorite words that you'd like to add that bouncy affect to and use the look and letter method, use the letter over method, use the skeleton method, find some fonts that really inspire you or that you admire, that you would love your lettering style to be influenced by and just start practicing. The more you practice, the more you're going to get that muscle memory going and your letters will naturally start taking on that style and that look. Once again, pay close attention to your different letters. Definitely refer back to the letter direction sheet, because you're going to be able to find those opportunities really nicely, and then just start editing and deciding which ones to take and which ones to leave. Just practice and get that muscle memory going. 6. Real Time Examples + Farewell: One of the things that helped me advance my skills the most when I was just beginning was watching other people letter. A great place to do that is over on Instagram. There's so many really awesome videos that people take on themselves in a time lapse form of writing out different letters. I actually have a bunch of my own Instagram account now which is at every Tuesday. You can see on Instagram people have some really beautiful amazing methods to forming their letters. Watching these types of videos really helped me advance my skills because I got to watch someone else just write out a word and be inspired by that. In this video, I just want to write out a bunch of words. Hopefully it will help to inspire you and just sharing my process a little bit with you. I'm just going to grab some words off of here. This practice where she is really nice, if you're looking for a place to begin and you're not really sure where to start. Here's some really simple short words that are used pretty often if you're a lettering out an invitation or something really sweet for a family member or just someone's name. This is a really nice place to start if you're just beginning and they're very short words, three to four letters long. Then over here these ones are a little bit longer and these introduce that thickness to the downstrokes. You can practice with those as well. I'm going to just write out the four seasons for this video so you can see how I would write those out and different decisions that I have make. Now that my hand has my own muscle memory, a lot of my letters are pretty similar and their connections, but I still like changing things up and changing my style pretty often. I'm going to use different writing utensils for this as well, so you can see how they all operate. I'm going to start with this marker actually, because it's pretty awesome that you can have a cheaper marker like this and still create some really beautiful writing. I'm going to write out autumn with this. I'm going to go extra hard and my downstrokes and light on my upstroke since this is a marker and it has thickness, I don't have to come in later on and apply those weights. I'm going to come way down, come back up, really high, thicken down, come up, come way down, come way back up, come down but not quite as far. Come back up. Just [inaudible] This is a u. Thicken, then pick up. That's my m. I have a tendency to write at an angle when I'm writing scripts, which I think just adds a little more feeling of elegance to it. Right here with this font, I've got more of a straight up and down but lately I've been writing at an angle and I'm really liking how that looks. That's another way to just change up your style if you're looking to change things up a little bit. This is just a regular marker. Nothing crazy about it, but because I've got a lot of, actually all of these have that dip opportunity to exaggerate that. It's figuring out when to go way down and when to pull up a little bit and varying that as really nice. The other thing I wanted to mention was, so with a regular x-height, they all fall together. If I just wrote out autumn in one line, hell of bouncy letters, they get so much personality especially when you compare it to something that all has the same base line like this. You can see these all have the same x-height they all hit at the top and the baseline is all the same but when you draw out where you'd see a baseline, you can see some of them hit. I guess you could consider that hitting, this one hits and this one hits. But you still have some that don't. But you can see just naturally these are hitting in the same place. Then if I come here, I hit right here and right here and right here but then I've got an extra one, right here. Even if my x-height is right here and right here, I've only shifted it slightly. That's the other thing I want to talk about is that there are all in this pocket. If you want to go super extreme, that's perfectly fine but I feel like this is a really nice place to start. I think that this takes on a much more sophisticated look when you live in this pocket with how much you vary your baseline. If you want to do an extreme very baseline that will definitely come across as more playful. It all depends on what personality you want your lettering to have in the end. I like living here in this pocket. I just really appreciate that sophisticated book to lettering, but there's a time and place for everything. It's nice to experiment and get a hold of what you enjoy the most when you are lettering. I'm going to use this water brush that's filled with ink right here. I'm going to write out the word winter. I'm just going to come and start. Super heavy down. This is with a large brush. Things get really big, really fast. I'm just going to come way up. I liked ws because you have the opportunity to add bounciness to the letter itself, not even like the lettering connections, which is fun. I'm going to come way up high with the center and then bring it back up. Now the w ends in an upstroke. I'm going to bring it up to my i and then I'm going to dip my I way down and then come way up from my n. I'm not going to dip my n quite as low as the i but similar and then I can bring my t way up, bring it way down because I want to vary because here I've got a dip, a dip and a dip, and I don't want them all to be the same. I just want it varied. That's why I didn't go as far down with the n and then make my e and then come away up for my r and then dip way down. That's looking okay. I think I'm going to read you this one out. I don't like how close these two are together and I don't like how far away these ones are. This one's the same. Actually, I just don't like how close these are together. Everything else seems pretty consistent with distance. I'm just going to write it out, maybe without talking about it this time. That feels better. This time I didn't go as low with the i, but I went lower with the n. It's all about changing it up and I write out things so many times before I'm happy with the final, which is why I'm always using your really cheaper printer paper, nothing super high quality at all. That's what this is. Then I don't feel bad about writing it out a zillion times, but that's what makes you better. Noticing parts where you can improve and then writing it out again and writing it out again and just getting used to your hand motion. Before you know it, this doesn't take that long to develop. Once you understand what to look for and what works with your own personal style of lettering, you move really quickly with improving. I'm just going to write out spring and summer. Let's see. I'm just going to use my micron again and I'll add that weight to it. I'm going to use 0.45 millimeter. It's the micron 05, just so you can see it a little better on the video. I'm just going to write out spring and summer using the micron. Spring. I like the micron because I feel I can get crazier with it, just because it's a regular pen. Sometimes if I have a lot of loops in things, I'll bring a loop and do a g, I don't really do it with the end, but I guess I could see what that looks like. Maybe it will be too loopy. I think it's way too loopy. It almost looks like an h. We don't want that. Sometimes I'll put it in a loop just to make it feel more consistent right here. Right here you can see I kept the s and the p on the same baseline, but then I super exaggerated the r, deeped it way low, kept the i not low at all. I actually brought it way up but then dipped way down with the n so it matches the r. Then finished off the g on the same baseline as my s and my p. Just think about how many. I do like keeping my baseline the same from the beginning to the end because it unifies everything that's going on inside when there's a lot going on inside. Then I'm just going to speed up the video and add the weight to this so we can see what it looks like all finished. I can even scribble this n which I like when it looks a little rougher because it looks really hand done, which can be really pretty when you bring it on the computer. Now I'm going to do summer and summer is a little bit tricky because we got to ms and ms or really wide. They can throw you for a loop because there's so much to them. I just wanted to share how I do that. Because you've already got the s down and an n down, I feel like this is a good transition to move into a little more complicated of a word. Do the s and the u way up. Now here I want to make my m slightly different, so it doesn't look like a font where they would all be the same. It really feels like hand lettering. I'm going to keep this one a little further down. Now I'm going to look at how I drew this one and I want to make sure I draw my next one slightly different but still similar. I'm going to bring it a little higher up and maybe not exaggerate this peak as much. There you go. It adds definitely more character to the word because they are a little bit different but they still look like they belong together. I'm going to speed up the video, darken these up and then we'll be done. There we go, they're all dark and up. Also mention I didn't want to forget to say that when you are adding this extra weight to your downstrokes, however thick you make your downstrokes, make sure it's consistent throughout all. You don't want that's super thick and then the rest of them are all over the place. It'll feel more unified and more complete if you keep all of those thicknesses the same even though you are varying the baseline on all of these to create that bounce. That's as far as you want your variation to go. You want to keep your wave very consistent always whenever you're drawing out letter forms this way where you're darkening up your downstrokes. Now it's time to take everything you learned in the class, choose a name or word and apply the same techniques using your own personal lettering style and share it with us. Share why you chose whatever word or name that you did, share any preliminary sketches or different things you tried. Then the final outcome, we'd all love to see it. Make sure you head on over and upload your own class project and share your examples with all of us. For more about me, you can follow me on Instagram. I'm posting lettering examples almost every day. My handle is @everytuesday and I also share lettering tutorials and other design tutorials on a weekly basis over on my blog, every-tuesday.com. Thanks so much again for enrolling in the class. I hope you enjoyed it and I will see you next time.