Brush Lettering Essesntials: Digitizing With Colors & Textures | Carmel Wilson | Skillshare

Brush Lettering Essesntials: Digitizing With Colors & Textures

Carmel Wilson, Lettering & Illustration At Bricky House Co.

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
8 Lessons (24m)
    • 1. Class Intro

      1:12
    • 2. Tools & Initial Concepts

      3:24
    • 3. Refining Concepts & Inking

      3:12
    • 4. Retouching & Vectoring

      3:17
    • 5. Refinement

      2:29
    • 6. Prepare The Print Art

      1:49
    • 7. Experimenting: Color & Textures

      6:19
    • 8. Your Class Project

      1:52

About This Class

In this class, you will learn the next important steps of brush-pen lettering. I’ll cover the tools and techniques required to efficiently digitize a brush-pen lettered artwork. Resuming from previous classes, this class focus more on how to vectorize your letterforms, refining them, designing a print art, adding color and finally texurizing it to add extra tactile feel to it.

In succession to the first class "Brush Lettering Essentials: Starting Out", using basics as a starting  point. And the second class "Brush Lettering Essentials: Designing Beautiful Compositions", in which I talked about creating beautiful composition. This class is focused on the vectoring and digitization techniques using Adobe Photoshop and Adobe Illustrator.

At the end of this class, you will learn how to digitize a great composition, how to refine your custom lettered piece in digital form, how to add colors and finally how to experiment with textures and effects.

Make sure that you follow each class in this series, as it will help you practice and get perfect at it. Would love to see you all!

Transcripts

1. Class Intro: welcome to the next class in this short Siri's called brush lettering Essentials. So in this class, I'm gonna take you through the fundamental process for digitization of brush lettering, crafts. The necessary tools and techniques required will be discussed in this much faster pace class. So I'm gonna teach you the process that I follow to digitize a brush lettered piece. And it works most of the time and always gives the best results. So you can easily follow these concepts, even if you have just started out. Since it's like the third session in this short Siri's, I feel you must be pretty confident for taking your brush lettering skills to this next level. So I'll take you through steps involved in perfecting your brush lettered letter forms from individual letters to complete artwork and then how to transfer it from a piece of paper to digital form, including how to apply textures to add a tactile feel to your lettered work. So by the time you have completed this class, he would have gained the necessary skills to magically create custom lettered pieces. So join in and let's get started 2. Tools & Initial Concepts: in this lesson, I am starting the initial sketch and design competition to a hand lettered piece. But first, here are the tools. I'll use a to B pencil. This is a soft lead and a brush pen. I use refillable brush pen, but you can use whatever brush pen you have, or you can experiment with your brush pen. I use this ink because it's good and economical for me. I keep my ink in an old film container. It's easy to use to refill, and it won't leak. It's economical to buy Ah, large ink bottle like this one. So I'm just starting out roughly sketching first. A landscape composition. This is just about where the words will be and not what it looks like. Now you can create them in small rectangles to get to know which placements of words work best. Just trying another landscape arrangement thumb now with varying sizes this time. But I don't think that this quote is looking good with the landscape lay outing. I think for this quote portrait is the way to go, so I'm gonna use two different styles here and see how they work together with the less important words like if you etcetera, I'm using a less dominant and smaller letters to contrast this with the important words like irritated, a larger you must remember these hierarchy terms. I taught you this in my last class brush lettering, essentials, designing beautiful compositions. You can enroll in that class in case you don't know about these terms and how to use them in creating compositions. But for now, it's looking good, but your first idea is never good, so I'm just going to try another portrait composition, this time a little tighter. Here. I'm marking out the baseline to each of the words. This is where they will roughly sit and then on roughly, put the words on it and see how it looks. This is working much better. I think I'll use this one. So here I will just roughly practice a couple of options for the letter styles. I will need to hear ah brush script for the words to emphasize and to contrast and complement this type of simple, small sans serif. I usually try various styles roughly and see which one can go with the quote and theme. So for this quote, this might be a little too clean of lettering to represent our text. Maybe something a little more rugged and Grun DRI would work well here. I'm burying my pressure on the brush, starting in the middle more pressure and then easing right off to finish the stroke to give it that more rugged, grungy look you can to create various styles just by varying pressure and angle. So try this technique for all your different projects. I'm just trying another son, Serevi, as I think something a little simpler might work better. Okay, I am happy with that one. So using these two together, I will create my final brush piece I have covered in that next video. So see there it's the combo of rough with the contrast of clean type. 3. Refining Concepts & Inking: In this video, I will create a final brush piece from sketch to ink. Here. I'm just roughly marking out the baseline to each of the lines. This helps me Teoh workout ratio and space. There is nothing worse than starting something and running out of room at the end. So I always create guidelines than Onley. Start adding letters to it really roughly. I am creating a lettering skeleton for my peace in any hand lettering design. The first step is always to create the skeleton. Then, on Lee, you can add muscles to it. So in the meantime, you can think of the ornamental elements that you want to add to the design and then plan the design. According to that, I feel like that's working well, so now I'm gonna move onto thinking it pretty roughly. So the first line is the clean Sand Saref. Just trying to get the spacing and the curve right here. You can see the guidelines from the sketch behind this paper and ink according to that, so you don't need to add any guidelines again for the inking process. I always use my light box, which I created for this purpose. only the benefit of having a light boxes that you can see your design really clearly and it helps in the refinement of the design. So I'm just loosely using my brush pen here, really focusing on that contrast of thick and thin with the bulge in the middle. I'm really focusing on creating precise letters, although I will refine again to make it final. But at this stage I'm really just trying to make it as perfect as I can, so that refining will take less efforts. I really want the thickness to be this same with each letter so that the design should look consistent throughout and the composition should look beautiful. I want this third line of Sand Saref to be the same size and spacing is the first, so I'm really focusing on that organic roughness and thick and thin. That's the That's kind of the look I want to achieve. And after the step, I will know do the final inking, just going to start the final now. So here I am going really slow and focusing on that mid too hard, too soft pressure to get that bulging letter. I'm also giving an eye on the thickness of stroke In each letter I want Thies to all be similar to do inking with precision. Full control on your brush pen is mandatory. You should have control on the pressure You required to design letters and control on the flow. So take your time. Do this with full control. Take it slowly and you will be able to create perfect composition. Okay, so I am happy with that. Now it's time to scan and move onto the computer. 4. Retouching & Vectoring: in this video, I'm going to go over how to prep your artwork in photo shop for vectoring an illustrator. And then how to trace your artwork in Illustrator, I will start by opening photo shop, open your design and Photoshopped. Then I will double click on the layer to convert from background to an edible layer. And now we're gonna make the lettering darker. This will help us later. An illustrator to use the trace function with ease. I scan my artwork in grayscale, so I'm just converting this to see him. Why? Case We can use the adjustment layers input the selective color adjustment layer and in this scan are white in the background is white. Sometimes when you scan it, it might be a little grace. You really have toe toggle between white neutral and black value here. But for this one, we just want to make that gray brushwork black. So, using neutral, slide the black values all the way up by holding command on your Mac or control on your PC . Select the little box in the layer which will select your layer hit command see or copy from the drop down menu. Mine was too big, So I have just dropped the resolution to 300. Next, I will copy the image and open it in Adobe Illustrator. So let's open, Illustrator. Now create a new artwork and we will make this 18 by 10 inches in portrait layout so we can now paste our artwork onto the our board using command and V on your Mac or using the shortcut control plus V on your PC. Okay, now we can live trace. It's best to explore the options here to see what works best for our outcome of your artwork. So you have several presets here for tracing black and white image. I prefer using black and white logo or three color preset, so you should check which one works best for you. I am setting just the default here to see how it looks. I like this, but maybe I'll try another if that might work better. As you can see, there are many presets here. I'm just gonna go for shades of color which will take a little while to render but often works really well here. You can see that having too many colors will make my artwork patchy. and I don't want to do that. So I will just undo and go back to the image back to the image. Now I will use the first option I explored with one color as the default. I am happy with that. It is spot on. I just want to get rid of the white now. So I hit expand and with the direct selection tools like the color white and the select menu to same and select fill color. So all the white is selected and we can hit backspace to delete. And now we have a vector type. In the next video, I will continue the process, so see you there. 5. Refinement: in this video, I'm going to clean up the letters. So here I'm looking for consistency in thickness and letters. Zoom in and take a look at each letter. If you don't like the look of one letter like this, you can copy and paste the letter to replace it. You can use the shift key and then dragged to move the letters parallel horizontally and vertically, selecting the W and now pressing and holding it. Ault on the Mac and then dragging the letter is now duplicated. Same with the L. I will delete the right one and duplicate the left. L pressing Ault again to drag a copy over. So here I'm looking for consistency of spaces between letters. This is called Turning by looks a little funny So I'm gonna take the be and why from the third line to create a new by Just to show you another way to copy these over press command , see to copy the letter and then command V the dots on the eyes air different. So I'll just move one over. I think the O is a little thin compared to the other letters holding Ault with the directions selection tool and then click on a point in the inner line of the O allows me to just select this, and I can now dragged the sin, so to drag from the centre proportionately I hold shift and ult. Now I will select smooth tool and smooth all these rough edges. I'll zoom in, clean up the points. Either do this manually by grabbing handles or ah, by selecting the smooth tool. So I will go through all the letters, which I feel are rough, and then I will use the smooth tool on them to give it kind of that more curved. Better look, even though it's a little rough. I don't I don't want to make it smooth. It's nice to know something has been done by hand, and you can do something with pen Tool also, so experiment with all the tools and see which one works better in different situations. But before doing any experimentation, don't forget to save an original copy. Okay, so I am done with cleaning this up in the video. In the next video, I will work in photo shop again 6. Prepare The Print Art: in this video, we're going to bring the artwork into photo shop to get ready for applying textures. So opening a new document in Photoshop and it will be eight by 10 inches. Resolution 300 D. P. I. And this is what you want to print so that it isn't pixellated and we will go rgb so that we can use all of the photo shops blend both. So when printing, though, we will need to transfer back to see him like a no. I will go back to Illustrator and select all the artwork and then copying and pasting into photo shop here, impressing command and tab to flick between programs quickly. When you paste into photo shop, you have different options. I will show you what they dio. Here's pixels of Photoshopped will change your vector art into an image using pixels. This is a disadvantage because if we want to scale that up, it will distort and pixelated. But if we paste as a smart object, it will keep it clear and kind of allow us to even make changes to the vector by double clicking on the preview in the layers panel and then this will take us to illustrator to make the changes. So as you can see here my changes An illustrator happened simultaneously in photo shop. So back to photo shop and I will duplicate this layer and rast arise it to convert to pixel . But I'll keep this smart shape of the link to Illustrator just in case. I want to make any changes now say of the document and we are ready to move on to the next step. And in the next video, I will finish this project. 7. Experimenting: Color & Textures: Now it's trying to apply textures in photo, shopped to the lettering, so I'll start off experimenting and showing various effects so you can do with the basic functionality in Photoshopped. I'm gonna start by dropping in a texture. You can photograph your texture, or it can be downloaded from the Internet pretty easily. I will start with a cement texture. I'm just gonna play an experiment with these first. Sometimes something interesting will come of this playing and experimenting, and it's a good way until learn what can be done. The more you expose yourself with experimentation, the more you will learn new things. So I've made this a clipping mask. By holding down Ault and clicking on the texture, it will adopt the shape of the layer below. Try another texture now. This time I will add a background image instead of texture. Let's see how it goes in the background, but it is not looking so good. I will use a clipping mask again. If I want a more pastel version of the cement. Add more contrast to the background. I will just add a white layer and make this another clipping can change the A pass it Ian the slider bar on the right to see, at which point it looks best. So play with the blend mode capacity and Phil. It is a creative process, and you can never know which effect gives the best result. Until you try, you can change the background image by multiplying the cement. Multiplying knocks out any white in the layer, revealing the layers below, so you can achieve different effects with them or keep them contrast. It totally depends on your objective. With the project experimenting with those three functions, you can get different effects depending on the order of the layers, just trying another texture. Now, as I think, that image doesn't really apply to the message. Maybe steal would look nice again, using a clipping mask to mask the cement onto the type above this deal That's hard to read , so toe add more contrast. I will add an adjustment layer brightness and pulled down the brightness. It is looking more rugged, but maybe I will try another texture. You have to try different things until you get what you're looking for. Some of the textures I'm using are either purchased online or some of them I have photographed to use in all my projects detectors air so good in having life to your design rather than just keeping it really static. All right, Coming back to design, I'm adding another texture. I don't have to keep using clipping masks. I have now directly selected the text, making a selection and then physically masking the texture. Using a layer mask, you can find layer masks at the bottom of the layers panel. You can see them there, the rectangle in circle in the bottom, right hand corner. I'm experimenting with different blends. I am applying different blends to different layers to see to see which combination works best. Always remember, it is a creative process, and you will have to do it to see its outcome. I'll just see what each blend mode will do. So, depending on the order and contrast of the blow layer, the effect will will vary. Give your project all the time. It needs to be perfect. Keep Abit of that. It will get easier. Once you have lots of experience in your hands, the more you will do. Um, the more you will get a sense of what effect you should apply at which designed, but then only you have to experiment with all the effects, although the experiment will become quite easier for you. So now I will show you another masking effect. You can combine more than one textures. The facts blends mixture of them. Whatever you want to dio, I am trying a combo of masking so half is one texture and the other half is another. Now I will try a mono or dual tone effect by adding Grady int map adjustment layer. You can change the color here in a photo shop. You have all the required tools to make your design beautiful. It is getting rusty effects and it actually looking quite interesting and different. I'll add more rest using the brush tool and by decreasing the flow of it. So in terms of texturizing, Adobe Photo Shop is way better than adobe illustrator. Adobe Illustrator has so much limitations, you can only do simple text oring nuts. So many of these experiments, but to add more contrast in the bottom, left just brushing on the mask to reveal darkness below the layers. I just want to highlight Polished. This video is all about showing you different waves that you can use to experiment to show you the wide scope of text ring in Adobe Photo Shop. I'm just experimenting here to see what works and what doesn't. I'm using a combination of blend modes and adjustment layers, changing the colors, the tones. I want to focus on eligibility, but also something kind of rough. After experimenting with various colors, I think this is working the best. Maybe a little more warmth. After doing all those experimentation, I think I'm about to get what I was looking for. I was looking for a more rugged look, and this is what I have achieved. So I'll just do a little more adjustments, the saturation. And lastly, I will like to increased darkness with selective color adjustment layer. Okay, so finally, I am happy with that. It's finished, So that is how you digitize your hand lettering designs. I have told you this whole video, I'm gonna say it again. This is such a competitive world. If you want to be successful in hand lettering. Keep yourself open to accept new skills. New techniques keep yourself updated with new tools. New trends never stop exploring and learning new things. Thank you so much. I hope you've enjoyed the class 8. Your Class Project: for the class project you're going Teoh design and digitize a piece of print artists. Dimension will be eight by 10 inches, and you are free to choose the quote or any style you want to dio. This class was all about understanding the digitization and text oring process for brush lettering artists. So use the tools and techniques that are taught in this class. And to be a good hand lettering artist, it's mandatory that you can create beautiful composition. The composition you will create should be according to a specific theme or a look, and then share your projects in the project section. The Delivery Bols. The project are images showing your selected quotes, your process of designing and then final design and lastly, vector eyes composition with textures. You should share your project so that anyone can see it like it and give advice on them accordingly. As your skill shared teacher personally, I just can't wait to see your projects. I feel excited to see which quote you choose and how creatively you have designed your composition. This project is a great way to practice and strengthen your basics. You can take your time in selecting quotes, concept, creation, finalizing and vector rising them as well. So if you're a beginner and you want to understand the basics of hand lettering, first check out my other glass brush lettering, essentials starting out. I've divided all the lessons and exercises in a way that it will be easy to follow and apply them. The project can take up to a day, maybe 2 to 3 days. Totally depends on how much time you want to spend with this, I would suggest, however, you give more time in concept, development and practice, creating better thumbnail, so use colors. Textures. Add that extra feeling in depth to your lettering pieces. Enjoy the project and Leslie, thank you so much for enrolling in the class.