Brush Lettering to Digital Art - From Start to Finish | Cory Kensinger | Skillshare

Brush Lettering to Digital Art - From Start to Finish

Cory Kensinger

Brush Lettering to Digital Art - From Start to Finish

Cory Kensinger

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7 Lessons (42m)
    • 1. Welcome!

      0:24
    • 2. Tools

      0:56
    • 3. Brush Lettering

      11:44
    • 4. Scanning In Your Artwork

      2:34
    • 5. Photoshop Digital Art Process

      13:43
    • 6. Colorize: Find Millions of Color Palette Ideas

      5:48
    • 7. Texture & Final Touches

      6:45
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About This Class

Ever wanted to learn Brush Lettering, but not invest hours of research and study, learning how to approach the craft? Then this class is perfect for you. This class will take you from sketch to final digital design using Photoshop in less than an hour.

You'll learn:

  • How to get comfortable using a Pen Brush to form custom Lettering Styles
  • The step-by-step process from Hand Lettering to Digital Art Creation
  • How to remove unwanted marks using useful Photoshop Masking Tricks
  • Instantaneous Coloring Methods for all styles of Digital Art
  • Using Layer Adjustments and applying texture to finalize your illustration

This class is for Beginner to Intermediate Designers, looking for a fun dive into the wild world of Lettering. This is a to-the-point guide on how you can covert any of your drawings into a complete digital art. Great for adding compelling graphics to your existing creative repertoire and growing portfolio.

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Transcripts

1. Welcome!: in this class. I'll show you my personal approach to him lettering in order to create compelling graphic designs from scratch. First, I'll start by showing you how to brush your own letters and then we'll move into Photoshopped or I'll show you the complete step by step process to turn your drawing into a digital art piece, explained every step and go over every trick I use in order to create compelling graphic designs that you can add to your growing portfolio. So if you want to make your own custom lettering, let's get started. 2. Tools: so the only things that I use in order to create this effect is a favor. Castel SB waited brush tip pen and it's just a India ink pen. And it has this nice, convenient brush tip to use for your brush lettering. And then also, I use smooth bristol, our paper from Blick and really use any brand. It doesn't matter or if you just have printer paper laying around, you can use that as well. I would not recommend using any kind of lined paper, though, because we're gonna be scanning this into photo shop and cleaning up our lettering and having those lines surrounding your artwork is just gonna be a pain in the butt. And it's just it's not something I'm gonna show you how to remove in this class. I'm gonna show you how to remove all the unwanted blemishes and marks and all that, but not lined paper. So, yeah, just these two things, and then that That's really so we're gonna go ahead and move onto the next step, which is starting our brush lettering 3. Brush Lettering: all right, So with brush lettering, one of the things that no up front is that it's not like other mediums. It's not like sketching with a pen or a pencil in the sense that you have a high dexterity with brush tips. It's it's different. It's not as controlled, and that used to be one of the things that frustrated me about brush tip pens. But I just took the certain point where I accepted that. I'm not gonna have the same level of dexterity, and I'm actually gonna play to as a strength as instead of playing to as something that's frustrating. It's just something that you're gonna have to get used to, and it's gonna take a little bit of time. But as you work on it, it's going to get better and better. And I think the thing to just focus on while you're using a brush tip pen is that it's going to be wild, and you need to embrace that aspect. It's the beauty of this technique in this art form, and that when you're doing your lines, the only thing you should really focus on is getting a balanced weight throughout your line . work with each of the examples that I showed you in the promo for this video. They both have a pretty balanced language. For the most part, each of the letters and keep it real is of the same thickness, the same weight or a similar thickness in a similar weight. And then with beat maker. It's a little bit less balance, but it's intended to be that way because it has more wild style to it, whereas to keep it real is very straight. It's angle, it's more athletic looking, and then with beat maker, it's more urban looking, if you will. But yet they're two different styles, but they still maintain a sort of balance to their brush troops. So what we're gonna do is we're just gonna work on some concepts, and it might be that I just end up doing one of the two that I showed you for examples that I made today because I really liked how they turned out. And I think it would look really good on some clothing. But as's faras what we're gonna work on right now, let's just start with the word brush. I'm gonna show you what I do in the approach that I take when brush lettering. So with brush, what I would do is start with the B, of course first and just establish what kind of line wait do I want with this word? So I'm just gonna go ahead and laid down the first stroke and I kind of want to just have a medium thickness, almost like the keeper Riel, where it's kind of got just like a very it's not too bold. It's not too light. It's just right in the middle for its thickness. All right, so I'm gonna go ahead and start the word brush, and I think I want to kind of go angled up with this one. Something I just laid on the first stroke. It's pretty good medium stroke. And then I'm gonna take the arches of the B and then just angle them upward and you see, with that little ligature there, come up with a little bit wild right away. I'm establishing the style for this concept. It's not gonna be too up and down straight and clean like keep it real. It's gonna have a mix of both beat maker and keep it real see how it's kind of a hybrid between the two. Kind of got that wild angling with beat maker, but also the medium weight of keeper Real. Yeah, so let's go ahead and continue this on and, yeah, just embrace the wildness of it. Don't focus so much on dexterity. That's like the main thing that you can take away while approaching brush letter. And it's not going to be perfect. It's just not it's going to be in perfect, and that's what you gotta embrace about it. So we're gonna do all caps for the rest of this word, and I think I want it to be a little bit buried. I don't want it to be necessarily all the same height. I think I'm gonna have the following letters come a little bit under the beef. So let's go to our now That's good. And then I'm an angle it up just like the arches of the B. And then he said, I did a little squiggle. It is really just improv when you're going along with your lettering concepts and making a turnout vastly different, depending on how you take it. Now, with you, I'm gonna put it slightly under the arch of the are. And so with this one, the line way is it's not so much a line way. It's the size of this letter. It's a little bit less than I wanted it to be. A wanted to be a little bit bigger and kind of followed down this baseline here for the r. And that's okay. We're gonna play off that, though. So what I'm gonna do is I'm gonna use that space underneath the hue and next to that are for the leg of the S. I'm gonna go ahead and arch it up the same way did with the other letters. Okay, it's looking pretty good. And nominee use the space underneath the S for the H. That's cool. I like how these little ligatures unintentionally came out here. That's the wildness of brush lettering. It just it happens how it happens. And then I think with the cross hatch for the age, what I want to do is, I don't know, maybe come underneath. And I feel like that's gonna be too low. Let's maybe just start from the left arm and then come out at an angle, all right? that looks pretty cool. It's kind of following the angle of the s here. The baseline? Yeah, that looks pretty good. I'm actually pretty happy with how that turned out. I still think I would have liked that you would come out a little bit bigger, but that's something that you can always fix in post inside photo shop. You can lasso tool just around the U and then used to transform tool to enlarge it just a little bit. But yeah, I think this turned out okay, let's do a few more examples here. One that comes to mind for me is an audio pack sample that I use recently. And it's a bunch of drum samples that I can put inside of my music production program and work with, and it's called Rapture on. That's a really cool word. Could you get wild with that and then really exploit this technique of brush letter? And so let's do the same thing. We're gonna start with the biggest letter first, the beginning letter, and we're gonna do our and I want to go even more a wild with it. I want to follow mawr of the aesthetic of the beat maker example. So we're not gonna keep this as clean. We're gonna intentionally go a little bit wild with it. I'm not going to take up my hand from each letter. I'm just going to continually keep moving on from letter to letter and follow the flow of how it turns out and embrace the wildness of it. All right, so with Rafter is gonna do the whole world at once. This to be a little bit up and down. I wanted to have more dynamics because as you can see it here, it bounces up and down. That's what dynamics are. You have your low point of your high points and it just Yeah, it's it's more dynamic. So let's go ahead and try it with this one. That's a huge dynamic there. Okay, let's see what it can do with this A and with a want not connect it. I want to leave intentionally unconnected for some Just breath. Okay. Looks cool. Looks even better. Like the angle that we came out with with that arm there and see where do you want to place the p? All right, So for the rest of us, like I said. I'm just gonna keep my hand in the flow instead of pacing at one letter at a time. There we go. So when you do it like that, you have the opportunity to get all these little imperfections that really make your design look cool. Like is You can see what this are here You have, like this intersection of marks and blemishes and distressing naturally from this brush tip pen that you wouldn't get from another medium, like using a ballpoint pen or just a regular pencil. And that's what's the beauty of this. And when you follow your hand and let your hand just flow instead of doing one individual letter at the time, you get more of these imperfections and they really shine and going back to this example again with a beat maker lettering. You really can see it in this one. I really did not stop and pace myself one letter at a time. I just blew through it, and I embraced the wild moment of just whatever came out, came out, and that's exactly what I got out of the beat maker design. I got here with this one. It's a little bit different because you see that half of the word I started pacing one letter at a time and then with the second afterward, you can see that I really took this approach. So really, when you're doing brush lettering, you kind of have to decide to begin with what you want. If you want something that's more clean and paste, you're gonna have to pace yourself one letter at a time. But if you want something that's more wild and have the potential for something interesting coming out, you just got to go with the flow and really not pace yourself. Now you can take this style and you can apply it to other types of lettering. Cursive is definitely something that you can do with the brush tip pen, but it's gonna be harder to get control. So let's just take another example here, let me think What? Weaken Dio. Let's just right out the word vibes in cursive and just see how it turns out. But this time we're gonna use cursive lettering instead of just printed lettering. I'm just gonna do this side over here and just see how this comes out. So when you're doing this it just doesn't. It's not as controlled as when you're doing individual letters with cursive because all run together. It has opportunity to overlap a lot more and just kind of congest itself, because with this brush tip pen, it's going everywhere. And really, in this this fashion, there's not as much dexterity as when you're using a pen or pencil and your hands used to using a pen or pencil 90% of the time. So you just have to kind of embrace that and be aware of at the same time, while you're doing person with a brush tip pen, it's not. It's not easy. It's really something that's challenging. So let's see how this turns out. Let's start with the first and don't press us hard while you're doing cursive lettering. You want to give it a little bit more breathing room when you're making your strokes. So I'm gonna start out with a big B. And that wasn't the greatest. I mean, that doesn't like that that cool to me, but it still came out okay, and we're gonna do the same thing and following angle with this, so I just need a give it more breathing room and you see like challenges is getting enough line waiting there because if you left lift off too much and give it too much breathing room, then you don't get a full stroke, as you can see in this lower case and be here and ended up not looking, you know, as consistent as we have with just strip printing. So I hope with this you have understanding that the most important thing while doing your brush lettering is that you don't get frustrated over the lack of dexterity that you have while doing this. You just don't have as much control with a brush tip pen, and you know, that's the beauty of it. And that's something that you just have to embrace. Embrace the crazy, wild, blemished distress look that you get out of this because that is the whole concept of behind brush lettering and as you you do itm or you're going to get more used to it more comfortable with it, and you can explore different types of lettering 4. Scanning In Your Artwork: all right. Now that we finish brushing our phrase out with our brush pen, we're ready to go ahead and digitize our brush lettering inside photo shop. And the first thing that we need to do is scan in our our work. If you don't have access to a printer, that's completely fine. You can use your iPhone or your android device and just take a picture in order to get it into your computer. If you do use a smartphone to scan in or take a picture of your artwork, just make sure that you get a level shots that it doesn't distort or throw off the angle or the look of your artwork. If that's what you're going for, that's completely fine. But just keep that in mind. Now I'm using a Mac to skin and my artwork, and I'm just gonna go ahead and open up the scanner here and it's gonna do a quick overview scans Aiken select the portion of the Skinner that I want to scan full scale now. When I scanned in my artwork, I usually use most of the default settings. There's only a few changes that I actually make, starting from the top. I set my scan mode to flatbed for kind. I leave it set at black and white, not for resolution. This is the important thing. I would go a lot higher than it set up. I usually go around 2400 and even though it's gonna take a little bit longer for it to scan in my artwork, it's good because starting out with a higher DP I means that you can have a bigger artwork to begin with and that you don't have to scale up your artwork and lose any quality. You start with a really big file to begin with, and then you can always downsize her artwork later and scale it down now for the middle section. I just leave the option said at what they are, and then I will change the destination. I want it scan to usually pictures or my desktop. I'm gonna do desktop for now and then what I'll do is just name a scan what it is. And since the phrases keep it riel, that's exactly what I'm going to name it and that most people usually used for J. Peg. I just leave it set the tip for scanning in. And then I can just go ahead and select the area that I want a scan and then just press scan. All right, the scans done. Let's go and double click to take a look at it here. All right, The scan looks pretty good. There was a few pieces of dust in this straight cat hair that get caught in the scanner bed , which is completely fine. I'm gonna show you how to remove that, and we're going to jump into photo shop now. 5. Photoshop Digital Art Process: Alright, So I've opened up photo shop here and you can see we ever scan right here on the desktop. I'm actually just gonna move this out of the way and show you what our final exports gonna end up looking like something similar to it are actually gonna work on the fly and choose our own custom color palette. But as you can see here, this is something that's a very share a ble piece that we can make. And that's the whole intention behind it. That's why I decided to do this instead of doing, you know, like a clothing garment or a mock up. Um, I want to make something and I want you guys to make something that you can share on Instagram on Twitter. Any of your social media platforms, Facebook, you know, whatever it may be. So we're gonna go ahead and use this square here, which is a very cerebral dimension online. And you can see this is another phrase that I made with the brush lettering technique that I've shown you so far. And this is what it looks like after you finish the digitization process within photo shop . And after you clean it up colorized it added your textures, everything completed. This is exactly what it looks like. And Ah, this is another piece that I thought turned out really well. And I love the personality and just the wild aspect that really shines with this technique . So let's go ahead and get started and use our keep it real phrase to do the same thing. We're going to start a new document, which is just command, and and we're gonna make this 10,000 by 10,000 pixels, and the resolution should be set at 300 pixels per inch. We're gonna be an RGB color mode and, uh, yeah, that's the size for our documents. So agency has already set in here. I'm gonna leave it at that. And if I want to say this as a preset, I can I can go ahead and hit this little icon right here and then type in a name for this template. And this is the society six recommended max dimensions, and I'm just going to save that preset for later usage. Now, if I go over here to save blank document presets, I can click on it and thats gonna automatically open up that document for me. Now, the first thing that we need to do with your document is just unlocked. The background layer and a double click. There was gonna be okay. And we're gonna add a solid adjustment to it so that we can control the background layer color and you can see that it's using this, like pink color that I had been using in another project previously. I'm just gonna change this, Dwight for right now, okay? And then we could just get rid of this layer by dragging it to the trash hman, and we're gonna create another layer on top of it. Now, this is ah transparently inside of our Photoshopped document. We're gonna add our work to it. But first we need to pull in this scan into photo shop. So we're gonna do is go back to our desktop and just right click this scan and select open with Photoshopped. All right, So the first thing that we need to do in our digitization process is to remove the background as much as we can and then also try to bring out the black and bring up the levels as much as we can. But first, what we need to do is go to image mode and then make sure it's an RGB color mode. Now, what we can do is press command, you for hue and saturation. And then we're gonna go to the middle bar here and just dragged hue and saturation level all the way down. And then we can just press OK, All right. The next thing that we need to do is press command l for levels, and we're going to use the right eyedropper tool right over here and select that. And then we're gonna select the background of the paper that the artwork is on. And as you can see, I'm gonna move the dialog box over here. All induce. You can see the difference again. And then if I select the background again, it removes it a little bit. Now, the next thing that we need to do is drag this right arrow down so that the white start really coming out. And then we're going to go to the left hand arrow and then dragged that up so the black starts to get darker and then you can really adjust this to taste, and I think it looks pretty good right about there. Someone leave it at that impress. Okay, all right. Now that we've removed as much of the background as we can and we've adjusted our level so that the black is nice and rich, what we're gonna do is go for the lasso tool, which is l on your keyboard. And we're just going Teoh click and drag a circle around our artwork. And if you see any little specks that didn't get removed while Justin levels just avoid them and and cut around them and just get a nice close selection, all right? Now, with it selected, you can see the little marching ants signifying that it selected. Go heading press command, see her control, See if you're on a PC, and then we're gonna go over to the new document that we created, and we're gonna press Q on the keyboard to enter quick mask mode. That is very important. Make sure that the transparent layer is selected, and then press command V on your keyboard. And as you can see, it actually clipped a little bit of our lettering. But not to worry. What we're gonna do is bring up the transform tool, which is command t or control t on your keyboard. And then we're going to drag the right corner here and hold shift to constrain the proportions while we scale it down and then hold option to keep it centered. And now we got the entire lettering artwork on the canvas so we can do is let go press answer on the keyboard, and then just drag it over a little bit here. Now, I think I want to rotate it a little bit and straighten it up. So I'm gonna go back to the Transform, told just command t and then just rotated a little bit here. Looks good right there. I'm just gonna let it go, and we can just drag it over a little bit. Center it. And then now what we're gonna do is we're gonna leave quick mass most, or just press Q on your keyboard, and then we need to invert this elections were gonna press shift command I and then since our foreground color is set the black over here in the color picker, we're gonna press option delete to fill it. All right. Looks good so command G, we're gonna press that to de select everything, and we're just gonna zoom in a little bit. So Z I'm a keyboard is gonna bring the zoom tool up and you know, it looks really clean, but I'm gonna show you how to remove some of these unwanted very small specs the things that didn't get caught in the levels step. So let's just go ahead and pan over. You compress space bar on your keyboard to move around canvas springs up the handle when you press the space bar, and now what we're gonna do is create a mask on this layer. So if we go over to our layers panel, just drag it up a little bit, so it's easier to see. And while our layer is selected, if we press this little rectangle with the circle in it, that's gonna add a mask to the letter and we're gonna brush some of these artifacts and just these little specks out of our lettering. So what we need to do is just make sure that black is set to the foreground. We're gonna go to the brush tool, which is B, and then we can change the size of a brush by using the left and right brackets on our keyboard. So if I do you left. It goes small. But do you write? It goes bigger. I'm gonna go back down a little bit so that it's controllable. Press space bar Japan over to this little speck Z for the zoom in tool. And then we can just brush this out. So with black, it actually removes. And then, if we X on her keyboard, it switches the foreground in the background color. And if we paint with white and set of black, it will actually add that back to the canvas. So it's a nondestructive way to take information off of your lettering and remove specks and unwanted marks. So I'm gonna press X on my keyboard. To get back to black is the foreground color and just remove that speck again. And then let's pan around and see if we can find anything else that we need to remove from the lettering. Not seeing a whole lot here looks like the level stepped in a really good job. I think I want to move this little flaw at the top of the p. Here's I'm gonna use the left bracket to make my brush tool smaller, he's assumed tool toe. Zoom in a little bit here and then go back to be for the brush tool and just paint out that full on. Perfect. And all these really fine specs if you want to or leave them in for the effect. Just remove this one here. Can you paint the small one out? It really all comes down to preference and how much flawed imperfections you want to leave into it, cause that's really what makes this style shine. But you know it. Once it's printed on a really big format, it might not look as good to be able to see some of these really small specs. It's just something to keep in mind someone fly through here and just clean up the rest of the artwork. Okay, it looks pretty good. Someone oppressed command 02 for everything in the window, and that's just a quick way to zoom out and just get everything centered up and take a look at what we have. So everything looks really good right now. We've cleaned everything up by using a mask and now. Actually, I want to do one more thing or a couple more things. I want to zoom into the top of these ease and just remove these little ligatures that, um I don't think like as good. So I'm gonna press the be key for the brush and just brushed them out here. Good. And then I'm just gonna go the other e up top, and then I'll press command zero to zoom back out again. It looks good, and they're gonna remove this ligature that happened on this L over here. So it's gonna zoom into that portion. I am. Brush that out. Maybe just do a little bit. And I think that probably looks fine. Mostly, maybe a little bit more. And if you feel like you've ever taken too much, you can just use the x button on your keyboard and then painting back and whatever you took away, just leave it like that. All right? So, command zero to zoom back out of things. Looking real good for the most part. Um, yeah. I think I like where everything is at. So what we're gonna do now is just weaken either apply this mass by right clicking the mask and that just bakes your changes into the lettering. Or you can duplicate and then save a copy for later so that if something happens by chance and you don't like how it turned out, you have that back up to rely on. So what I'm gonna do is just duplicate this layer and then we'll just say safe, copy. You name it, whatever you want, really. And then we're going to turn off the visibility for that layer and drag it below are other earlier. Now what we're gonna do is commit the changes to our original air just by right clicking the mask and then hitting apply layer mask and that bakes are changes into our lettering and we can't go back other than using are safe copy that we just made. And now what we can do is we can zoom into our document and any of the spaces within the lettering that we think we need to fill in a little bit. We can by using a black regular brush. So free press be on her keyboard to get back to the brush tool. It's already set the black, and we can just brush in these little areas that that don't look as good. It's gonna undo that one outside the bounds a little bit there. All right, I'm gonna press command zero, and I think everything looks really good at this point. So now we've went through the process of getting our lettering up to par and making it look real good. And now we can focus the rest of our process on choosing our colors are color palette and then also texturizing our graphics so that it looks really nice and good. But before we do that, let's go ahead and save all of our changes that we've made so far so that we don't lose anything. We're gonna goto file, save as. And then we're just gonna Neymar document here. Keep it, Riel. And we're gonna change the format to just be a photo shop document here and then hit Save. And that had Okay. All right, we're good to go. So in the next couple videos, we're gonna work on coloring and texture ization 6. Colorize: Find Millions of Color Palette Ideas: All right. So this is the final stage in the digitization process, and I'm going to show you to websites that I use one is free, and then the other is paid, and what they are is the 1st 1 is a coloring website gonna pull it up here. And I think this website is pronounced coolers or cooler yours? I'm not really sure, but I found this website super useful in terms of coming up with really vibrant color palettes and colors that just generally work really well together. So I'm gonna go ahead and click on my profile here so you can see some of the pallets I've come up with. And Ah, yeah, these were just some really unique color palettes and ah, how it works is I'm gonna take you to the schematic page here, and I'm just gonna click start the generator. So this is a free website. And if you want to use the app version on your iPhone or android device, that is paid to think it's like a buck 99 or something like that. Maybe it's a little bit more, actually, don't remember, But that website is free to use and you can save all the color palettes that you generate. So how you generate a color palette on this website exactly is you just press the space bar on your keyboard. So I'm gonna go to press mine right now and see what we get completely different. And you just That's how this website works. It's so simple. You just keep pressing your space bar until you find something that looks interesting. Okay, this is this kind of a cool color palette here, Really? Like the blue and the greens. Very vibrant. So So this is a color palette that I think I want to try out with our graphic. And what I'm gonna do is just save this palette to my archive or my library of color palettes by hitting save in the top right corner. And then if you take a look here, they actually went ahead and named each swatch below the hex code for that color. If you take a look under this one right here, it's Purple Navy. And if we go to the next one, it's brilliant. Azure and then so on and so forth. Usually what I do to save a palette and name is just to take a couple of these different terms and then name it something that you know will be memorable or interesting to look back later on, because when you're saving tons of color palettes, it can get kind of boring. If you just say, you know, vibrant blues or driving careens, it just starts overlap and you don't remember what's what. But I try to pick out something that's a memorable name from these watches to name my palate. So the colors that stick out to me and this palette are this blue and this turquoise and else like this jet color as well I'm gonna think of maybe just as your jet. Yeah, I think I'll just name it that so save palette and on Titlists Zur jet and then click save . And then if you go up to this menu icon right here, you'll see that it saved it right at the top as my most recent color palette. So let's try to work with this. And another thing, too, is if you hit this little grid icon in the center or up towards the right here, it'll actually give you all the different shades for your existing color palette. So let's go and click that, and I'll show you what I mean. So, as you can see, a Grady unties is all of your colors within your existing color palette, giving you a plethora of different shades for each color. And this can come in really handy when you're looking to apply different shadows and shades two different shapes within your art piece. And I think that you know just a very useful website all around. And it's just it's so awesome because it's free so long as you're using it through your computer's Web browser. So let's go ahead and close out the shades here and let's just go and pick out a color. The color are keep it real phrase. I think I want to see. I think I want to see this turquoise in the color. So I want to do is just double click that commands you to copy it. I'm gonna go back to photo shop, and how we're gonna color things within photo shop is we're gonna add a solid color layer to our lettering and how we're going to do that as we're gonna place above the layer that are brush lettering is on and then apply as a mask and basically clip it to the brush lettering. So I'll show you what I mean. We're going to select a brush lettering layer first, and then we're gonna add another layer. And then to this layer, we're gonna keep it selected and then go to the adjustments button, an ad solid color. And now that we've copy that hex code on Coolers website, what we can do is just command V to paste it. And then it fills that color in, so we'll hit. OK, now it's covering the entire canvas, and that's not what we want. But in order to clip it to the brush lettering, all we need to do is just simply hover over the middle line between the color fill and the layer below it. Hold down all or option on your keyboard and then click that line and then it applies that coloring a right to a brush lettering, and I really like that color. I think it looks good, so let's go ahead and color are background layer. And as you can see, this is something that we set up right away. And I had you set it up because I knew that we would come back to this and would be handy if we already had it set up. So this is the exact same thing that we did with our brush lettering. Except it's on its own layer, and it's behind everything else, so it's gonna color the background. I'm gonna go back to the website now and then pick out the background color. I think we're gonna get a really nice contrast if we just go with this jet color. Go back to photo shop and we'll double click on this little box to the left to bring up the color picker. And we're gonna command V to pace that end had Okay, Yeah, that looks really nice. I love the jet with the turquoise. It's such a vibrant pop of contrast. So that is pretty much how I color my brush lettering and my pieces. And the last thing to do is to add some texture 7. Texture & Final Touches: now for my textures. I've been basically using one vendor for textures because I just really like how they look and they have a nice, distressed vintage look to them. And it's a company called true grit, Texture Supply. And this is the other website I've pulled up here. And true grit, texture supply really puts out some of the most high quality textures I've seen in the industry right now, and you can see that they just really exemplify what it's like to use their distressing effects and their brush kits and all that. I love the different packages. I love it so much that actually went ahead and bought the complete collection. And it comes with everything and the one text ring kit that we're gonna be using for this artwork. It's one of their older text oring packs. And if this one right here so gritty vignettes is the one that may be using for this piece , and it's actually I'll give you the exact file name for this one. This is the Vignette one, and I've actually got it opened up already over here. Now they give you an action so that you can remove the white background. You'll just If this is something that you're interested in and you go ahead and purchase, it comes with the full PdF insulation of how to remove the background on these sex shires and apply them within your pieces. But I went ahead and remove the white background already, and all I need to do is select the layer and the command A to select everything on that layer. Now what I'm gonna do is command see to copy it. And then I'm gonna go back to my piece and add a layer, and I'm gonna drag this layer to be right below the brush lettering. I was going to rename this texture and then all name or other layer here to just name it lettering. All right, now, I'm just gonna go and select the texture layer and then command V to paste and you'll see that it's kind of hard to see you against the jet color. But the black text string on this layer has Onley cropped up on one side because the dimensions for the texture are 16 by nine ratio, and it's only a square that we're working with. So what, we're gonna do to fix that? Its first. We're gonna color this layer, so it's easier to see. And we're gonna go back to the website and pick out a color for this texture. I'm kind of curious to see what this brilliant azure looks like. This blue color. I'm gonna copy that. Go back to photo shop. We're going to create another layer on top of the texture so we can clip it below it, and we're gonna create a solid lair for it. I'm just going to pace that in there and then hit, okay? And we'll do it just like we did with the last one. And we're gonna hover over between the dividing line, hold down Ault and click that layer. And that looks really cool as far as the texture goes for that color. It's something that is not, you know, it's kind of outside the box, but I think it just it looks visually interesting. And what we need to do now is just create another layer. So we just like the safe copy layer. Click the add new layer button. All right. With that new layer created, we're gonna press command V. And now we can go back to the copy texture layer, select the texture itself, move it over, hold shift so that it stays straight and then it'll pop right into place on that corner. Okay, Just enter to save the positioning of that. And then now we're gonna go back to the other texture layer, unlock it, and then we'll select the copy texture layer in Group it by hitting this little folder icon right here. Now you'll see that it put the solid color fill in the group with it. That's okay. What we're gonna do, just click and drag here and then drag it out there and then we'll hold all and click between the two layers again to color both textures. Here we go. Looks good. So at this point, if you're happy with the design and the colors and everything, you can actually leave it, as is an export out of photo shop. Now, taking another look here, I noticed that there's a little bit of a gap that that's happened. It's not completely covered with texture. So what we're gonna dio is select both layers, hit command t for the transform tool and then just drag up a little bit holding shift and option to center it and it will cover in texture. Now, I just really want a vignette around the outside. I want it to be too saturated within the center. It's good right about there and then an answer to save those changes. All right, now what we can do is just export this so that we can share on Instagram or Twitter. We're gonna go to file export, and then we're gonna save for a web. Now, since my final destination is going to be instagram, what I want to do is change the ratio for this image because it's huge. Right now it's 16,000 pixels. What I want to do is change it to be 10 80 by 10 80 cause that's the max dimensions for instagram. All right, so for this I'm gonna choose J. Peg. It's already on it and then said It's a maximum for maximum quality and it leaves it at 100 1 It's on maximum optimizes fine if it's checked and then what we can do is hit save, and then it's already got our project name. Keep it real and I'm going to export this out to the desktop that had saved Now just minimising photo shop here. Let's take a look double click on our final project. All right, that looks really good. I'm really happy without this. Turned out, it's a very vibrant peace, and the colors just make it really stand out. I think this is a great final product for this technique. I hope you found this class really useful and that as you try your own brush lettering, you get some really cool and crazy results. Have fun with it, explored different lettering styles and, just like I said, embrace the wild aspect of this technique because that's really where it shines and you're gonna have a lot of fun. And you can even take this into other avenues. Whether it's graffiti artwork, we're just getting crazy calligraphy styles, you know, just implementing your own way of doing it, imbuing your own personality and style into it and just having this much fun as you can with it, you're gonna create some awesome things using this technique. Anyways, I want to thank you for taking this class and also encourage you to post your work on Instagram and tag me in your work so that I can see it and give you feedback. If that's something that you're looking for anyways, guys, Thanks again and I will see you in the next class.