Creating Floral Typography With Masks in Affinity Designer for iPad | Tracey Capone | Skillshare

Creating Floral Typography With Masks in Affinity Designer for iPad

Tracey Capone, Illustrator & Photographer

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8 Lessons (1h 5m)
    • 1. Welcome | Class Project

      2:21
    • 2. Downloads & Resources

      4:46
    • 3. Creating Basic Flower & Leaf Shapes

      20:14
    • 4. Creating Letters With Shapes

      18:40
    • 5. Using Pre-Made Fonts

      1:56
    • 6. Masking Your Florals With Shapes

      4:45
    • 7. Using the Pencil Tool and Sculpt Mode

      4:40
    • 8. Putting it All Together

      7:31

About This Class

Downloads can be found at this link.In this class, I will show you how you can use masking to create beautiful, textured floral typography, right on your iPad, using Affinity Designer. The man

The mask and reveal methods you will learn in this class can be applied to any shape you create in Designer, not just text.

You will learn:

-     How to set up a custom color palette for your design using the eye dropper tool and Designer's swatch    palettes.

-     How to create your own custom letter shapes using Designer's built in shapes and Geometric Operations

-     How to use the built in shapes in the Rectangle Tool, as well as the Pen and Pencil tools, to create the basic shapes for the flowers and leaves you will use in your design.

-    How to use a duplicate of your shape as a mask to clip and hide your florals inside of a base letter.

-    How to use the Sculpt mode on the Pencil tool to then reveal select portions of your clipped florals while the rest remains hidden. This gives the effect of the florals bursting out of the letter in select areas.

You will also receive, as a free download, a set of type assets and a font set that I have created especially for this class; I'll show you how to use them to create your own floral typography design. 

Downloads can be found at this link, and the password will be shared in the Downloads & Resources section of the class. 

PLEASE NOTE: This class is a follow up to my last class, "Affinity Designer for iPad: Creating Textured Florals" where I show you how to use Designer's dual vector and raster based tools to create beautiful, textured flower and leaf shapes. If you are new to Affinity Designer for iPad, I recommend starting with that class as I take you through the entire User Interface, break down the tools, and show you how to use them to create floral shapes as well as add texture to them. The floral shapes created in that class can be used for your project in this one.

If you have already taken that class, or are an intermediate user of Affinity Designer, let's create something new together!

Happy Creating!

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Do you love textural digital illustrations as much as I do? Join my Textural Illustrations for Digital Artists Facebook Group. In this group, you can share your creations, learn tips and tricks for adding texture in the various digital apps, and ask questions of other artists who love texture as much as you do. Check out there group here.

** Affinity Designer is compatible with specific iPads. Click the link to find out more information on Serif's website.

INTRO SONG CREDIT:  "Once Again" Bensound © 2020

Transcripts

1. Welcome | Class Project: Hi entry, Secret phone. I'm an illustrator, photographer and teacher, and welcome to my class all about creating floral typography right on your iPad. Using affinity designer. When you take this class, you'll learn how to create your own custom letters using designers built in shaves and geometric operations, and how you can use pre made phones in your design as well. We'll also use designers shaped holes to easily create the flowers and leaves. So using your design and I'll show you the quickest way to add texture to them for more dimension. We'll take a look at the asset studio, where you can see if you're finished. Objects spoke as single anger players for use in multiple projects. And finally, I'll show you how to use a duplicate of your letter shape to mask your florals into another letter. And he's the sculpt mode on the pencil tool to reveal select portions of those flowers while leaving the rest hidden. The letters you create in this class can be used in illustrations as downloadable graphics on print, on demand products, stationery and so much more. And best of all, the mask and reveal methods. I'll show you in the class could be applied to any shape that you create. Designer notches text. When you take this class you'll receive, it's a free download, a large type farm that created especially for the class. A set of letter flower and leaf assets and a specialty factor. Brush packed as an additional texture to the flowers. For this class, you'll need an iPad Theophile Ity designer have at an apple pencil or compatible stylist. You could even use your finger if you like. I do want to know this class is best suited for students who are already familiar with designer. If you're new to the program, I recommend starting with the beginner class, such as my last one about creating texture for ALS and designer. We'll show you some basic beginner steps in this one. I am assuming a familiarity with the app so I won't be going into the same level of you. Tell us the other. The project for this class will be created piece of floral typography, either a single letter or word using the methods taught the class if you'd like, you're welcome to use something others and flowers because again the method could be used on any shape you create designer. It's always helpful for others to see what could be achieved by taking the class. So I love it. If you would share your project the project section of the class, I can't wait to see what you create, so let's get started. 2. Downloads & Resources: before we get started, I wanted to show you how to download the resource guide, font brush and assets pack that it provided as free downloads with the class. Now I want to know you're going to need access the download through two projects and resources section on the Scotia website and not through the app, and you'll find a link at the top of that section. When you click the link, you're going to need a password, and I'm going to put that up on the screen now. Once you've access the Dropbox folder, you're going to see the files that you need to download and you'll download, decided to your iPad or to an iCloud folder. Wherever you can, access them through your iPad and you're going to see the resource guide. You'll see the brush, as well as the Assets pack and the draft megaphone that I created for the class. Now, just to know if you took my picture florals class. The brush pack is the same so that you don't need to download that a second time. So go ahead and download these again either to your iPad or too inaccessible cloud file, and we'll go ahead and open them on the iPad. The resource guide is going to give you information about what you're going to need for the class. It's also going to give you my list of favorite brush and texture makers. And while I'm not going to be using a lot of them in this class, I did want to provide you with my list in case you want to use them for your own creations . It's also going to give you information about the downloads that I'm providing with the class as well as written instructions. How to do that. But we are going to actually go through that here in this section and then finally, it just gives you information about where you can share your creations to. If you share Teoh your instagram page and want to tag me, I'll be happy to share it on my pages. Well, I'd love to see what you create, so let's go ahead and start downloading our assets. Okay, let's start by downloading our assets again. I've saved off all of those files, too Inaccessible cloud file, and I'm going to select my assets studio, go to my burger menu at the top and top import category. I'll find my file and select it, and it's going to import it into my assets studio. Now it's not Point automatically pop up. I could just go ahead and located here and there it is. So this includes some for a while and leaf shapes that I created for you. And if you don't want to use the flow month pack or you don't create your own letters while you're taking the class, you're welcome to use these Art Deco letters that I created as well. So you just tap them hit insert, and you can place it in your document. So that's the assets. Look what? Let's go ahead and download the brush back. Okay, so now I want to download the vector brush pack that was provided in the downloads. And again, I have placed that in an accessible cloud file. You could also download it directly to your iPad. I'm going to go ahead and select my brush studio and go into the burger menu and select import brushes. All locate the file and I'll just go ahead and tap it, and it will automatically import to my brushes now again. If you've already taken my textural flowers class, this is the same pack, so you don't need to download it again. Let's go ahead and download the font set. And finally, if you'd like to use the front pack that I provided is part of the download. Let's go ahead and get that and sold on our heads as well. Now, can I save this off to a cloud file so I can easily access it and you're going to need a thought management app to get this in place. I'm using I font and you can find that in the apple store. So I've located the file that I see and I'm going to select it and I want to share it. So I'm going to copy it to I find I'll just throw over until I see that option. If you don't see it here, you can also slept more and it will give you a further list. So it hadn't tapped copy to I find. Now I've already installed this in my system. Knuckleheads like something I haven't. If you haven't yet in stole little front, you're going to see it in this installer option here and it's going to be highlighted in blue, so just go ahead and click on that. Now, if you have a pass code set up on your iPad that will come up here and you can go ahead and enter it, I've temporarily turned mine off. You'll allow it to do the profile download because ultimately you're going to approve that . Now you need to go into your settings and you're going to see I have had suggestions of the left here, and one of them will say Profile down motives. So just go ahead and view that click, install and then install again, and it will install it onto your iPad. Now I find that I have to close designer out and reopen it to get the fox to pull in. So just go ahead and close your APP. Reopen and you should be good to go. So we're already to begin. If you have any issues downloading the files or importing, just let me know, and in the next section we're going to begin creating some of the basic flower and leaf shapes for designs, so we'll see you there 3. Creating Basic Flower & Leaf Shapes: in this section, we're going to begin creating the flower and leaf shapes that we're going to clip into our letters. Now. I'm going to keep it really simple in this cause. We're going to focus on using the built in shapes in the rectangle tool. If you wanted more organic type flowers, you could also use your pen and pencil tools to get more free form shapes as well. But again will keep it pretty simple here. First thing I want to do is create kind of like a ese type flour. So grab my own lips tool and I want to make it. Pancks. I have this nice pink. Here is my Phil. I'm going to keep my stroke off and I'll just drag on a nice long pedal. And I need this to be a curb so that I can use my no tools. So with its electoral tap to curves not grab, I know tool. I want the top in the bottom to be pointed, so I'm going to drag across those two nodes to select um, tap sharp at the bottom. And now I have a nice top and bottom that appointed, and it's a pretty nice looking petal shape here. You could go ahead and make further changes to this. I'm going to keep this as is, because again, I'm looking for really simple shapes here. I want to create a flower out of this, so I'm going to use this pedal to Jubal Kate and rotate around. If I were to start rotating right now, though, it's going to rotate around the center of itself and I don't want that. I actually wanted to rotate around the bottom. So grab. I transform words in point here, and I'm going to drag that down to the bottom. If you have snapping on, it's going to help bind you there. Now I rotate it, rotate around the bottom of the pedal, so I'll go ahead and duplicate this in place. I'll have the edit menu and duplicate, and I'm going to start rotating this second pedal room. Now hold my finger down so it snaps and 15 degree increments want boat about 45 degrees, and with its still selected, I'll just keep hitting duplicate all the way around, and as long as I keep that selected, it'll not only duplicate it, but it will rotate it 45 degrees. So I have my flower shape here. I want to create one a large curve out of this rather than multiples cell tap on the 1st 1 all to figure tap on the last. I'll go up to me, Adam, and you and I'm already tap. Add. Now I have one large curve to work with rather than multiples. I'm going to add some texture to this, though, so I'll go into my documents menu and add place image. I want you grab a nice warm looking, a brighter texture here, told his drag out. Make sure you drag a large place it and you can always make it smaller, but start big and size down. Now I need to clip it into this pedal layer, so I'm going to drag that layer until you see the blue line over the top of the middle of that layer and you keep it to the right. Don't put it over the photo because that's a whole different effect. I drop it now that texture is within that layer, and if I grab my move tool, I can move it around. If I don't like exactly where it's place. I can also size it up and down and rotated if I want. So like how that's looking. I just want to change the blend mode of it. So with that later selected, I'll go into the layer options and I'm going to change this to soft like and actually going to keep the capacity. Where is because I like the level of texture and brightness De select that. Now let's go ahead and add at the middle section. Now when I'm adding my middles typically add a Phil and a stroke because I change the appearance of the stroke to give it more of that filament type feel. So when it's like this yellow color from my fill and I think I'm going to select Black for my stroke, I was gonna drop it down to slightly. I'll grab my lips toll again, and I'll start dragging out a circle, and if you keep your finger down while you do that, you'll get a nice, perfect circle like that size. I think that's good while Grandma moved hole and I'm going to drag this to the center of my flower and again as long as you have snapping on it will guide you to the center. Now I want to change the appearance of that stroke. So I'm going to go up to my brush studio and I'm going to pick that textural brush path that I provided is a download, and you can pick any one of these. And it's going to change the appearance to whatever bro. She slept. I'm going to go ahead is like this coffee bean stamen, and if you look now, it's taken that regular stroke and it's changed to the appearance of that brush and even go into your stroke studio and you can change the width of it. If you want, you can change how it's laying on the flower, so I'm actually going to change the alignment just to get it a little bit on the inside of the middle of swallows the outside. I also want to make sure that scale with object is on, so that when I scale up and down that also skills with it. So that's on and I'm good to go there. I like how that flowers looking. I just want to group these two layers together to make it easier to work with. So I've selected Boat Will hit group and I'm going to make it smaller, so get it out of the way. If you drag down with three fingers, it'll drag from the middle and keep your ratio. Is gonna tuck this off to the side and we'll make our second flour and then we'll start adding stems to both of them. Let's go ahead and create a second flower. I want to do the opposite of what I did here, where this pink and this is yellow. I'm going to grab yellow as my fill and I'm going to grab. The trap is weighed. I'll just tap on yellow here, and I want to drag out a nice trap. Reside here again. I need it to be a curve because I want to use my nodes, cell tap to curves, and I'm going to grab my notable. Just make some slight changes to this before I start rotating it around. Let's drag this in, and I want to narrow this a little bit so I could do that two ways I could select. My trap is oId tool, and I could move my left point using the what if I hadn't create my seven flower and I wanted to be the opposite colors of this one. I'm trying to keep a somewhat limited color palette for this sign because I don't want it to get distracting. So I'm just going to do the opposite when I did here, so I'll grab me. Trap is oId, but we're going to make it more of a boxy type flower. And I sent my fill to the yellow that I used for the middle, and I've turned my stroke off. You just select the stroke and flip up. That's one of the easiest way to turn it off. Or you could just happen down here in the quick colors, accidentally turned my fell off there and then went to drag out The trap is lead again. I want this to be a curve because I need to use my no tools salt tap to curbs, and now I'll grab my no tool because I want to make some minor change to this. I'm going to take this path and I'm going to drag it in a little bit. Just a bend it on. I want to drive these two nodes closer to one another. If you hold your finger down while you do that, it keeps it in a straight line to now. I'm ready to duplicate this around itself again. I need to make sure that my transfer origin point is at the top this time, since this is facing this direction. Now, if I rotate it, rotate around the middle of itself, all duplicated in place, and I'm going to start rotating it. I'm going to rotate to think 30 degrees this time, and I'll just go ahead and create my full flower again just by going to edit and continuing to hit duplicate so that it not only duplicates that, but it rotates it the same distant each time. So I have my full flower. It's a little bit sparse, but we're going to fix that in a second. I want to select all of these curves so I could either tap into finger tap here or I could drag up now because that flowers there it's a little bit easier to do it here. So I have all of my layers for this yellow flower selected. I'm going to go to my edit menu and tap at and now I have one curve. I actually want to duplicate this curve, and I'm going to rotate that duplicate so with its electrical. But I may add it duplicate, and I'm just going to rotate again, and I'm not going to worry about holding my finger down. I just want to rotate it until I see a little bit of a opening there, and I'm also going to take this bottom one, and I'm going to drop the past or the light value rather a little bit just by driving down from the color icon. And you can see that the colors changing, their light values changing. And I just do that just to give it some dimension. Now I can't add texture to a group, and if I were to group, if I were to do an ad on both of these, it's going to change all to the same color. But you can use your fill told and texture. So the first thing I want to do is group these together, so I have both of them selected an isolated group. I'm going to make this a little bit smaller, too, so that we have some working space, and I'm going to drag this in the middle here. Now. I want to duplicate this because I want to add texture to it. But I want to keep the yellow, too. So with the group selected, I'll go ahead and hit duplicate, and I'm going to add my texture, that top group. So Graham, I feel told here, and I'm gonna drag up. And now you get this great radiant and I can add a bit map texture to this. We'll go to my sexual any with the bottom, and I'm going to select bit map, and it will take me back to my texture file. I'm going to select the same texture used for the other one, and I'll just use these handles to drag it out to where I want. I like how that looks. People move it in a little bit, and now I want to change the blend mode of the entire group, not just the texture. So I'm going to tap on the layer options, and I'm going to go ahead and select softly again. But I am going to drop the opacity a little bit, so that kept the dark and light value of the two pedals. It also added the texture and kept the colors. That's the easiest way to add texture to a group of layers while keeping the properties of the cover layers intact. Let's go ahead and add the middle section now. So again ill bred might lips tool and I want to make the fill pink and I'm going to make this trip black again. Now just go ahead and drag out a circle and the strokes pretty large right now. So I'm gonna drop that down is a little bit. I will go ahead and place this and give me that little crosshatch so I know what's right in the middle and I'll just grab. I think I'm going to grab a different type of Salem it here to grab his little dotted one and Rees the size scale with object is on. I'm just gonna play around with us and see if I like, actually like how that's in the center more than on the outside. So I'm going to keep it like that, and I can go ahead and add texture to this. I'm going to grab the texture from this flower. I think I'm going to duplicate the texture have here, and I'm going to drag it up to this ellipse and clips a clip it. So actually, to make sure I move it from here bounds while select that texture and just move it in place . And I have that texture there. I don't need to go back into place image If I want to use that same picture you just duplicated in your layers and move it up. So, like how those two are looking, I just want to group these three layers together, so I'll select a three and group it so that entire flower heads together and I'm gonna make this a little bit smaller. Now, let's go ahead and create some stems for these Were going to go ahead, sir, adding some stems and leaves to this and you could go ahead and use your shape tolls to create this. I'm actually going to show you how to use the assets to do it. So if you've created some shapes and you save them off like I have here with the assets packet provided these air single layers that I saved off so I can go ahead and tap one of them and insert it, and it's going to insert the exact same way that I saved it. Now, if I wanted to, I could go ahead and add some color to this. So I'm going to choose this nice and bright green color from my fill and I'll go ahead and move this behind this yellow leaf layer and I want to add some texture to it so I can go ahead and do that as well to a place image. And I'm gonna pick a nice, bright, warm texture here. So they didn't drag up and I'm going to clip it to the curve. So the reason I wanted to show you this is because you can do anything to a an asset that you would to a shape that you create. So if you know you're going to be using something a lot like leave shapes and things like that, consider creating them and saving them his assets so you don't have to reinvent the wheel age time. I use these to save off flowers that I really like. That I know I want to add, is a little bit of a fiddle in an illustration, or if I'm going to be doing something over and over and want to use it for future documents , I can do that as well. So I think this particular flower is done. I'm gonna go ahead and make sure that these air group together and I'll turn that off for now. Let's go ahead and focus on our pink flower. I cannot go back to my assets studio, and I have this other stem here, so dragged that in place will change the color to take that same color. I'll drag it behind my pink flower and again go ahead and add some texture to it and drag up changes to soft light. And I like how that's looking. I'm gonna keep the opacity where it's at, and I'll just make sure that this is grouped together as well. So now we have our two flowers in place. Let's go ahead and take a look at how we can easily create some leaf shapes. Gonna go ahead and create some leaf shapes. Now I included some in the ass that's pack that you can use for the purposes of the class if you want, but I'll show you how to create some using the shapes as well. I've selected this teal color. Sometimes I like to have a little fun with the color of the leaves. I'm gonna go ahead and grab my trap is laid and just drag out a stem. And I want this to have a nice little bend to it. But I can't do that as is. I need to convert it first and grab my no pool. And I want something to work with here to make it easier to bend. I have no nodes right now because this is a straight object, but I can add them still just happened tap again. And now I have two notes to work with. But because these air sharp nodes, if I drag across to select them and to start bending, they're going to be in a shirt curve. And I don't want that. I wanted to be rounded, so I'll go ahead and tax smooth and the connection menu and that converts my nodes to smooth ones. Now, if I select them both and I drag again Nice little bend there. I'm gonna go ahead and I'm going to move this note here at the top a little bit closer, just a narrow off the top, and you convertible the bottom if you wanted to. I don't tend to worry about it with ease because they are typically off the edge of my letter and I'm starting to narrow this up a little bit. Let's go ahead and add some leaf shapes to this. I'll grab my lips Toll anyone to drag out. Belief. I want to convert it to curse because I want to change the top in the bottom two pointed. So I'll go ahead and select my two nodes Tap sharp. Now, I'm gonna go ahead and make a little bit of a change to this, to give it a little bit more of a leaf shape rather than a pedal. So I'm gonna drag this handle up, and I think I'm gonna drag this no down and in a little bit, maybe drag this handle out. So it has a little bit of a curve now rather than a straight up and down. I want to move this into place as my top leaf here, and this is the one we're going to duplicate around. You could go into your shaped hole and just drag out a shape for each leaf. Or you could go ahead and duplicate this around. I was going to duplicate it, so I'm gonna to finger tapping drag, and I'll do that one more time. Now. I could also, once I get this going in the direction I wanted to with its elected, I could do my duplicate and I could just duplicate out the amount that I want and then I'll move them into place. So I have six here and I think that's good. I'm going to select all six, and as long as my entire leaf shape of the top here and the entire stem isn't part of this settlement box, it's only going to select those six. So that's what I want. I'll go to my head and then you and top duplicate, and I want to flip this so I go to my transform studio and do a horizontal flip and drag it over. Now these are all out of place. But that's not a problem because you're working with separate curves here, which means I can take each of these and I can move them exactly where I want them. So what I'm gonna do is go ahead and start moving these around and I'm gonna flip them in certain spots and make them a little bit longer just to make the leaf shapes look a little bit different from one another. I left the flowers pretty basic and kind of victory shape, but because these airheads are sort of a background element, I like to make these a little bit more organic than the flowers. Just so they stand out a little bit. Okay, I like how this is looking. I went ahead in and I moved things around. I also use my note a little bit just to manipulate them. The other thing I do is make sure that they're not lined up exactly across from each other because that's not typically how you'll see it in nature. And I want to create one large piece out of this rather than multiple curse all tap and then two finger tap on the bottom and go ahead and doing ad. I could have also dragged across, and now I have my one large leave shapes. I'm all set there. Let's go ahead and add. These two are assets pack here, you could create your own new category if you want. I'm just going to go ahead and add this this. If you want to create your own category, just go to the burger menu at the top and tap add category. You always need to have at least one subcategory before you can start adding anything. So in this case here I have the flour and leave shapes and Art Deco letters. I want to add another category for finished flowers, so I'm gonna tap add subcategory, and it will add it here down at the bottom. Then you re name. This will go into the burger menu for the subcategory tap rename, and I want a name. This finished for ALS. Now I want to start adding these three elements to that. So with them selected and I want to select the entire group because it's going to select all of the layers that make up this flower, I'm going to go into my assets studio, go into that sub category and tap add asset from selection, and now it's gone ahead and added this entire flower shape and all of the elements that make it up as an asset. So if I hadn't slept my yellow flower and I'm going to do the same thing, sometimes it takes a beat or two to get it in there. I'll select my leaf shape and I'll go ahead and add that now. If I were to delete these, I could just tap insert, and it'll insert all those exact same size and exactly how I save them. So this is a really great feature to designer to help you in circumstances where you have to use a repeat of something and don't wanna have to keep creating it or keep duplicating at each time in the next section, we're going to start creating the letters that were going to start clipping these objects to, so I'll see you there. 4. Creating Letters With Shapes: we're going to begin creating. The shapes were going to use to clip our florals, too, and I'm going to show you how to approach this two ways. In this section, I'm going to show you how to create your own letters, using the built in shapes in the rectangle tool. And then that section, I'll show you how you can prepare a pre made fought for the same process. Now the benefit of using original letter shape is that whatever you create home, were you working with something that's inherently lower you. There's also no concerns about commercial licensing. If you plan on selling what you create, I wanted to bring this up. This is actually my final project for the class, and I brought it up to show you that I work with this process of clipping and unmasking. I typically work with larger sized fonts. The fonso have more weight or more canvas area toe work with show the process a little bit better. So from a distance you can see the clipping where, if you're working with a smaller fault that has less weight, you might not be able to see that. So, for example, I have this leaf here clipped across the H. If this were a much smaller flaunt, you wouldn't necessarily be able to see that without zooming in. So let's go ahead and start creating our shapes. I've started out with a 10 by 10 and canvas at 300 DP. I You can set your campus up to any size you'd like. Just keep in mind that whenever you begin adding any sort of raster elements to your illustrations, you need to think ahead to the largest size you plan to print so you don't run into picks. Elation. I've also dragged out a rectangle here, and I've locked it in place with a little lock in the layer studio. I do this because I don't like working on the white background that automatically comes up , and I have a difficult time drawing on the transparent canvas so I may end up changing this color at the end of it when I'm done my entire design. But I didn't really start off with Justin off white. You don't need to do this process or this step. If you don't like to, it's totally up to you. I'm gonna go ahead and start with the letter A. So my Grandma rectangle tool, and I have my fill set toe black with no stroke. I'm just going to drag out a nice, thick rectangle, not just a quick tip here if you plan to create a set of letters with the same shapes and want a cohesive look. For example, my Art Deco font here that has at least one side that's heavier and one that's thinner, go ahead and create an asset of the shape you plan to use because it's going to create in the exact size that you save it up. That way, you don't have to worry about driving out the same size each time. And best of all, those ships are always going to be available to future shapes as well. Now, on my rectum will have a nice slant so I can create the left side of my A. So with its elected, I'll go to my transform studio, and I'm going to select the sheer toll here, and if I start driving left, you'll see the bottom start to move left. I'm gonna stop about there now. I don't need to repeat the process. I'm just going to drag this over and I'm going to duplicate this. So I hit my head and then you and hit Duplicate. Now I'm gonna go back into my transform Syria, But I'm going to flip. That's now I have the right side of my I was gonna drag this over. And if you have snapping on and you hold your finger down, you'll see that yellow line in the middle that's pointed. Guide you where you're going. We're stop about there. Now we have the two sides of our A. I just want to get a little bit smaller. I just need the little bridge in between. So again, I'm going to go ahead and grab my rectangle tool and I'll just drag out a small rectangle here. Now you can set yours up. However, you'd like to do something more like an art Deco faan. You can make both sides heavier like I did here. It's totally up to you. But whatever you do, you want to create one shape out of this. So right now I have three rectangles. I'm going to select Call three shapes. I could have also dragged up. I'll go ahead into my edit and you l hit ad. It's not only going to combine them into one shape, it's going to convert it to a curve. And that's really important for this process, because when it comes to releasing some of the flowers that we clip in, we need to be able to use no pools. And the only way you could do that is to have this set up is a curve. So that's it for the letter? A. I am done with us. The only thing that I would need to do to get to the next step in the process is go ahead and duplicate this. My top layer here is going to be a mask, and I needed to be invisible. So I'm going to go in and I'm going to turn the fill off, just like flipping up from the icon here. Or you can use the quick color down here. So now if I turned this a off, you can see that the top one is still on its just invisible because the Phil is off. So I have my AOL said. I'm just gonna go ahead and groupies together and I'll turn that off. Let's take a look at how you can create a letter that has put doubt in it. Like the letter P. We're going to start creating some letters that are a little more complex with cutouts and some curve shapes. And I'm going to start with the letter P. Now, Just a quick tip here is while whenever I'm creating letters, if I'm not creating a single layer like letter like we're here, but I'm creating a set, I'll take a look at the letters in the alphabet and see which ones I can create first to help me create others. So if we take a look at this Art Deco fun here, if I use my P and I create that first, I can use that to create my are as well as my B. My C could be used to create my G, and my eye and T can be used to create one another. Not only does this prevent you from having to do multiple duplications, but you can also form a much more cohesive set that way. So that's just one pointer now. I've actually gone ahead and saved out a rectangle here for my piece, so I'm gonna go ahead and insert that and I'll just place it where I want it. And I don't have a large crescent, so I'm gonna go ahead and grab my crescent toll. I want that to be the bump out on the P, and I'm going to get about that high now. One of the things when you're using shapes is before you convert them to a curve. If you have your shaped hole selected, uncertain, let on certain shapes, you're going to get these true red dots and they'll help you form other shapes. I'm going to drag this red, got out and give myself 1/2 circle. That's actually the quickest way to create one. And while I'm at it, I'm going to go ahead and shape say this to my assets, so I'm going to keep it selected. Tap the burger menu here on my letter cutouts and tap add asset. So that's my larger, uh, crescent. So I go into my transforms to do now, and I want to flip that. I'll go ahead and drag this up, and I want to drag it back a little bit further than the rectangle itself. Now that is going to create an issue. I have this a line and you can tell because it's snapping is on. It's getting we made that red line. But because the rectangle is sharp and my front part here is curved, I have this little bump out. I'm not going to worry about that right now because I can actually fix that more easily with node Pool once I have that selected Now, I do want this crescents be a little bit deeper, so I'm going to drag that out a little bit more and I'll select my two shapes. And now the first geometric operation I want to perform is an ad. I'm going to do that before I do my subtract. I'll go ahead and going to my head. A menu with the two layers selected tab bad Now. Not only did it create one large piece, but it also converted to a curve, which means that can use my note pools now swelled up to the top. And I'm going to fix this before I do anything else. The easiest way to fix that is to tap on this top one, because it's because to Notre stacked delete it and it flattened it out. I always like to take a look at my letters after I'm done my Jacob Geometric operations. This is a pretty simplistic letter, so I don't have to worry about it here. But when you get into others, you want to just work your way around. The circumference of the letter zoomed in so you can see if there's anything you need to fix. I'm going to go back into my assets, and I'm going to select my smaller crescent here. I'll grab my move tool, and I'll just drag it into place and I'm gonna place it right about there. I'll go in and select my two layers, and this time I want to do a subtract. So do edit menu and subtract. And now I've cut that out. Now I actually like that is, what I wanted was this line to be lined up here, so I'm going to back that out. It's not a problem. I'll grab it. It's an Heidi selected it. Let's try that again, and I was going to pull it backwards. Now, depending on where you are, item is placed in the canvases. Snapping might help you in this case, it's not actually working real well there for me. But I'm going to go ahead and just eyeball that now. I will do my subtract and that looks nice and lined up. So again I could go ahead and I can add a diagonal rectangle here for my r. I could add another punched out crescent here to make my be shape. Let's go ahead and take a look at how we can make some more complex shapes and create curved letters. Okay, we're gonna run through two more letters. We could run through all 26 but it would take a really long time. I'm going to show you how to do some curve letters, though, because they're a little bit more complex and certain ones take a few more steps and also involves things like the pencil. Let's start with the U shaped. Though this is actually relatively simple. I'm going to grab my doughnut and I want to grab drag out a perfect don't. And if I hold my finger down, you get a perfect circle. Now, once again, I have these two little red dots. I'm going to use this one to drag in, so it makes it a lot heavier, and I want to drag this one around to give myself a perfect half circle and was snapping. One is going to give you that green line to let you know that's there. Now I need to have that sitting flats. I'm going to drag it with my move tool and hold my finger down. So just snaps. And now it's nice and flat. But if I start dragging up, it's gonna give me a weird shape. I actually want to first change my rotation tool to the top here, and I'm going to tap this button here, and that just changes the boundary box. But again, if I drag up, I just get this really funny looking you shape. What I'm going to do instead is use. This is the bottom, and I'm going to add rectangles to this so I'll grab my rectangle toll and with my snapping on, I'm going to go ahead and I'm going to start dragging up. I want to be selected first. I'll start dragging up a rectangle, and it's going to let me know when to stop because snaps into place. That's one of the wonderful things about snapping, and I just wanna make sure this is in place here and I want to drag this down a little bit . Now we're going to run into the same issue we had with the P because this is straight and this is curved, but it's not a problem will fix that later. Now I don't need to repeat that process. I can just grab my move tool and do a two finger tap and drag and with my snapping what? It's going to guide me again. So now I have my three shapes and I want to combine them into one. So go ahead and select the three. Go to my head and then you and tap pad. Now this blue line is showing because I didn't drag this down. So if you look really closely, I have that gap there. So I'm just going to two finger tap to back out of my ad. I'll go ahead and select this, and I'm just going to drag that down a little bit, and I want to make sure that's not too big. So now it's overlapping. I can go ahead and I can do an ad. Now, again, I have these little bump outs I need to fix, but I can do that easily, because now this is a curve, which means I can use my note pool, and I'm gonna go ahead and I'm going to tap on this top one here and hit the lead That'll smooth it out on that side, and I'm going to get the same thing over here. It is not quite as bad again. I'll go ahead and tap on that top one and that'll smooth it out. And I just like to check the middle. I have the same thing going on here. So because my curve is out here when it's like the inner one this time and again, my curve is out here. I wanted to go follow that curve. So all slept the inner one. And now I'm all set. I have a nice U shape that I can work with. If you see anything on the little off, you can always use your no tool in the handles. But I think this is looking pretty good here. Let's go ahead and create a little bit more complex one I'm going to show you how to create an s shape. The S shape is a little bit more involved as the only doesn't involve your shapes that you're also going to use a pen hole. And if it's something that you're not used to using, it's really handy. But it takes a lot of practice to use. So I'm going to grab my donut tool and I'm going to drag out of doing it just like I did with you. And again, I want to go ahead and make this a little bit fatter so I will drag this in, Not gonna get too much. And again, I'll make 1/2 circle. So we're starting the same way we did with the U Grab my move tool, and I'll just drag this around until it's flat change my bounding box. Now I want to duplicate this shape and flip it up to here. So go ahead with its selected, had duplicate go into my transform studio and flip it and then drag it up. And here's where we're going to use the pentacle. But before we do that, I want to convert these 22 curves so I'll select the two doughnut layers going to my Adam and you and tap convert to curves. Now I can change the curbs on these two shapes. My grab my notable Because I want to see where my nodes are. This is where it gets a little bit tricky. No grand my pencil. And I'm going to tap on this note here and then here anymore. You start dragging out and I want this handle to go up somebody myself. A slight curve there. I'm gonna hold a finger down and I'm going to drag my handle down. So it's going to tell Dependable which direction going to go? We'll tap again at that corner and I lost my nodes, but you knew kind of know where you're going. I'm just going to drag out a little bit and then down and I want to go ahead and go diagonally so I'm going to go and hit here and I'll drag down a little bit again. I'll hold my finger down and I want to go in this direction. So now I have my shape. I just need to fill it in. So go ahead and filled it. Now I'm going to have some gaps here and there and you can see them here. I'm not going to worry about that. I have my note pool. I can go ahead and I can drag this in. I can also use my handles. I'm going to drag this up slightly and make it a little bit bent because I wanted to overlap. So I don't get any sort of overhang and even see here I have that gap so again, and when you just drag this into place and then I'm going to start dragging the path in a little bit just so that I don't have any sort of gap in there. And I want to make sure that my handles or where I want them. So I'm going to drag this actually up, right? I want to make this more of a circle shape. So I dragged this handle up, and if I go directly up, I get that nice circle there, and I could do the same thing here, and I'm just going to drag this down. My middle section is going to be a little bit thinner, and that's okay because really, I'll probably clipped my flowers to here. Eldest de select and step back, and I like how that's looking again. It was really involved and it takes practice. I've probably done this s shape 100 times, and I still have to start over again a lot. I'm waiting. Go ahead and select these three. And since I have this names overhang here, I'm not going to get any sort of gaps. I'll just go ahead and do edit and add. And now I have one large shape. And if I back out of this a little bit and I be selected, I can take a look and see if there's any other changes I want to make that I actually like , how this looks. So I'm gonna call that as done. You want to create your own letters? I recommend first sketching out the type of design that you want to create and then study it and determine what combination of shapes, geometric operations and maybe even the pen and pencil tool can get to two your final shape and then just start building it piece by piece. So the beauty of designer is that there is a pixel persona build in, so I could go ahead and I could rough sketch. This s that I want I could go ahead and put a vector layer on top of it and just started dragging out some shapes that I might want to use. And I'll go ahead and convert this to a curve and maybe make these pointed. And I could just drag this into where I have this ellipse in the middle and just start making some changes and building upon this, I could take my donut tool and make a really thin half circle like we did with the original s. Or I could go ahead and use my pen tool and just start creating a nice little half, sir here and adding in a stroke to it. And the beautiful thing about this is I have my notes that I can work with so I can grab my no tool, and I can start dragging things around one of these. Elect first, you don't complete your circle. Just drag my nodes used by handles to drag up the pencil. Could be a little bit into any when he first started using it. And I still have to start over again sometimes that once you really get the hang of it. It's actually a lot of fun to use, and it could be really, really handy. The other thing about using vectors to create these shapes as I could go ahead and have some real fun with the types of shapes on using, as well as duplicate what I create, for example, for the bottom of my s here without having to start fresh. If I wanted this to look a little different from the top, I could just go ahead and reset these and start dragging them around. Now, this is obviously very rough. I would go ahead and I would continue moving my nodes around. I would go ahead and combine them as one large shape and then continue working at a little bit. But when you do that, you can go. You can end up with a nice final result that you can start to build on. So I definitely recommend starting with a sketch because it makes it easier to determine what combination of tools you can use to get to your final results in the next section, and going to show you how you can convert pre made fonts to curves so that you can use the same process in your designs. I'll see you there 5. Using Pre-Made Fonts: in the last section, we took a look at how you could use the built in shapes in the rectangle toll to create your own letters in this section, I'm going to show you how to prepare pre made fonds for using your designs as well. Go ahead and select my artistic text toll and I wanna tap twice and then pull apart text and I'll just tap anywhere on the canvas. I can go ahead and select my font here. I'm going to go ahead and use his after falling I provided as part of the downloads. Just keep in mind if you select any funds that you use as part of something you're going to sell, you need to make sure that whatever he made von to use our commercially licensed. So I've selected my Zapf take font. I'm going to tap in here and I'm just going to make sure it's a larger size so that I can see my initial place that you can either do that with the plus and minus sign or just tap in the middle and select one of the presets or key it in. I already had in place a capital G here and close out my keyboard. Now, whenever you add text, it's immediately a text shape. It's not a curve, which means I can't use my no tools on this, and that's really important as part of the process. So with its elected, I'll go up here to buy, edit, menu and tap convert pervs, and now I have a curve layer to work with rather than a text layer. Now I'm waiting ahead, ground my move tool, and I'm going to size this up. And if you hold your finger down again, it will keep the proportions. And I want to duplicate this just like we did with the last set of water three created. So with its elected, I'll go to my added and you and I'll kit duplicate. I want to walk this bottom layer, and I'm going to go into this top one and turn off the fill. So, just like with the last one, if I turn this off without selected, you can see that that top layer exists. It's just invisible right now because Phyllis off. So we're all set to start adding our flower and leaf shapes of these letters, and in the next section we're going to do just that. We'll see you there 6. Masking Your Florals With Shapes: Okay, so we're all set with armed letters and it doesn't matter which one. We use it this quiet since they're all curves. I'm just gonna go ahead and grab my aid for this exercise. Now my perched adding the objects to these letters is to do it enough for the effects, but not so much that it overwhelms a letter and becomes the only focus I've wasted. Adding my flowers mostly to the left side here. But I'm going to bridge some of them across just to really drive home. That clipping effect, like in the first thing I want to do before I start, is to take this curve layer and duplicated because my duplicate is going to become my mask and I'm going to go ahead into my fill and turn that off on that top layer so that it's invisible. So again, if I turn off my bottom layer, you can see it's still there. It's just invisible because the film is off, so ready to start clipping are objects. Now I'm going to go ahead and grab my ass sense, and I'm going to start adding in some of these flowers first. Now it's adding it at the exact size. I say, that's all. Just pull ahead and the sides down a little bit. I want some of this to hang off because that's part of what a way to release when I change my mask. But I'm going to get a little bit bigger. Notes dragged us down and I want this leaf here. Hang awful of it, and I just tip it a little, too, and allowed in my pink flower and again all but in size that down. And I want to take this. I want this tipped here So it's bridging across the A, and some of it is coming into the little cut out there. I might actually flip this orange one because I feel like that. Let that leave is kind of getting in the way. So I'll go to my Transforms studio and I was gonna flip it and rotate. It can like how that's looking. I think I'll just move this up just slightly and go ahead and duplicate this. Flip it, and I'm going to drag it over here and just make it a little bit bigger, rotated a little bit more. I'm going to drag it down a little, though. I want most of these petals coming off the edge. Now I'm gonna go ahead and add my leaf shapes so I'll go ahead and insert that and I want this one behind all of them. First thing I'm going to do is flip it and I'll drag it down below all of my flowers, rotated a little bit and just making a little smaller. And I want that peeking out from behind these flower and leaf shapes and actually want my leaves coming off of here because the way to drive home the clipping effect is to have some of these still clipped. While some of these were released, I'll probably end up shifting my entire letter over to. So I had more room. I mean, if I didn't duplicate this one and I'm going to drag it to the top because they want that over the top of the leaves and I'll just flip that rotated and make it larger, and I'm going to go ahead and bridge that across the A here, and I'm actually not going to release any portion of this. I just want to make sure that it's not touching that piney paddle there. I'm going to use this particular one to really drive home the effect so I like how it's slanting and it's going into the other side. Now this looks like a mess. One of the things I actually want to do is just dropped the light value of that a little bit, just to differentiated a little. And I might also do that to the leaves here. Okay, so this is all hanging out. It looks a little crazy, but that's not a problem. We're going to go ahead and take all of these and we're going to clip it to this invisible layer. So I'll tap on the first layer to finger top on the last to select all of them. And I'm going to drag down until it's in the middle of that invisible layer and release. And now everything is inside of my A. So again, if I turn this off, you can see that it's starting to form a shape. Now that's actually another tip there if I turn this off, but it turned this one on down here. That's another effect that you could do if you wanted to do the reverse of that. You could just go ahead and fill up a shape with all of your let all of your flower shapes and create the shape out of that. So this one is a number of flower and leaf shapes that make up the A. So that's not what we're focused on on this class. But that's just another bonus tip there. So let's go ahead and turn our A back on, and we're ready to go ahead and release some of the sections of this while keeping other portions clipped. And we're going to go ahead and take a look at how to do that in the next sections, we'll see you there. 7. Using the Pencil Tool and Sculpt Mode: So we have all over flowers place and we're ready to release certain portions while we keep others clipped. Now, I could just go ahead and I could grab my mask and my note pole and to start dragging out. The problem with that is it's not very precise. I actually want to keep certain sections clipped in here while I release others. So I'm going to use the pencil tool on sculpt mode to get a more precise release than I would if I just dried on my note. So I'm gonna go ahead and I'm gonna start with the smaller section here again. I want to keep these leaves clipped, but I want to release this small pedal and just going to go ahead and start small and I'll start on the path and I'll just drag around and I didn't quite get it, and that's OK. It also released the connection between these two nodes, so I'll grab my no toll on. The first thing I want to do is close that path so hit close and that bridge that so I can drag this down to here and with my known pool. Just drag this out until it gets past the pedal, but not so far that I start seeing the leaf. So we're all set there. That's nice. That's hanging out while this remains clipped again, I'll grab my pencil tool and now I want to keep these clips while I release these. So go ahead and select it, and I want to go ahead and start right about here and just drag around. I didn't quite get it, and that's not a problem. I'm actually going to again bridge my gap there by hitting close and with my no tool to start dragging out. Now, I do need to release this leaf here because this pink paddle here is overlapping it. That's not a problem. I'm just going to grab. I know tool, and I'm gonna take my node and with my finger down his drag it so it stays on that line, but I can easily drag it down. So now I have kept these clipped. But I've released that leaf that's being over home by the pedal there. So I like how that looks. I have a nice portion hanging outside. I have other portions clip. So you're really driving home the effect. I'm going to call that part of it done. I'm just gonna go ahead and change the color of the bottom A so going to my fill and I'm going to select this blue color, and I think I'll go ahead and add texture to it. So I'll do a place damage and want to select this one again. I would drag out large and then released that I can always make it smaller, but you want to start large and then I'll go ahead and clip it to that. A. And I want to change the blend mode. I'll go ahead and select soft late. Just drop the opacity a little bit. I don't want the texture to be too obvious. I just want a little bit and you could always go in and you could play around with the fill color on the background layer so I could see what black looks like. I could try other colors and just see what works with the flowers. I'm gonna stick with the off white here. I'm going to go ahead and group all of this though the two letters and I'm going to move. Actually, I don't want a group that background and their son was going to go ahead and slept those two and every move this over a little bit. I wanted to show you what the final Mass player looks like if we were to turn those still on so that you can see what we're ultimately doing with the sculpt mode. So right now it's invisible. If I were to turn the fill on, you can see that ultimately, what we did was take the original a shape and we broke paths in certain spots and just bumped that out. So that's what the skull ultimately does. So we did it around that leaf or that pal right there and then around these leaves and flowers. So if I were to grab my pencil toll with sculpt on and I wanted to release these leaves, I could just do that by doing what we're doing earlier. And it's manipulating the shape of the original curve and just adding that in there. So you condone it in reverse to you could go ahead, and you could change that to put that back in place, and you didn't want that pedal out. So scold works both ways. Now, we don't want this Phil on here, and we actually want that pedal out. Somebody going to turn that off and I'm gonna call that done. Now, in the next section, we're going to put all of this together, and I'm going to show you how to create a full word peace just like this, using all of the processes that we learn in this class. So we'll see you there. 8. Putting it All Together: in this final section, I'm going to recreate this hope design that I created using my letters and I'm going to start it out and then I'm going to finish it sped up so that you don't have to watch the entire process, but you can see how I go about creating it. So I'm gonna turn that off. The first thing that I did here is I created four separate letters on separate curve layers and I actually need to convert thes Truth occurs. So I'll go in here and convert. Hm. And that way I can create separate masks out of each one, and I can manipulate each individually rather than having to worry about the entire piece. That also means that I can move them around individually rather than one large piece. But I haven't group so that if I do need to move it around, I can. So I'm just going to go and start with my each here and again. I'll grab my assets and I'll start adding some of my flowers here and just work by me way around the entire word, and I don't want to make it exactly the same with each letter. So sometimes all the certain flowers off I'll add two of something, but only one toe. Another letter. I just try and mix it up a little bit to make each one of a little bit different, and I really roughly placed them first just to get them where I want them. And then I go ahead in and I manipulate them more. So, for example, I would go ahead and start there with my each and maybe with my Oh, I would bring in this leaf here, and I'm gonna go ahead and flip that. And I want Theo because of that curve to have this leaf kind of bridging across the entire letter, and I'm going to keep the entire thing clipped with my final result. But I might let some of it out there, and I'm actually going to add in some flowers here to the other side, and I'm gonna go ahead and flip this and kid it. And again, I'm just going to start adding in my different flowers and somebody go and speed this up, this point just so that you're not sitting here watching me ad 100 flowers. It's of letters so I will meet you on the other side. Okay, So I have my leaves and my flowers quipped in where I want them and I'm inevitably may end up moving them around because now that I have these clipped in, I see that those are a little too much this same there. So I could go in here and I can grab the e and change that warmed flour a little bit just to kind of twisted out. Maybe this way, and change the pink flower to the other direction and maybe flip it so I always go ahead. Like I said, start with a nice ruff placement and then I go ahead and change things out just to give it a little bit more dimension. So I think I like how that looks. I'm going to start releasing my masks in each of these letters. So I have on in. While I was clipping everything, I duplicated each layer and again I turned off the Phil and I also grouped these as I went along. Just because I was adding so many at the same time, I wanted to make sure that I kept them in order. So if you saw. I went ahead and I figured out which ones were wear and grouped them using the group function up here. That way I could very easily clip them. Always one piece to my invisible masks. So I'm going to go into each letter and I'm going to start pulling out certain aspects certain parts of the floral arrangement here. So I'm going to speed it up again, and I will see you at the other side. Okay, so I'm going to call that done. If you notice that while I was working my way around this, I had to to finger tap back out and start again On a few occasions, the pencil hole on sculpt mode could be a little bit finicky and it takes some practice. So if you're working with this and you have this occasions where you have to back out of it , don't worry about it. Just start again. It can be frustrating, but it takes some time in practice and you'll get the hang of it. You can also consider changing the direction that you're going. So, for example, with this flower, it started up here and work my lead down and it was just causing some trouble. So instead I went ahead and I started in this direction and just found it a little bit easier. I'm not really sure why it does that, but sometimes if I just change direction, it makes it a little bit easier to use a scold mode. Also, when you're working your way through this, if you need toe add nodes as you're using your no tool, you can do that. So, for example, with his e, I wanted to have a note very close to this flower and all. Go ahead and grab that mask so you can see what I'm talking about. This note here was not in the original shape, so I actually wanted it to be placed here so that I had a little bit more control when I was moving of this. And that way the path wasn't coming up from the also. This node was actually originally created as a smooth node. I just converted it and snapped it down to the E. So that just gives you a little bit more of a brace when you're using your no tool to move your path around. So I usually just step back and I'll take a look and see if there's anything that I missed . If I need to go back in and adjust any pass, this looks good. I would go ahead from this point and start adding some texture to my background letters and possibly move some of the flowers around and maybe even change the background layer. But I'm going to call this one done. The final result ends up looking like this. So that is the class. I want to thank you for being a part of it. And I hope that you enjoy their creating your own letters using designer using the assets that were provided or using a pre made font to write your own beautiful floral typography. And I can't wait to see what you create. Thank you again.