Emotional Hand-Lettered Poster: Create a Hand-Lettered Piece Linked to an Emotion | Mete Erdogan | Skillshare

Emotional Hand-Lettered Poster: Create a Hand-Lettered Piece Linked to an Emotion

Mete Erdogan, Designer and Art Director

Emotional Hand-Lettered Poster: Create a Hand-Lettered Piece Linked to an Emotion

Mete Erdogan, Designer and Art Director

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
9 Lessons (58m)
    • 1. Intro

    • 2. Choosing Your Quote

    • 3. Design Elements and Principles

    • 4. Moodboarding

    • 5. Thumbnailing

    • 6. Sketching

    • 7. Refinement

    • 8. Inking

    • 9. Digital Rendering / Final Words

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Mete invites you to explore visual emotion and expression  with a quote that’s truly meaningful to you. In this 50 minute class, you’ll learn step-by-step how to find that perfect phrase and express it with a single emotion. We will incorporate cartooning and acting techniques to find the best possible way of interpreting an emotive phrase. This class is perfect for anyone who wants to expand their creative thinking beyond graphic design and into a means of creative expression. Prior knowledge of Photoshop, Illustrator and InDesign is required. By the end, you’ll have an awesome poster that’s totally unique to you and shareable with the Skillshare class.

Meet Your Teacher

Teacher Profile Image

Mete Erdogan

Designer and Art Director


Mete Erdogan is a Melbourne born, New York based designer and
art director at Saatchi NY. He's been involved in projects such as The
Celibacy Challenge, recently added to MoMa's permanent archive
and currently shortlised for two Cannes awards. Mete has written
and published a graphic novel about Melbourne's suburban train line
titled 'Melburbia' and is about to release his newest title based on the
Eavesdropper series 'Eavesdropper: Overheard on the Streets'. His
work has exhibited globally in Taiwan, Italy, Australia and the USA.

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.



1. Intro: Hello and welcome to my brand new class. My name's Metodo again, and this is hand lettering based on a single emotion. You might know me from my previous class, where we took our own overheard quotes in our daily lives and turn them into something very special. You might know me from my project eavesdropper, where I take my own overheard conversations and turn them into pieces of letter. And if you haven't done the previous class yet, you're more than welcome to go check it out. Today's class is going to be more focused on one single quote and one single emotion. What we're gonna do in this focus class is incorporate acting and cartooning techniques into typography. These are some of the techniques that I use to incorporate emotion and expression into a piece of graphic design, and often I find the cartooning is the best visual way of showing those broad range of emotions were also going to go back to the basic design elements and principles. This is because these are the very, very bare, bare bard off what makes design what it is. These techniques are going to be great for expanding your visual repertoire and also to consider. You know how you can visually represent happiness, anger, confusion, Hangar, which is a very legitimate feeling, but a shop is going to be needed for this cloth. But the great thing is that I'm gonna be right here going through the entire project. What's also cool is that I'm gonna be here for every single check in after every chapter. So every time we do from now sketches, refinement, digital output we're going to share each step with the claws to gang feedback and start a discussion that will help gains and feedback and getting some reactions to how your people looks to the rest of the world. So without any further ado, let's get started. Very excited. 2. Choosing Your Quote: Okay. What we're gonna do today is choose one. Quit one emotion. The quote needs to mean something to you needs to have some sort of emotional impact on you and on your life. This quite can be from anywhere. It could be something that you overheard. It could be a part of a song that you love. It could even be quote from your favorite show something that a piece of advice that was given to you. It could be something that you said yourself part of a poem. Anything, as long as it means something to you. The quote that I chose was from a Skype conversation that I had with my dad. Because my whole family is back in Melbourne. And recently I was, unfortunately, light off for my previous job, which is a blessing in disguise that get to do more of this kind of stuff and more my freelance. We'll get into that another time. But my dad, having a very interesting way of passing on encouragement and advice to his Children, started singing Frank Sinatra. But getting the lyrics wrong on one of the lines was I failed my way and that meant something to me. I failed my way because value isn't something that you should be able to. You should be scared off. It's there. It's definitely a great agent for change. Trying something you and running the risk of failing is something. It's an amazing opportunity to try something else. And doing it your own way is just such an empowering thing. You you tried something that you wanted to do, and you know, you may have sucked at it or you may have screwed it up, but at least you did it your way. So I failed. My way is gonna be my quite what's the emotion based on that is that happiness is that anger is that frustration is a pet iveness? Because my dad sung it in a very chesty Frank Sinatra style. I'm gonna say pride. I feel like there's a lot of pride in failing and something that you wanted to do. Like I said before. So I failed my way and pride. It's that simple. You guys choose yours. I can't wait to see what they are. And once you choose yours, I want you to just quickly jot it down and share it with the claws. All right, let's do it 3. Design Elements and Principles: cool. So now you've chosen your quote and the emotion that it belongs to. But before we move any further, we're gonna go way back to the basics of design these air, the design elements and principles. And simply put, the elements are the tools of design. The principles are how to use those tools to create art. Let's start with the elements using this humble, happy little circle. Let's start with the most simple of elements. The humble line. The line can be straight started, curvy, wavy. It could be horizontal, vertical or that one the diagonal one. It could essentially be whatever you like, as long as it is a singular straight thing. Shape Shape is a two dimensional form that can create anything. Geometric organic form is a three D form, which is also geographic, geometric or organic. Color obviously refers to the Hugh or the tent of something. You can use different very actions and saturation or tent or temperature to communicate a different emotion, depending on what color they choose. Texture. This is anything from grungy paper, too soft feathers for something that's Matt shiny tone up or grassy, and then the final one is space space refers to the area within, around or between shapes. So those are the basics. Those are the tools that you use to create your eyes. These are examples of principles, the means in which we use those elements to create on the first example is balance. Balance is the use of symmetry or asymmetry to create some impression of equality in white or importance. You can use these. You can use the idea off imbalance to create something where one side is pushing the other out of the way. Oh, you couldn't create something that is compositionally quite symmetrical but has a lot of things scattered throughout to give a sense of chaos. You can see here that the contrast between Al Guerrillas character done by Jamie Hewlett is actually extremely symmetrical. But he has his wine bottle and his knife on the island in the background and his keyboard flute thing going on and plus the way he's sitting one on is up, the other is down and you know, one eyes closed. The other is open the amidst this chaos. The contrast is that he is completely upright and in the center and quite powerful on the page, so the emotion here could very easily be calm in control. The next principal would be contrast. This is the juxtaposition off elements throughout the image. So in this first example, it's the contrast off colors contrast agenda Andi could be. This could provided a sense of longing or anger. Alternatively, this could also provide a sense off longing where the contrast is between a positive and a negative shape. Alternatively, you have the contrast between textures. So you have something that's quite papering, quite grungy. Contrast it with something that's very clean and flat. The emotion here would be pride. It's pride because it stood the test of time and it's still standing. The next one is emphasis. Emphasis is when you are to pay special attention to one part of the image. So in this first example, you can see hot colors like the pink and reds of the purples of the sky, amongst the cool colors off the You know that dock blue giant dear um, and it's quite dreamlike, so the emotion could be sleepy. But you can also have an emphasis where there is an illustrated element within a photographic scene, and this could perhaps provide a sense of isolation, so that emotion could be loneliness. You could used the same medium throughout, but just do something a little bit different to one element off that illustration that could provide a sense off enlightenment. So you can sort of see how these different elements come together. So this is a great example off showing how the elements come together to provide the, you know, the grounding for the principles. So in this example, off harmony, where an area or a shape is created because of individual elements combining together to create a whole uh, this one by Olly Moss I'm a huge fan of you can see how he uses things like color. He uses shape and he uses very clean, flat texture. But also, you know, that poster printed kind of old film poster texture to create this some to create by the fat right. And he's also very good at creating very simplistic figure ground Hominy images like this clinics with Dirty Harry. One wears contractor with a gun, but his face is so perfectly lined up that it looks like part of that object on again is using color and shape and space, which is also very important when you're providing harmony so you can start seeing how these these elements and principles are instrumental in illustrating emotion. Another principle is patent, a very simple one. Patton is the repetition off shapes or colors or motifs to create. You know this repetitive, uh, rhythm and these air really great in sort of providing a sense off being pulled apart, or they can be very tightly sort of pushed together all they can be used. Teoh emote a sense of chaos with these cats. They're you know, they're beautifully, you know, tightly spaced in, but very well considered. But it looks quite Cairo K rock chaotic because the they are all the same animal. But they're very differently stretched out and laid out, and Andi sitting in the space very differently. This is an example of rhythm. I dropped my God. Now rhythm is kind of like patent, except rhythm is actually used to direct your eye into a particular focal point. So in this example, we have left to right rhythm of presenting these different characters. But there's also a negative space that's pointing up to a certain point off the of the image allowing for space for the typography toe appear. Um, this one is a really interesting one because you can see the crowd provides a rhythm in which your eye follows it from right to left and actually spirals around and ends up landing on the belly dancer who is off center of the image. This is actually a really beautiful way of bringing a crowd into your image or a lot of elements, but very skillfully bringing it Teoh one focal point. Or you have a very simple on where this these beautiful picture frames and they're sort of cascading down to reach this, this woman who's just direct over her couch. So it's leading the eye from up to down. The emotion of this son could be exhaustion, and the final one, and probably one that I use the most is scale. This is the relationship between objects to do with size number and someone so you know, you got this one here where you have these big New York buildings, and it's tiny, tiny little guy hailing his cat. Alternatively, we have you know this this giant woman on her bike strolling through the city. And already, if you're if you make her larger than quite a large city scene, she feels powerful. She feels strong. She feels confident. Okay, so how do I relate this to typography? We have this pace by I loved us, which is one of my favorites. Um and you can tell that the elements that these guys use are definitely shape. You can see that the shapes of the letter forms of quite decorative but also very naive and simplistic. You can tell that these are hand drawn objects which gives an aesthetic of sweetness or acuteness. It is their slight form in there because you can see the white drop shadow color the red mixed with the blue, and it provides a really nice contrast. And you know, the spacing inner is important because you have toe do letting on your type and the principles of design that's used here. Is this some elements of patent? You can see the dots on the typography, but there's also a contrast between the colors and furthermore, rhythm and movement is a big one here because it's got that, you know, the lines are moving quite a lot like the chaotic waves in the sea. And the quote says, Girl, if your a c escape I'm a listing boat for the thing carries every hope, looks from sea legs by the shins and the emotion here. Given you know, the naivety of Nativity off the shapes and the simplicity off those very primary colors, you can tell that this actually looks quite hopeful. So you could say that the emotion is hope so that's a rundown of the basic elements and principles of design in relation to illustration and some examples of topography. Now what I would like you to do is Teoh. Keep referring back to this video and think about what elements and principles would you keep in mind when creating your pace. Thanks, guys. 4. Moodboarding: What we're gonna do is create a mood board based on the emotion that we've chosen. Not so much The quote. This is another roundabout way of thinking more conceptual e about what you're gonna create . My quote as we as we are as we know is I failed my way, and the emotion I chose was pride. So we're going to create a mood board based on the word pride. So what I did was write down a few words that make me think of pride. And I'm gonna look up some artwork in some visual representation off. You know, those those words And you know, you can make this broad as you like. So for the word for the word pride, I came up with things like Gold lion, parade, celebration, medals, trophies. So things that make you that made that make me think of the word pride for your own emotions. It's gonna be something very different. I've got a few websites that I've gotten that I take a lot of inspiration from. One of them is design inspiration, which we used in the last class, and I use it because it's just so good for pulling very specific inspiration rather than browsing for ideas. It's very well sectioned out. And you can you know, you're gonna look for specific words or themes and ideas. So I'm gonna type the word lion because when I think pride, I think lions now they're very noble creature and, you know, they they just have this really cool power to them that I really think is awesome. And also what I've got on this side of the screen is just a nil straight a document where I'm gonna put the mood board. So all you need to do was click and drag over, and then you have your own mood board, which you'll be submitting at the end of at the end of this chapter. Eso let me say so. I love this metallic line that's made all these little sheets of metal. I think that's so cool. I'm gonna I'm gonna put that one in. And you know, for the mood board, however many helps you, however many images help you kind of get and get an image in your mind of what you want to do. So the entire purpose off the mood board, it's to create a mood. Really? For your emotion. No, no pun intended and, you know, just really drink a world around. No. What? What you trying to say and what's you know, what inspires you and what really keeps you, you know, interested. So look at that man. Yeah, that's going. How bad would that be? Look, I don't condone war in any sense of the word, but that I could go back Where in that In other word that I think really relates to the pride is gold. I think the image of gold is shining and Southern, the prestige of it. It's a really inspiring way to go with. Look, I don't think that says pride, but I love the way I love the rendering of that. I love the way the gold is lit So you can You can make some really far, um, stretches with this, because again, it's a mood board. You're not trying to look for the final execution off what you're making. So I'm looking at that burger more in its texture than anything. Anything else? What else is pride? Is that it? I think that's what it looks like. A golden beehive. But again, I love that color and the texture. It's so nice. Uh, there's a calligrapher that I really like. He's got some really not nice brush script brush scripting these designs pa Chris learned. Plus, this is I think he's based in Russia and look a like that brush script. I said, like that energy and that, like, strength really says pride to May. And you can take that back to the nostalgia of almost like a like an Ottoman Empire Arabic kind of world. And you have the pride in that and even like the rough and tumble ness of, like, the word air force there, like you could have pride in something that you worked hard for. So I'm gonna I'm gonna pull. I'm gonna pull this one just cause, as a good example of a lot of there's different styles and textures. But yeah, this is obvious really inspires me. I love what he does. I just love how he uses space in this. That's so cool. All right. Skull shape should probably get this guy to do a close even this, like there's a whole man is a whole Patton. This, like you can you can create entire shapes out of for that entire patterns and textures, just out of these words and shapes at this so called, um let me see what what represents pride to may out of this one. I'm gonna I'm gonna take this one just cause I love the secular kind of Martian going on. But even without realizing, I've started Teoh, if I want to, I've developed a color scheme that's just black and gold. And I think, you know, that's a really powerful way of representing pride. And don't be afraid to try out different mediums like ruling pens. I think he's using a break here dipped in ink. Another website that I like to go to his colossal colossal was just a really awesome place for crazy inspiration. And I love those colors and the amount of attention spent on the fabric. That's so nice 11 thing about mood boards is that I think it's a really good way visualizing what you gonna do. But I think the more more projects you do in the more like experience you have, the better you get it visualizing in your mind. Um, what you want to create? I'm going to such lightning and see what what comes out? Uh, see, that looks powerful and scary, but wow. Really? Thats of all came hurts volcanic lightning in a thunderstorm. That's I again doesn't really relate directly to pride, but it does have that sense of Palito it that comes with pride. I'm gonna go to another site called Typography served, which is more directly related to type calligraphy, illustrative type, and see what we can find their and this one. This project is done by artist named David Smith out of England. And this is his John Mayer glass gilding job that he did for a a record. Well, he did a record job for him, and I think this might be a gift. But look at that. That looks so important. An auspicious It kind of looks like it's part of an award that you would receive, but I love those shapes and again with that gold thing. No, what? I'm really digging. I think that's really awesome. And another swirly shapes are just so such a really nice way of representing something regal and important and proud. And, you know, that is that's nice. I'm gonna keep I'm gonna take that. So he got you. Now you can sort of get an idea of where where I want to be with this. I love look, that texture and like that. That's really cool. Here's to the crazy ones. I feel inspired. Ride the wave. Pretty psychotic. I love the colors there. I think that's really fresh. I'm gonna I'm gonna take this one just a shaken up because everything is black and gold here, and I haven't really decided on a color or a look yet, but I really like how this implies that you should just take pride in the things you do. So I've got, like, 11 images there, and that's a good a map for me to sort of start visualizing what I want to do with the pride emotion piece that would be our next submission for the class. I'd love to see everyone's mood boards and check out what what they're gonna what they're going to be doing. So mood board combined with you quote. All right, 5. Thumbnailing: what we're gonna do now is, uh, mailing some Nailing is a very good way of getting a whole bunch of ideas down in a very short amount of time. I mean, this actually pulls his artists to be able to come up with something very quickly and on intuitively, which is up for the best way to come up with ideas. So what I want you to do is create ball boxes on your page. They don't have to be clean. That's the whole That's the good thing about this. It's just very, very quick, very nasty. And all you need to do is just come up with a bunch of ideas. We're gonna We're gonna start with four and then see how we how we feel. All I'm really not much to do is get inspiration from that move. All that we did and make something, um, that kind of gives the idea of what we want to do without without peace. So my piece, like I said, is Let me just write it down here. I failed my way on. The emotion is pride. Uh huh. So what? So what? What? What did I gather from you? know that that mood board that maybe think it would be helpful for for my for my peace, those swells from that on that glass David Smith piece. Um, I had a really cool sense of really cool sense of pride. So, you know, when he had that really gothic, he kind of fun. So I'm gonna just a quick I failed my way here. So just to give an impression what what you want to do with it? So I failed. And, you know, if you go with this idea, if you go with one of the ideas, then you can go in and refine it and just sort of pick at those tiny details. But right now, it's all about just getting the idea onto the page. What I'm doing here is going back to those elements of principles and using scale. Say so I'm using scale to emphasize thumb my way, which is, you know, the whole reason why this is pride. Because if the court was just, I failed, then it would be a further stretch toe. Create something that related Teoh Price. So I failed my way. And of course, it's sort of changes up the way you people read it as well. So if something is bigger or more emphasized or bold or italicize, they're gonna read it differently. I'm gonna put some swells and shit in here and go and again more more detail will be placed on this. If I go with this idea, I'm gonna You know this because this is more of a brush pan kind of thing where you're going, Teoh, just do it freehand with brush pin. This wouldn't really be the way you do it, But, you know, if you're gonna just sketch out the idea again, just imply what you're gonna be doing. You But, you know, this is all about using one of the media about text toe push. Push your meaning. This is sort of just what works works for May. But I'd love to see how you're in medium works for you. And ensuring me how to do it would be cool. I felt my way and, you know, it would be cool. Maybe have some drips there. That sort of aesthetic off roughness and hot ship does sort of imply that, you know, I felt what I for what I have and you know I did it. I did it my way. I didn't do it the way that everyone thought I should. So there's that. That distressed look really does push that that idea across really nicely when you're when you think of celebration, I think of things like like I was saying, balloons, parades, um, stuff like we share cake. But I kind of like the idea of a champagne bottle. Like, Imagine having a champagne popping champagne bottle again Doesn't need to be the nicest one . Is the court coming out and and once the Dom Perignon thing look like I always drove with visual reference, I'm gonna just quickly do this. But if I choose this this concept, I will definitely have a bottle of Dom Perignon on my screen, not necessarily on my desk, because I cannot afford it. I think that would be fun and maybe some fireworks coming out of there. You know, if for demonstration purposes I'll be doing, you know, full four ideas. But if you want to do all if you want, I encourage you to do more. Actually, if you want to keep pushing the idea love that I just love that wool helmet. I want to see if I could do something with that. I love that whole idea of inscription and, um, and decoration on it. So maybe something to do with being like on a Plock that's being chiseled there for eternity. That's bean. Not that people can come for hundreds of years and and sort of just celebrate that you failed your way 1000 years ago. Eso I would I'm going to try out this idea of doing, like, a Roman type of fun because it was a very noble empire. And the idea of announcing that you failed at all in a Roman style, because kind of hilarious pedal, so has the funny sense of pride that you're celebrating failure. Maybe Cem pillars like, uh, Coliseum. Yeah, And then if I if I want to, I would take this into Photoshopped and make it look like it's made of stone and maybe make it a little bit cracked up and and distressed. Um, what puts? I skipped like I don't know, little peacocks or so little birds there or something because they were representative of luxury. Back in the day again, after a nicer birds if I actually, they look like snakes. And maybe in the middle have one of those gladiator cots that is led by a horse. So it's this ridiculous epic kind of thing. Yeah, its this sort of ridiculous epic idea of, um, pride in something that you probably wouldn't be typically proud off, which I like. I think it's a cool idea. What else is here? You know, whatever. Just, ah, actually shouldn't have that attitude. Whatever you think, works, figure. Really? So you get the idea sort of, Roman Empire. I like the humor behind it because history is often written by the winners. But I would love to see history written by the losers because I'm sure they will put up a really good fight. Let me just write down champagne, some POG. I like all these ideas you take all the time you need, where you take a hell of a time. We have however much time you have available to choose. But I'm going to go with this one. I love the style. I like the simplicity. And I really think no. These simple shapes, Andi, symbols of pride. And you know these visual cues of making it very decorative and golden going to really push my meaning. So I'm going to go with this one. So what I want to see is everyone's thumb nailing process. And, you know, I want to see at least four thumbnails, you know, six is even better. A is fantastic. The more you give yourself to choose from, the better. Yeah, let's Let's do that. I'll talk to you guys soon. 6. Sketching: So now we've done our thumb nailing. We're gonna pick the favorite fun now and turn it into something special. So now we're gonna do ever find Sketch. What I have here is just a my graphic pencil. You can use any kind of pencil, and I've got my ruler depending on what your piece is going to be like. It's always good to start with sort of a pencil sketch and then trace over it with some with some tracing paper or some vellum. But you can pick up it any out still, but what's what's cool about the, uh, it's cool about the concept that I'm going with is that it's gonna be quite, um, straight and, you know, angular and really sort of, and of busting out with pride. So I need mine to be quite quite straight on, um, directional. And if we're thinking about those elements and principles, I need Teoh place a lot of attention on rhythm and movement because I won't mind to have a very straight and direct rhythm, you can see I'm going to be doing the words I failed and then my is gonna be quite lunch again, using those principles of design. I will be using a scale that proportion to emphasize the word my in the quite and then way be slightly smaller cause I'd like it to sort of be, um, and even block on. Then I'm just gonna draw some margins on the side so I don't get too far to the edge. Two on, uh, what's ah? What's cool about this state is that you can still you can be quite loose with it. So I'm going to just sort of I'm gonna leave, leave the these lines is sort of my basic, um, guide and then sort of start drawing from here. So the idea of this whole stages to just really nail down what your whole piece is gonna look like. Um so it also helps now, too. Look further into the aesthetic that you have chosen and perhaps do some more research into how how that how it works and and how that entire us that it could be fleshed out. So what I'm doing with mine is because it's quite decorative. I've sort of looked up in the old style British and aristocratic French decorative typography. And because you know that says pride to me through and through, Uh, you know, the whole national pride and the royal pride. So we have It's a great results is online of fantastic looking alphabets. And I drew so hard that my pencil snapped. Actually, let me show you how to replace a graphic pencil. So make sure you have the correct with since is a seven, um, 0.7 mil tip. And make sure it has the same tip with as your pencil for the paper mate. Ones are you going to do is take out the top, open this up a and then just pop it in and it takes a few clicks, but eventually it comes out. Yeah, just like that. All right. Okay, so when you're happy with your sketch, I'd love to see it uploaded before you go ahead and trace it over. Because there's always This is the easiest part. T edit because once it's possible this pot, it's generally gets a little bit more complicated when you're doing more exact kind of artwork. Exciting 7. Refinement: So we've done our sketch stages and they look fantastic. By the way, guys, I'm assuming this is pretty recorded, but I'm going to make sure that it's all good. So well done. So far, so good. Now what we're gonna do is trace out sketches. I'm using technical vellum. You can get this from any art supply store. You can also use any sort of normal tracing paper. Um, or any sort of thinner stop paper. Whatever. You couldn't find that you can see through. Uh, so this is what one sheet looks like of the vellum. You can see the drawing behind it quite easily. And what I know what we do is because I'm not one of those fancy pants designers with the big studio lighting has a little studio dog running around. Um, just saying it could happen Yet. What I do is I old, um, development, huh? And then I sandwich the piece of paper that I sketched on in between, which prevents it from shifting around while enjoying so they're now it's a bit more secure . And if you want added security, I would like all these two pieces behind that. I'm not so stressed about that. Cool. So now what I'm gonna do is trace over the sketch, but also and make a few tweaks while I'm while I'm at it. So let's ah, let's just go through this and I'll sort of talk you through it as I as I find things but best thing to do when you're well, the whole idea of tracing is that you can now just use a singular line to go over the sketch. Teoh, emphasize the shapes that you want in the piece. And you can also add little bits now that you think and elevate your design. So I'm gonna do some of this more decorative kind of stuff. I just thought Teoh actually my hope with some circles in that too. So now it's sort of just starts feeling a little bit more special. Inauspicious. Let me draw this. I might fast forward some of these bits so you could just see what I'm doing. But you don't have to sit in which we draw for for too long. There's my three dimensional, super auspicious decorative. I failed my way, busting out with pride were using form losing line. We using rhythm very straight kind of rhythm on. I'm using scale and emphasis on also some pattern going on with these little little dots and teardrops kind of shapes toe add that sort of sense of decoration on Do you know Special Edition nous, if you will cool. I can't wait to see how you guys go with this part of the process, because it's gonna This is gonna be really exciting when we now go ahead into into creating the final place. 8. Inking: cool. So we have a clean line sketch, and now what we're gonna do is take it wherever we want to. Really? Eso where I'm gonna take this is a mixed medium world. So I'm using a Sharpie. Really Sort of thick, uh, jumbo shop E. I'm getting me using a brush pen, which is sort of a pen, but with a brush like quality to it. And I'll be using watercolor, watercolor pencil and a water color brush one of these hollowed out ones with water in it so you can paint with water, which I will show you how to use and why we are using it. So without further ado, I'm going to get another sheet of our mechanical vellum paper. So it's another sheet of tracing paper and I'm gonna do the same thing. I'm gonna fold it in half and sandwich our work in the middle of it. So kind of like really many book, uh, this will allow us to trace the artwork without it shifting around. And now that everything is in the place that we wanted to be, we weren't needed to move around so much so and it goes like that So now it's completely mobile and we can move it around as we wish. I'm gonna start with the word my just cause it interests me the most And I want the bottom huff to be the dark half and in the top half to be the light heart and then have that carry on out, carry out, carry on throughout. Always draw down, down. I'm going to use ah, smaller shop you can for the smaller time. Just cause those lines will be will be bleeding a little too much when it comes to doing the limelight, so they'll be kind of relative. Now, what's gonna happen is we're gonna use the water column brush pin and colored watercolor pencil. This is what I'm gonna be using to create the drop shadow effect in my face. Now, the reason why I'm using watercolor is because you can layer the the saturation of the color multiple times. So if I want a, uh, I'm fine want different kinds of shades happening, um, in the drop shelter, I could just overlay those. Now we are going to take a butter of ah, final drawing and bring it into the show. You can take a photo over, can scan it. Whatever you have access to the preferences scanning. But if you don't have access to a scanner like May, um, a photo on your phone is fine. It's just a matter of finding my phone and getting a top down view off the drawing in some good lighting, too. Make sure the lining is relatively even wherever you want on preferably preferably natural life. So then the father doesn't come out is grainy. So there is my, um, my outlook. What we're gonna do now is bringing into photo shop and make it super special. And I want to see where you're at with with this pace, so definitely take a shot and share it with the class. 9. Digital Rendering / Final Words: Okay, so we've taken the phone or scanned our illustration in, and now what I've done is just poured into photo shop on. As you can see, it's it needs a lot of adjustment and needs a bit of like patching up and cleaning up the colors and the shapes, but it's all there. So what we're gonna do is just a little bit of a touch up job. So I'm going to go down into the adjustments and hit levels and actually before I do levels , I want to make this black and white. This actually makes image a lot easier, unless confusing to work with and you could actually adjust. You know, the reds and yellows and grains of the image because it is an RGB. So let's hit levels. And right now what we want to do is make everything that's colored the red, the black, everything that's call if you want to make it pure black. This is because we want to be able to separate it from the background and have more freedom with the image. So I am going Teoh. Just just play around with this a little bit until we get the desired effect that we would like to you, sir. I mean, and while you're doing this, you can start to see different ways different effects that you might even like to use in your final output. Eso here is sort of like a flat colored version of what we're doing. And I've actually just selected the illustration layer and gone to the Dodge Tool. And I want to dodge those on these areas here through this little sort of dirty bits in the image. And unless you want that look off some bit of distress with this happy little accidents, leave them in. But I won't like to be relatively clean, even though it's, ah, it's gonna be a handmade sort of almost cute image. So we go on up here as well because I'm going to sort of adjust shadows as I got now because there's there's a couple of different colors going on. The one consistent color is white, and that's the color that actually wanna get rid off. I'm also gonna dark in, so use the burn tool to dark and stuff just to get these areas, Doc, end up being sort of what areas that you don't want to be white. I just sort of talking it out. You're on your own purposes. Cool. So now I'm going to go to select color age, and I'm going to select the white, making everything else black. This will then give me the opportunity to select Did what area I'm going to invert. It's a shift command ice. And now the black area that the artwork is gonna be selected to select refine the edge. So now you can see what it's gonna look like once the selection is night and you can do things like shift edge, which sort of brings out the perimeter of your image a little bit more. Uh, plus feather, which kind of just makes it is a little less jackets. I'm gonna go point by pixel feather, so you just have a very subtle edge to it. So it doesn't look some digitized. So there's a selection. I am going to hit the mosque Tal Dania, Adlai a mosque. And so now you can see that old everything but the black and the gray is transparent. So when you turn the levels off, it's you still have these really nice organic shapes happening But now you have a lot more flexibility with how they just going to sit on the page. The framing of it is a little bit tight, so I'm gonna hit the crop tool and bring it out just a bit. So there's breathing room, breathing room around my typography and maybe a little bit tighter down the bottom and more top. So there is a nicely framed image, so it's so important the negative space and any any image is just a important as the space that you actually using for the artwork. So I think that that works May, for ease of use it up helps to make the background white. If you're a full, groundwork is black and I'm kind of looking at, you know, I did make it in red. What? I'm enjoying this classic black and white look right now, So I'm going to stick with this for now and see where it takes me. Also, I'm gonna bring some texture into it, so I've searched, wouldn't textures on shadow stock, and I have this really less selection. I'm going to go with something that has a nice grind to it. But that's not too much like a chopping board. Actually, I'm gonna go with White one because it's going to be easier to color showing find. Let's bring this baby. And on here we go with the rotation a little bit of making a big so you can. Already seeing it gives the image of little personality. I also want to add it to the work itself and make it kind of looks like it's popping out of the background, so I got the black and white layer open. But if you hold down the option key and in between those two layers, you could make black and white apply just to the layer below it. So now, if I want to do go to blending options on the wooden texture shouldn't be too much of problems. Color overlay. And when it's normal it covers, the entire thing goes to multiply. Then the outlook behind it comes through kind of like a piece of cellophane over the peace . So I want to make this background, you know, back to my mood board. There's a lot of black and black and gold going on. I wanted to sort of I want to see what a gold background or something like gold would look like in this situation. So I want to make a little bit kind of like that noise and also just for my own peace of mind. I want to make the artwork here multiplies while just so would start getting a sense of how it's gonna look if it were to be on the wood so it kind of looks like it's fading into the background of it, and I want to make the artwork a little bit more. I'm enjoying. I'm liking these colors, so all I need to do is select the mosque again. And let's see what happens if I hit the in Vettel and then re color some of these areas, get a new layer in that will be the same shape as Thea. At works are I want to hit this outline here, making the your white background those. And then if I hit the invert tour, she meant I you can actually make the artwork inside, and now you can see that the the foreground and the background have a little bit more differentiation and often you don't have to do too much to the artwork if it's being handled, stuff is being done. Well, uh, it's just a matter of doing what you think gives it that extra punch we got. All right, so there's more clarity that So now I I'm liking this. I want to bring the wooden texture to the foreground as well. So I'm gonna get rid of the just copied it over, and I'm gonna get rid of the color overlay effect, and that's covering the entire thing. But if I just do that option heating in between the two and down now get this effect that it's actually painted on the wood. I'm actually really enjoying that. I want more of that. The black See the black of the image toe. Hold more that texture. And so I would probably want to lighten that black up by hitting the Dodge Tool and then range shadows because that's the doctor shapes and just bring on bringing the exposure up to something like 67 cents on. So if you do it enough times, you can start seeing that texture come through on the wood, and now it looks like a bit more of a believable piece that could possibly have been painted on a wall. And, you know, you could take this opportunity to try out different colors and different shapes and different ways of making it look have that aesthetic. But that sort of weathered look on the wood has that sense of hot ship about it that I really like. And that really expresses that. That resilience through repeated family. Oh, that's pretty much it. And my advice would be just too. Don't stop. Don't stop. Until you, you would put it up on your wall. Thanks for joining me here in Beautiful Lab, Brooklyn. My name's Meta, Oregon, and this has been expressive hand lettering enjoy.