Expressive Hand Lettering: Finding Inspiration in Daily Conversations | Mete Erdogan | Skillshare

Expressive Hand Lettering: Finding Inspiration in Daily Conversations

Mete Erdogan, Designer and Art Director

Expressive Hand Lettering: Finding Inspiration in Daily Conversations

Mete Erdogan, Designer and Art Director

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8 Lessons (1h 16m)
    • 1. Introduction

      2:26
    • 2. Project

      2:22
    • 3. Finding inspiration

      8:44
    • 4. Creating your first piece

      13:51
    • 5. Creating your second piece

      12:26
    • 6. Creating your third piece

      14:48
    • 7. How to bring your selected piece into Photoshop

      19:00
    • 8. Final thoughts

      2:13
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About This Class

Learn how designer and illustrator Mete Erdogan brings emotion and imagination to his illustrative type pieces. In this 50 minute class, Mete will guide you through the process of transforming an overheard phrase into an expressive piece of hand lettering. This is the process behind Instagram’s Eavesdropper and the book it inspired, ‘Eavesdropper: Overheard on the Streets’. His pieces have inspired thousands with their humor, insight and honesty.

The class will also cover how to find inspiration, illustrative techniques to express emotion as well as digitally transforming the sketch into a final piece. This class is great for doodlers, beginners and professionals alike. The aim of this class is to show the importance of expression in illustrative type. This is a great exercise you can do from anywhere, whether you’re at your desk or on the go. The techniques you acquire here can be applied to your professional work.

Meet Your Teacher

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Mete Erdogan

Designer and Art Director

Teacher

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

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Transcripts

1. Introduction: - I want to welcome every creative mind, designer, amateur and just general curious person to my class. My name is Metta been, and I'm here to show you how to create your own things of hand lettering using things that you heard on public. I'm a Melvin born, Brooklyn based designer and, I might know means best from my friend eavesdropper, where I take snippets from people's ever had conversations and spinning just a little bit into pieces of hand lettering that I then post on Instagram every day of the year. What I want to do today show you have to create your own piece of eavesdropper. Hand literally. Reason why I started eat up is because I needed a way of improving my hand lettering every day. But using content that made me interested make me law and also gave me some sort of base is to create a unique piece of hand lettering, too. I'm all for following and observing friends, but recently I've been seeing such an influx of people who just create pieces of hand lettering that it's a single word or quote by Steve Jobs or Salvador Dali or some random thing about creativity. and I think many of them have done exceptionally well. But the fact that they are so saturated and so many people do it to make makes it less personal. What super exciting about today's exercise is that you're gonna find your very own court and then express it in three completely different ways, using three very different mediums to express three very different tones of voice. And then on the way, I'm gonna show you different ways to bring it into Photoshopped and then digitally just bring a little bit of wow to those final pieces that you've chosen to do. I can't wait to see what you guys come up with, share it with class and explain Well, you heard it, how it was said and why you chose the medium that you chose to use. It's a pleasure to have you guys here. Let's get started 2. Project: So what we're gonna do today is create a handler to peace based on something that you've heard in your everyday life. Now, when choosing your quote, the important thing to remember is not to actually go out hunting for a quote. You should actually let it happen in your daily life. So usually, more often than not, the quotes that you least expect to come up are the ones that are the most honest and the most interesting and the most insightful. On the best way, Teoh to find out if you've actually got the right one, is if it gives you that instant reaction where you are, that's interesting. And then, you know that's in a sense, how inspiration strikes. You never actually go looking for us to inspiration in your everyday life unless you re searching for a project. The great thing about eavesdropper is that you know it can happen at any time of the day when you least expect it, and that, in the moment instance, is exactly what eavesdropper and and expressive hand lettering is all about. Probably the worst mistake you can make with choosing your court is finding something where you're trying to be funny where you're trying to be subversive, where you're attempting Teoh sound smart or, you know, political those ones you can kind of catch very quickly whether or not they were really pieces or not. You know, I usually hear things where I work from my desk because I usually work in a very large communal creative space. So there's a lot of ideas being thrown around a lot of funny, creative people who haven't really slept recently. There's also the copy shop near my place where I I'll grab my morning coffee, and the battle right here between people at that places is often very interesting. And you know that God is completely down and just chatting in a very calm and relaxed environment. That's your tusk. And once you found that we're gonna move on to the next chapter, and that is the research phase off the world in which you heard it. Oh, and by the way, make sure you record where you heard it and how it was said, and as much information as you can around that, quite all right, let's do this 3. Finding inspiration: Okay, so now you've got your quote. Now it's time to do a bit of research based on what you've heard. Now the quite that I chose is from my daily trip to the cafe every morning around the corner from my place. So whenever I asked for a coffee, the usual thing that I here and what everyone usually is to stay or to go on the purpose of asking this is to provide a service in which you either put the coffee in the porcelain cup or in a paper cup. Very simple. But what I love is that you can actually change the meaning of it and turn it into something quite beautiful and poetic and different. Do you know when you say it's to stay or to go and take it out of the context of a coffee shop? You could be talking about relationship you want to get out of, or to staying your tone or a city you want to leave or to stay in, uh, or even, you know, a Shakespearean idea of To be or not to be, to stay or to go. So you know you can really play around with that idea of conflict and back and forth, which I thought was thematically very interesting. So that's why I chose to use to stay or to go. Hopefully you've found your quote and it's something that made you go. There's something about that I can use and now you're ready to put something together. But before we do that, we need to create a little mood board and a sort of rough idea of what world this quite was hurting. So what I've got up here is a just a window to Windows, my Web browser. And don't be able to strike a document. And all I'm going to do is create a very basic mood board of what I'm gonna, you know, uses a basic source of inspiration for the pieces that we're gonna put together. So one website that I enjoy going to and you can go to any place that inspires you can even go to the library. You can pick up pamphlets, whatever. But a lot of my expression comes from online design. Inspiration is a great site because it just has such a great random collection of just stuff, you know, you know this beautiful colors of his board here. I love that. Just breaking through the ice crazy boat. But so we're gonna talk about how you know what, what makes my quote or yours as unique as it waas. So I heard this court in Brooklyn. So let's let's just start with something as broad is that let's go Brooklyn and see what what we come up with. So we have a lot of these sort of old school sign age pieces and some really nice hand done stuff. You know, I love this. This one's really nice. I don't know what it says or what it's full, but I really love the bloodiness of it. It just has this really cool liquid IQ effect and, you know, because it was heard in a copy shop, maybe you could relate that somehow. Toe coffee. I don't know. This is such a broad part of the pro gets pro process that you know you can literally choose anything, even if it is or isn't type related. You know I love this because Brooklyn does have this industrial cool kind of feel that's very solid, and I just love these colors and textures that are going on. So that goes in. You can join the party. And I think if you guys can hear those signs of the background, don't panic. It's just part of the ambience way got something like Brooklyn work here. So this is very, very typical of the environment that that I'm living in. And you know exactly what I should be pulling from. But if you're in a different city or if you're in a small town or if you're in us, you know, a little village somewhere used that, You know, this is just This is just my my world and my you know, my surrounding. So I'm just pulling from that. You know, this looks a lot like my apartment, so I'm gonna put that in so you can sort of see the world. I'm starting to build here just based on the environment. If I'm going to get a little more specific, I'm gonna look into the actual cafe in which I heard it. So I heard it at Cafe Ozzy run cafe called Sweatshop. So I just Googled sweatshop Williamsburg and he come up with images off the interior. So you look at this. You got some really beautiful geometric shapes and very bare textures. And, you know, you've got this beautiful coated wood and white brick and very strong, uh, geometric shapes. So I'm going to push that in, uh, and even got a Pinterest pages is nice, too. Um, So I'm gonna pull that in and chuck it in there. Then what else is in? You know, these are some of the meals they served in the coffee. You know, even if you look at the cut the shape of the coffee at work, could you do something with the texture and the movement of that with you typography? You know, push that in C. It's so at this stage, it's so broad. And so, you know, whatever you want to be at this point, I'm just trying to smoke it smaller, settle its together somewhat nicely. Uh, what else? We go? Oh, yeah. These are these tabletops, which I very proudly created. You know, I love this sort of zany line work, texture that's just completely random and home. It's nonsensical. Among this environment of very straight, strong, graphic work way. So to stay or to go with phrase, what else does that make me think of, you know, let's let's think of ah, world of duality in our line, Doc. Left and right. Um, if you want to say, I'll go back to say design inspiration and look at a union or something. See what We'll see what comes up when you do that. Yeah. So it's just that world in Yangon, Your dragon. I'm gonna second. Yeah, Yeah. See, already, you have this, uh, beautiful contrast between two opposite wells. I like that. So I'm just gonna chuck that in go just. And it's also important to look at typographic pieces that you like also so a great website for typography. Inspiration is typography served. And this is just one of the pieces I was checking out today. I love the way it flows, and it has this beautiful sense of weightiness and freedom to it. And it just it does have this great American brass tacks kind of feel, So I'm gonna I'm gonna put that in the shots. Really nice to like I like that there would then that's a muted brown colors in the let's Let's throw that in. So you see how we're starting now to build a really cohesive mood board of images that are interesting to us. What else is going on and again, like find inspiration from places that you think cool and relevant. T you don't just go with what you think is on trend right now and what you know everyone else is doing definitely observed those things, but always just be faithful to the world that quite you hurt because remember, you are immortalizing that moment. It's it's your job. Make that moment special. You know, I love I love this. I love the physicality of painting on wood or any other three dimensional object. Is there anything you can find in this that makes you sort of reacting? Yeah, that's actually really cool. Like I love this just cause of the hellish three D and shiny and bold it is. So now we just created a very quick, very basic mood board for for peace. So what we're gonna use this fall is a means of influencing the court said Now we have this little world that it came from. We can stop pulling from elements of that to create something that is uniquely house. All right, so next chapter we're gonna actually start making our pieces. It's very exciting 4. Creating your first piece: Hey, All right, So we have our court, We have our mood board. Now we're ready to draw. So I just wanted to show you my tools of the trade. All I really have is a sketchbook. And I take this everywhere I go, plus a pencil case just full of all my pens, pencils, materials and all the stuff that I use. I recommend whatever size you go with for a notebook. Just I usually prefer hardcover because I throw it into my backpack and it gets bashed around a lot and just it's a lot more durable, and this could be picked up from any art store, even a newsagent. Um, and this is basically where I put all my ideas and a lot of these drops. I do, um, are in this or other notebooks. So it's just a really good way of working on the go when having you know, you're you're you have sketchbook with you wherever you go. So whenever an idea strikes, you're ready. Teoh, you ready to put it down on toe under paper? So let's get into today's quite so for May, my one was to stay or to go so Let's open this up. So this is also like a really good way of keeping all you materials very neatly together in one place just because a lot of these pins looked the same, and it's just great to have them all together in one place. This'd is just a graphic pencil. It saves a lot of time for from a traditional pencil because you don't have to shop in it or you really need to do is replace the lead. And here is an razor, which is Ah, really nice multiple razor, which can be squeezed into shapes that could get into really small areas if you really want to get rid of a couple of lines, but also, if you use it, it doesn't leave behind any rubber shavings, which is fantastic again, really good for working on the go. Andi, I'll get a shopping out of this. One is lost so you can see a little bit better with what I'm working with self. Just throw here so quick to stay or to go, so the first thing to do I think it's just to analyze what you've written down and see if you can pull any meaning out of the term, to stay or to go. What I really like about this one is the sense of two choices. Stay for the go. Is there some way that I can emphasize that one or the other picking one or the other? And it's usually, you know, they could not be a larger, um, no contrast between two things. It's black and white. It's red or blue. It's staying or going the two very different things. Um, so if I refer back to my mood board and see how we can refer to stay on ago, you see things like the coffee again. You see the sign age that's based in Brooklyn, New York. So for the 1st 1 what we're gonna do is a regular the tone of voice that you heard it in. For me, it was just a very, very casual, mid range emotional quote. So I went and I want it related to the coffee shop I want related to exactly what was being said. So I'm really drawn to this lot. Are this copy out over here? I'm not sure. Even a lot. That's culture. I am. So just check that out and see how there's these really beautiful flowy shapes that you get in the coffee cup. You know, you could make something of those things where you know, there's these beautiful fix and thins and big blobs in just this gorgeous texture off the coffee. So I'm gonna create a piece that's inspired by that. So while you have something like this underpin, just can't just keep referring to that visual reference because then you have something sort of to base your your idea off and just keep in mind that we're gonna be working in a square frame because I put these on instagram. But it's sort of just a means of keeping them consistent. So I'm going to draw a top down view of this coffee cup that it's gonna sit in. And this is a little very rough again, very in the moment. So if you met something up, not something's not quite aligning. Don't stress out too much because a lot of that could be fixed up when we move into a photo shop. So right now it's just about getting the the artwork onto the page in a in a way that you're you're satisfied with. So let's see. I'm gonna write to stay or to go, and best way to do it is just to map out the shape that you get him take up before you do the big details. So I'm just doing this very lightly. You know, if you can actually see this or not, but it will sort of it'll come up. Hopefully eventually to All right, So this is I'm satisfied with the way the space is taken up here. We got this really nice sense of lighten dark. And then now I'm ready to go in and actually put in that night's coffee Milky kind of texture. So if I go into here and just, you know, make some some areas bigger Theun than others so it looks like milk. Just imagine it. If the milk has bean poured in by some of his super, it's killed at pouring milk into a cup. So much sorry that they can actually spell out an entire quote. But I love how when you sort of go down and interrupt the shape off the coffee, you can actually have these really nice peaks that are that created really beautiful, very trippy. kind of effect. So you have, like, this really nice dip here and then as you going, keep keep going. It's sort of keep following what Those you know, there's little coffee lines of doing like that. That bit in the middle could quite easily inspired the So we had this little droplet in the middle off an entire shape. And you can just call it that in so you can get a better sense of you know what it's gonna look like once you cholera it in on. Then, you know, you just go through and I generally make it up as I go along, as you just keep looking at those different different shapes and just keep in mind What would this look like if it were poured in milk to keep that texture in mind? And always, always refer back to your mood board because, you know, that is the world in which your design comes from. And that's sort of an environment that you gave it. Um, so from here on my this fast forward this bit so you can get a sense of what I'm doing and still see it and not miss out on anything. All right, so you guys can see that I've bean sort of going back and forth as the during kind of unfolds on. That's because as soon as you start in any more detail to the illustration to start picking up on different things. So I was finding that the when the all was down there and the two was over here, it was reading as to stay two or go, whereas I wanted to want to read as to stay or to go. So the great thing about the pencil sketch faces that you consort of work very dynamically and, you know, be able tow work in a very fluid medium that allows you to make those mistakes and get back on them, which is a great thing. So here we go sort of the final a bit and see how just still trying to maintain that sense of flow and, um, in texture off that milk and what a what kind of shapes milk would make if you were able to do something with this level of detail with a dairy product, you know? So I have, you know, a little I have these little bits of these little bits of gloving milk here and then give it some texture in a bit of life. And you can see how some of the peaks kind of get larger at the tip when the, uh, the milk sort of believes a little bit. And then, you know what I'm gonna do next is because it's looking down. I'm sort of something to find that this could be just a really interesting image of looking down at a coffee cup, so it gives it a lot more context. I'm just going to give it a little coffee handle here and a little extra outlined so you can tell where the coffee is and where the money is just sitting around there and again. It's just it's really great to be able to work with pencil because he can be extra dynamic with it and make things up a Z go along and on. You can add little bits of detail like the salsa around it. I think that and you know, maybe maybe a spoon. I'm just drawing a little end of spirit that so you know what, where talking about. So it's a very, very rough, rough kind of look at what? It what it would look like. So now if you're happy with your illustration, what you want to do next is take it up. And, uh, for this one, I think I'm going to use a brush pin. So let me show you again. You have one of these with you at all times. You have so much choice of mediums and no means of making an image and mark on the page, which is always super helpful. So we have a brush pen, which means that the tip of it is quite narrow and it behaves like a brush, but it's quite spongy mushroom. I think it might go out of focus if I got that close to you, Um, but it's just really good for dynamic, thick and thin line work. So if you go in, do something like that and press a little hotter when you get to the bulgy part of the touch, the text, and then the bit where it's sort of like tapers and gets a bit skinny out and then press down again. You have these really interesting shapes that kind of mimic what milk does when it's poured into a coffee cup and you can, you know, this is always a hole. Reason for doing this exercise is to get used to these different pens and pencils, so I often feel like if I really gotten comfortable with the medium, I stopped using it for a little while and then keep moving on with something else that might provide a different, uh, effect. So with the brush been, I've been using it for a little while now of getting a little bit more confident with it, and my hand is getting a little more steady. So I'm starting to get these pieces that I'm a little more happy with and the results air something that I'm a bit more satisfied with showing people. So here's the Oh, and don't worry about the color just yet. I often just work in black and white, So when it does come time to make something colorful, we can just put it through father shopping and play with those when the way. So I guess one thing I should have mentioned life started is that usually if you're doing something like this, what you're thinking up a, um, at pencil sketch, you would generally be more inclined to get some tracing paper and and go over it. But the whole idea of this project is you can do it from anywhere. So, um, I've just been keeping it all on one page. So when it is time to, uh, you raised the pencil line, just give it a couple of seconds toe dry up, and then you can go and erase that line work. And don't worry too much about the pencil lines coming out in the final thing because we'll be doing some contrast adjustments in front of shop. And there we have our first illustration typographic peace based on something that I had hopefully. 5. Creating your second piece: right. Okay, so we've done our 1st 1 We've done the regular tone every day to stay ago. And, well, whatever you're quote is, you've done it into very everyday comfortable, kind of tired. The next one now we're gonna do is the yelled one. So we're gonna make it big and bold and and super just screaming at you. So when someone is screaming to stay or go, what are they screaming about There are raising, making a pretty big decision that they're a little bit confused about. And if we look back at the mood board, what I really love is this some this giant global that says Brooklyn nerd, This is a very typical Williamsburg, Brooklyn, kind of saying, and I really loved the idea off the same off Brooklyn serving to change the meaning off to stay or to go because everyone is in that constant battle between staying here and grind in and working your arse off for very little in return. Or would it be just easier to go home and, you know, work back in your small town where you came from and have that cushioning job and eat your months cooking every night. You know that that sort of questioning really under turns what it is. What it's like Teoh be a transplant in tow, New York in Brooklyn. So it's a very relevant and very personal kind of idea to me. And that's why I'm going to do to stare ago on the side of a building and bring in a bit of the wings vaccine Quite a lot like like this one. I just find that it's the best kind of way of expressing how I sometimes feel when you know I'm at my job. Um, you know, you're doing it late nights, and you just you know that. And if you if you worked back at home in your previous jobs, you'd be happy in a reasonable time. And, you know, um, you would have this sort of mobile balanced lifestyle. But then when you hear it's just this crazy, you know, work hard and then have these amazing opportunities come up or, you know, go back home and have your standard kind of design job and work in a agency and be able to live somewhere comfortable. It's it's such a It's such a, um, paradox. I guess you really have toe Know what you want to sacrifice versus You know what? What? You're willing Teoh due to get what you want out of life we got. So here's our here's I've seen I'm just getting this little buildings in here. The windows, I mean, So it was very again, roughly drawing this seen in. And you can take this in any order that you like. You can do the court first and then the scene around it. I'm not gonna be overly details, but I'll put in the essentials like the fire escape, um, stairs that come out the side of those, um, buildings and all apartments in Brooklyn because our air conditioning, this kind of crazy. Hey, we got stairs Good on. You got your region here. So this kind of the same, I think I think it's Broadway. I'm not totally sure, but it's a very similar to what a lot of us under the bridge kind of things look like. And there's really romanticized shots, but Brooklyn that you get on the on the Tonys again. So you're not not too much detail, because again, this is a very quick and exercise. So whatever it takes to get the the idea on the page. I would I would recommend you do You don't like, you know, unless you want to go ahead and refine it into something that's a little bit more detailed , I would say, Yeah, this is how, like, how I work anyway. But then, you know, if I'm doing a client job, then I'll go further into details and make sure everything is pretty spot on, depending on the job. All right, you little, a little, uh, that the field there would have a bit of a distance And they the far horizon, that sitting. So you got that and you want toe. So here is a giant billboard, and what I want to use is a fun called Cooper, which is very common when you go to your laundromat or your Chinese take out joint your corner bodega. They usually the places that use this kind of fun. And so it's just become this iconic New York type of fun. You see that the started Louis C can show Louie, and it's always good to If you want to add scale to something toe, add small things around it. It might be a obvious, I think to say, but it's not something that I always knew again. Yes. And don't Don't be too perfect about it. Just, like, get that idea onto the page, and then you can sort of hiring it out. Okay, sir. Let's, uh let's write down this this thing to stay on the gun. Yeah. So usually it helps you come trying to fit into a space. Um, I'll draw awesome basic lines, keep it in to keep it in the parameters. So it'll go to stay or to go. Hopefully on. If it doesn't, you can always just be raise it and start again. But again, the great thing with starting out with a pencil, they're always going to be the most forgiving media to. So I've already noticed that I've aligned it too much to the left, and I wanted to be centrally aligned. So just the rise and start again and maybe even learning from that, maybe just draw a central line going in the middle of that and a guy to has your tea. Oh, and don't be afraid to, you know, pull up more reference. If your mood board doesn't have you know, if you have a new idea that doesn't it doesn't appear on the mood board, just Google. It'll grab the information from of it wherever you like and keep adding to it. There's no such thing as too much reference, you know, kind of like how rough it is and how quickly it was done. It it's sort of his characteristics is characteristic off Brooklyn in New York, where everything is done quiet quite fast and on on the flight. So I'm really happy with the same. The medium that I'm gonna use for this one is not gonna be the brush. I wanted to be a little bit more, you know, B'more cut up in a bit more straightforward, so I'm going to use a fine line. A pen, which is very similar. Toe the brush been, except it's a fixed width instead of a five tip wake and adjust the thickness with the pressure so again it might be blurry. But it's just a singular tipped pen, and it's a little. It's a 0.8 0.8 inch thickness, which means it's one of the thicker fine. Linus Utkan got any thickness, which is really good with easier to you can do, like very thin. Fine, not work if you want to get the point. Is there a 1.5 and they go up to the point away. Then you start moving into, like, Texas and shop ease, which are just much think up. But I really like how Hashi these lines can get. So check this. So don't be afraid of letting the being confident with your lines, cause if you're wrong, place your wrong with style, way so larger areas off off color or of just lacking things out. I would recommend using a thick Sharpie pen. Just cuts the workload down, and you can get a more even Kurt off black. So especially when you want a focal point to appear on the page. This is a great way of doing it because everything is and even but kind of wonky line work . And then you want the type. Oh, the whatever you're the focal point is in any situation. You want that Teoh really be a lot figure or somehow stand out more, and that could be a different shade. It could be different thickness. Whatever it is, you just use something different to what you were already using. Way to go, all right. And then, as we did before, just the rays out those pencil lines on when we go ahead with putting this into Photoshopped way can just increase the contrast between the black and white, and we should be set that out. And this also, and raising out the pencil lines also just gives you a better sense of the final. The product is gonna look like with that too much interruption. Let's see, what we've done is this current. It's really interesting rough saying Well, you know, in exactly going through our accuracy. But you're going more for expression. So that's why I kind of like that scrappiness of this world on. I'm just adding a little bit of extra line work to express dimension. So if you ever have any sort of drop schoener, just remember where your light sources for May. It's on the scent so the shadows always gonna be on this side. But you can already see what I've done with cars you've done leave the show costing that way that way on, um, probably the same ST land again. Don't worry about accuracy or neatness. It's more about expression in this exercise. All right, there's a 2nd 1 to stay it ago. 6. Creating your third piece: All right, So we've shouted to stay ago. We have said it in a conversational tone to say it a guard. Now we're gonna whisper it to stay. Ought to go When you're whispering something, I find that you're being quiet, uh, reflective and insightful. So when you're asking that to stay a guard in a very quiet, insightful fashion, what do you really thinking about? So when you stay in something, whether it's a job Oh, our place, it's usually the more comfortable safe options. So you're generally going to be I know a little bit more sluggish, a bit more lazy, more slow and, you know, taking things a bit more easily, Which is why I like this reference. The in what reference? Because it is so blobby and, you know, gooey and soft. And there's no hot edges, and it's very just go with the flow. But then when you say to go, you know, going, moving changing your environment in your ways of life is very dynamic and harsh and tough and difficult, so creating something with a more bold typeface. More three day, but more, you know, shopping and rough edges and looks a little bit more industrial than you have this really cool contrast between soft and hard or easy and difficult. And you know that's a really good opportunity to play with the juxtaposition between those words. So that's why I want to do something that involves soft and hush. So let's see what we can come up with this one. So let me say, Let's go like instead of emphasizing every single would I just want to emphasize the word stay and go So I'm gonna put less emphasis on the two. So two. I'm just going to write like I normally would and then stay. Let's get a look at this and see how blobby and mushy it isn't just adapts that into what we're doing here. So So let's go like really sort of uneven globe e loose lines. When you say the words stay, You mean Teoh? Just take it easy, you know, and it's almost like a lava lamp, so you could even connect bits like that. I didn't even go like make it doozy if you wanted to. So you stay some way just a little bit, you know, to stay. There's my A that we and make that like the negative space and that a could do very small to make the letter look even fatter. Stay you. Why? So that serves to express the time of what you're trying to say to stay and you can even do little little lines are little blobs of shine through out there. Give it some just fatness so it looks like it's sort of written in bloody fat. Just do a little bit more linkups there and, you know, definitely used texture to your advantage. You know it's all there for you. It's all online. And again, if your references on enough for you just go back online and keep searching for something that you like, man, it's It's so great that these things through these resources it is here for you. It's really awesome. And then go is gonna be a bit more like this one here said to be more option industrial. So let's go. And it's, uh, what's cool about this one is just based on squares, so if you just do two squares next to one another and work within those, you have a very well structured piece of type that's also going to be and interesting in one piece. They normally cut off corners. That and then just chuck up those lines a little bit and you're onto something. So a lot of this is to do with in a very simple shake, making, um, you know, obviously takes a little bit of but a practice to get the head in control. And, well, that's a little thing. But really, a lot of the things that you see from my work on anyone else's work that you that you enjoy is that the none of it could have been done without the artist looking at something. It's like I'm gonna let this fire engine get us all right, so way we got the word go here and we want to give it a bit more impact. So let's let's give it a bit of a three dimensional effect, and all you need to do is find any connector or line going through the object and just put strokes that are going in the same direction as one another. And you could make him this thick auras thin as you like. I generally like to do line a bit more bold and for these purposes for emphasizing the toughness of the word guard. You wanna make them quite quite thick eso when you've drawn all those lines, those diagonals onto any sort of surface corner that you think is relevant if it's on a corner where going down is just gonna be covered up by the rest of the letter Don't worry about it. They generally try and get the same direction on all of them. And just to achieve that, just hold your risked at the same angle. Uh, and then you just link them up as you see fit. So you just gonna go on up? See that when I did wrong? Because that's going to go up. That's actually went to more like that. And so it's a lot more intuitive to work with one of these graphic pencils because I can just click the the lead in instead of having to stop and shop in it and go back to picking up where I left off. You see there, right? Perfect, sir. Um, what you could also do is at a a drop shadow to this, so you can even drop the show off the the other direction. So again, could be pretty rough. But overall, you got this kind of interesting shape going on. So just try and follow it as much as he can echo what was what's going on? Is that so? That's all gonna be covered up that goes down. It goes up and it often helps to just shaded in slightly. So you know where you negative and positive space is. Our and I also like that this top here has a bit of dimension. So I'm just gonna give it us tie little, and then he'll just gives it a bit more hotness. Just as it be more interest to the object. It's it's cool that you have all these really minimal techniques just to emphasize the strength or texture of something. And again, we are all about textures here in this exercise so that we go So there's your like, super strong go and then you're super passive soft to stay. So the kind of thing about now what mediums would emphasize the suppleness and the harshness. So for this one, I think I'm going to use a watercolor brush brush. So it's not. It's work similar to the brush been that we used in the 1st 1 but this one is more instead of in Klee's water. So this is a watercolor brush 10 and busy brush there and inside is just regular water. All you really need to do is paint the tip with whatever color you want to use and then pay with that. Alternatively, you could draw straight onto the page with your coloring pencil and then paint over it. But I generally like the washed out feel that this provides eso you gotta do is paint the paint. Brush with your pencil. Make sure it's a watercolor pencil, and generally I prefer to work in black and then change the colors. But I can't find my black pencil, so I'm using brown today, but it might be a blessing in disguise. I can actually challenge myself and use a different color, just the home reason for this exercise, and often, if it's not, the water's coming out. Just give it a little bit of a squeeze, so they what? It travels through the tip of the pen, but not too much. Otherwise it gets too wet and you have a hard time controlling it. So when you go down onto the paper. That's pretty dark, because it is you just trace down what you've done. And also don't be afraid to be a little bit intuitive. So let the sort of medium guide you with where it wants to go as well. So here we go. And what I really love about using watercolor brush been is that you have bits of ink that are a bit more faded than others because of how long you've been using it. For how much anchors on the panel? What part of the pen has the ink on it? So you just have this really random, watched out natural feel which I think is really perfect for this piece. So that really works for the word go. I'm gonna use a ah wide calligraphy pen so these ones have a squared tip instead of, ah, circular tip like unlike the fine line. And these are normally used for Gothic calligraphy because you have your thin it didn't strike and you think strike like this. So you have your I didn't like this. We have thick or you can mix it up into Garth. Um, so it's really good for beautiful calligraphy kind of stuff if you want to do it with that . But today I'm interested in seeing you know what? What can you do in terms of illustrating with it, You know, what does it What does it look like when you use it for something that it's not supposed supposed to be useful? Um, so I highly encourage you to kind of question all the mediums that you can use and see how you could make your own mark on a page in your very arty in your very own way that said definitely learned how to use a collector, if you can properly, because it's it's fascinating for one. But also, once you condone master the actual reason why that pin was made you can stop playing around with it with a little more knowledge of what is actually cool. Bend those rules a little bit too. What you want to do with shading have decided that I'm gonna use the brush pen again because it has this really nice soft shapes that you can use to just create a different target. What way? I'm just gonna Inc up to end all too, with the regular fine line up in that I was using before just to give it another linking more neutral piece of line work to emphasize the expression of the other two. All right, so looking at that, I feel like that stay, even though it's meant to be kind of sloppy, could do with a little bit of emphasis. So I'm going to use the I think I'm going to use a shop e just to give it a same drop, shudder, and so has a bit more dimension to it. So you always draw again whether get assuming the light is hitting from this direction, where the highlights out, where with the light being blocked and generally that's where you draw with black lines are like is always a really great way of creating atmosphere and tone and, um, in the character, because you can tell a bit of a story when it comes Teoh, what time of day somebody's thinking of it is that at the end, when they're tired and grouchy, is it in the beginning of the day when they're feeling a bit more lively and an active and happy about things? So definitely, I consider that, and you can get a lot of inspiration from the TV and film. Well, tonight, figure. Have a look at how different scenes of lip depending on what mood they're trying. Teoh convey. So check this out. We got, like, a little drop shiner here. We've got their stay on the go. I think we've got something pretty cool. Yeah, so that we just raise those pencil on so you get a better sense of what we're doing. Yeah, that actually looks cool is you have to stay up to go. All right, So next we're gonna select which of the three that you enjoy doing the most and take it into photo shop and create something really special with it. 7. How to bring your selected piece into Photoshop: cool. So now we have about three different illustrations. Let's take a look so hopefully you have them all best on different types of turning voice. So what we have here is to stand ago in a regular Turner voice in the context that it was originally heard. We have to San Diego yelled like to stay on go and I changed to the context off to stay on a girl from the city. And then the 3rd 1 is your whispered, pensive, thoughtful to stay. And each one is based on the environments that I researched and my mirror ball that that we that we created. So when you're selecting which one you're gonna start surrender. Definitely go with what you think has told you the best story and the most interesting want to you, the one that you love the most for May has being city to stay or to go. It's a decision I make every day when I'm having a pretty shitty day when I'm working on something that's not quite working out when I'm missing home. To stay with ago is a very big question for me. So putting it in the environment in which I questioned Sometimes is a very iconic way to do things now. To put this into your computer, there are a number of ways you can do it. You ideally scan it on a flatbed scanner. But when you if you don't have one of those, your computer's webcam is fine. But because I do this on the go, I'm more likely just to use my phone. Eso you just dio top down. Shut off off the pace like that. You put it down. Make sure you get some decent lining in here. Um, make sure you get the whole thing Focus. Shoot it. And then you can either put it into dropbox or email to yourself, or drop whatever you like, as long as you get it into the computer. Somehow. Now, over yourself. A Photoshopped document. I normally use 500 by 500 pixels. And as you could see, I've created a template for myself already. Thesis is because the whole prices is much quicker, especially if you're gonna do a whole bunch of these on and then or you need to do, and also, while you're at it, why not put your little signature down the bottom there. Make it your own that thing. So yours. It's all about you. This whole project s So what I'm gonna do, Just drag the image in. Let's bring it down so you can get a sort of decent, um, besides picture. So you have some you have enough supplies to work with. Now, I'm using a Wycombe tablet pen, but you can easily use your track pad or a mouse or anything, because we're not going to be doing anything to intense in terms of making illustrations. So what I know what we do is when I import images, I rest arised the object, the layer. This makes it creditable and easier to use. And usually I get, you know, the edges of the off the paper and some of the table, so I usually just go in with the Marquis. It'll pressing M. It is highlight stuff that I want to keep in invoked the selection shift command. I it raised everything around that, and that is something to have what your final campus is gonna look like now, usually because I'm working like and what it makes it much easier to remove the white background. So we have a bit more flexibility, so I just goingto levels and I crunch the black and white parents. I crunched the black and white to be just a little bit closer to make. Look, to make the blacks blacker and the whites whiter. Now it doesn't matter if it looks a little bit hotch of the stage. It's just telling Photoshopped what you want to be white and what needs to be black. So that's pretty good from a So what I'm gonna do now is select the layer that of the artwork is on select color range, and I want to select black because that's what I want to stay in the image and you can see now you got all these marching ants around all the black objects. But because it's such a detailed image, you're gonna be losing a bit of that detail. So before you delayed everything, that's why I would go into refine Edge. And this is where you can actually see what's gonna happen when you remove. When you delete the white area easy. Some of the bits, like with the final lines, are actually start to disappear, so all you need to do is shift the edge, shifting the edge just expands the selection of the more. And you can already start the black lines toe start coming back in to the image. Also feathering it by about 0.5 pixels just softens up the image a little bit, makes it look a little less digital and helps you maintain that level of detail and softness that you get from a hand drone pen image. So I'm gonna go okay with that and then, instead of deleting, are using the masking tool. Sorry. Instead of deleting the white area, I'm just gonna mosque it. So down here, quick mosque using. I still lose some of that black line because it's such a small selection, but it's also because my levels are so tightly put together. So if I remove the levels, you can see that a lot of the lines is still there because the blacks and whites aren't in too much of a high contrast. So if I want to make those lines blackout see again up this region here, I think, is a little too light. I would just go toe burn. It'll hit the shadows and just dad them a little bit with a bit of darkness. So there's a bit more contrast between the black and white done on that, and Father Shelf has first out. There we go. So just dab it here in that, but not too much cool. And also usually what you want to do with your black and white artwork is to remove any other color information like little tinges of blue or yellow going on through this, I just hit black and white. So then it's just pure black and white eso There's no interference between the colors. Uh, so I like this, But what I think is really iconic about Brooklyn is the red brick buildings. Because if you look back at the visual reference, which you should always be looking back at, you can see that all these buildings have a lot of the buildings. Have this really nice around the red going on. And I know it's got a nice instead filter. But you know, that saturated red, I think, is really beautiful. And I love to incorporate that into my illustration, so I'm gonna create in your layer on quite roughly, just trace the shape of the building It's a lot two shapes, so just roughly go around like that. And again, this is a very, uh, quick exercise if you do it daily, so I wouldn't worry too much about I wouldn't worry too much about getting it exactly right on. Also, if you're doing it with this fine line of medium, that's kind of choppy and rough. You know, having lines that aren't exactly perfect can actually work to your advantage. Normally, you would use the pencil for this. They have, you know, this suddenly curved edges. But for this I want to keep them all straight and again. Kind of choppy. Discuss. It's interesting effects that I like so around to stay or go postal because that's gonna be a different color God round. So let's find that Brown. So that's going to the Reds here. Find a nice ready property red brick ground. I kind of like that. I'm gonna do that. Hit the G. It'll at the G button for the paintbrush, the paint bucket till paint that read and you we lose the lines because it's just a normal flat color. So all you need to do is go down here to the appearance and hit multiply and then the black the brown comes through. And I could just spirits up this corner here that this God, uh, and then hit that with the ground as well. Uh, and then for the actual billboard itself, I'm going to create another later. I'm gonna make that yellow. So we haven't like blacking yellow kind of post op. Be very nice. High contrast. So when you're doing yours, think about what colors serve your purpose and what's gonna help Tell the story. Always use these elements as means to tell your story, not just decoration you every every color, every shape, every symbol is an opportunity toe Push your point across and make it unique. But also say something. Let me do this. Canary yellow. I was like canary yellow and again multiply that nice. Alternatively, you could instead of multiplying, just place the line, work layer above everything and make that multiply out to you. Check from I'm just gonna go normal because I'm gonna put a background in. And if I put in a background with these colors multiplied, then it's gonna be a little bit difficult. Teoh. See those colors come through, So I'm liking this. What I final for May I kind of like these being white. I would love for that to be What is going on? A skyline only sunrise kind of skyline going on. So let's figure out where the sky kind of lives sky generally lives in the upward direction . So let's just do the top kind of tough. Let's just pick this little area. First we go And then if you want to add to your selection, this whole downshift and let go after your first tap and I'm gonna push it out here. So it kind of has this nice border around and weaken suffering this up. So it kind of looks like a nice little vignette. A little, um, sort of a snippet off someone's someone's life daily life. Here we go. So I'm gonna just go around here and very roughly, and you know, the edges if it's overlapping with another shape, doesn't matter so much because you can always place this layer behind on already existing shape. I'm gonna go around the light posts like this and again, very good of sort of rough illustration. But I'm kind of liking style double time to finish that selection on. So I'm going to Oh, I'm going to get a radiant going on. So let's let's get a sort of that's gonna sunlight, Grady and happening Sunrise. So votive, uh, bit of yellow. I don't know what's going on my computer today, but of yellow on some, some blue, maybe some Like a very pale blue like that. Some summarized blue. Okay. And it could be read Can go in that That looks nice. Sort of a hot summer day something. Okay, so that's, uh, drag that up. You know what I wanted, Teoh go the other way. Drag that down, All right. And I'm gonna drag that behind these lies. So you get the rest of star learning that on. Uh, I think just cause it's quite top heavy with colors I would like to see You know what? I'm gonna bring this down because it keeps flashing up. Um, sir, And also we have this little gap here. That's something that been get great. Oh, where's my yellow? Also, I might want oh, my color in the street just to balance it out Because I love the colors. Air up the top here, and I want to make it a little more even with coloring. But, you know, I don't mind if you little white spots throughout throughout the the illustration kind of feels a little bit coming. Bookie, which is kind of sort of, you know, those. Uh oh. It's like a nightclub poster you see on the side of the on the called light posts that you see around Brooklyn Already City really color in this street. So sometimes you might accidentally shot selection we're gonna do is press the plus sign. I mean, the shift key to select the rest of it on her for the rest of Steve Selection comes in like that and created new layout. New color you like every time. So you have more control over it. The road I'm gonna make. I'm gonna make a little bit of a yellowy grey because it's reflecting the sky. How about that? So let's hit the pay packet tool we go. So now I'm liking this. I might want to soften up that skyline a little bit, so I'm gonna hit the mosque toe, get a very self paintbrush in there on just suffering up that that light in the sky. So you press X to get the land rush, masking there and see how it is. And I'm using a very soft, large brush. It's very good for failing things off. You can easily just do this with, like, another Grady in tool or a blood tool, Irving. Yet to me, this is just a quick a slight. But you can do, however you like. There we go. That's nice. That nice. All right, I'm liking this, but I think it needs a little bit more of a grungy Brooklyn me kind of feel. So I want to put in a text job. I wanna put in a nice sort of old crackly texture. You can find these usually a shot, a stock or any. Just search on Google or something. Again, I wouldn't worry too much about Image copyright if it's just for an exercise. If it's for an actual job, make sure you buy stuff. Andi credit the right people and all that sort of thing. Let's set up shop stock on guy. I'm gonna go, Oh, paper texture, Uh, text year. Oh, all paper textures. Always really nice because it's so texture It has a lot of nuts, little peaks and dots and specs throughout it. And you can always, you know, make it quite like how random it is and how, um, how quickly can make something look a little bit more aged and textured and interesting. So let's, uh, that's up in this thing guy way car alarms. And I think that's a little bit redundant in this town because everything is just a little bit louder and you take all those. Carlos. All right, So with this, I generally just for a quick demonstration, I just black and white it so you can get any color information and I crunch. I'm hoping you guys can hear me over the alarms. Then you crunch up the levels, the highest level of contrasts. So you just get those those peaks of black. You see that? So everything that's white there, you can see the image through on. I like to keep it little on the lighter side, just so it looks more natural. Don't forget to keep those mid grazing that it's just like a lot. He's just parts of a single image. So there you go. Is it quick? Textile that's knuckles together. We'll see. Actually, before we do that, I'm gonna removal the white from the image. So then when you overlay it, you have to do too much to it. Color range, Choose the white. And then so then you just got this in less transparent background C b. So you can do any effects you like. Whatever you think makes the image work better for you. I'm gonna think it's lighten. Just try out your different effects and see what works best for your image. For this one, I'm like, just keep it normal. But then changed the stakes instead of black. Bring him into blending options and make up white so that you can see what's going on behind it. It looks like a paper texture today you got so that's looking a little too intense to me. So if you just bring it like that, you look at that. Now you have something of a bit of captain that's a little bit interesting. All right. So I like that I kind of like how it feels sort of aged and distress, and it's an exhausting question to ask in your in this town that kind of beats you down sometimes. And sometimes you love it. You having the best use of your life. But it's sort of this question off. You know what? What's next? What you gonna do you gonna do from here? Eso If you're happy with your image, save it out. Upload it. That's it. There's your special had lettering pace myself, something you've heard. And I hope that it's something you're proud of. And it's something that you learned from I can't wait to see what you guys have done. 8. Final thoughts: thanks for joining me, guys. That was an amazing class, and I can't wait to see what everyone's come up with. And I hope you learned something from from this clause. I feel like the most important thing to let take classes. That repetition is key. The reason, like we did three of these pieces, is because I want people to explore the different ways of saying the same thing and the nature of the project that this techniques born from eavesdropper would not have being hot successful for me if I didn't do it every day of the year. The key to this is just practice, practice, practice and repetition and repetition. And, you know, I feel like I'm still figuring that working out how to do it. So if you really want to learn, if you really want to figure out how to do it, definitely do more tutorials. Definitely. Just keep a sketchbook by aside. Keep drawing and keep. Sometimes you can just keep copying things that you like into your sketchbook and then referring back to them and feeling what it's like to draw something like that. I really think that's a fantastic way. Teoh learn And what's also great is that you can apply these these techniques to your everyday work. So when you're gonna do something like a a movie post, so are a, uh, identity for a music festival. Stop thinking about it differently. Think about you know where the client's idea came from. What kind of music is going to be playing at this thing? What what influences do they have? And start creating a mood board from that? And just ask yourself what they would do if they had your skill set? Because, essentially, that's your job. That's exactly what you gotta do. So in the meantime, folks, it's been a total pleasure sharing with you. How I do this. I'm really looking forward, Teoh have seeing what everyone else comes up with. If you have any questions, reach out. I'm happy to have a chat, but in the meantime, keep drawing