Hand Lettering Foundations: Skill-Building for Beginners Class 2 | Wendy Brookshire | Skillshare

Hand Lettering Foundations: Skill-Building for Beginners Class 2

Wendy Brookshire, Artist, Designer and Illustrator

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
9 Lessons (1h 7m)
    • 1. Introduction

      0:34
    • 2. Supplies

      2:17
    • 3. Stroke Stress & Serifs

      5:16
    • 4. Drawing Part 1

      8:39
    • 5. Drawing Part 2

      6:05
    • 6. Drawing Part 3

      1:54
    • 7. Drawing Part 4

      10:44
    • 8. Finishing Your Art by Hand

      20:56
    • 9. Inspiration and Keeping a Sketchbook

      10:45

About This Class

Picking up where we left off in class 1, we'll jump right into learning about variable stroke weight letterforms and serifs. Follow along with me to learn the correct way to construct these letterforms. I'll also show you a few ways to find inspiration for your lettering and illustration, and we'll discuss the how and why of keeping a sketchbook. Finally, I'll show you how I finish my illustrations by hand as we work on a postcard project together.

798891b7

Transcripts

1. Introduction: welcome to the second class on hand lettering. An illustration in this class will take what we learned from class number one and add more information to your hand lettering skills. I'll be showing you how to construct a variable wait letter form alphabet, and in addition, I'll show you how to add syrups to your letters to finish up. I'll talk a little bit about where I find my inspiration and how and why you should start sketching your ideas. Let's get started. 2. Supplies: So for this class, the betrayals you need are a pencil to draw your letter forms with, you'll need an eraser. I like to use smaller erasers just so they can get into smaller areas. You'll need a ruler, and I like to use these little clear rulers. The graph on this ruler is actually the same as my graph paper, so it makes it really easy. So there's good for measuring. And then also for drawing some diagonal strokes. We'll need a small pen if you plan on vector raising your artwork like we did in class one , I highly encourage you do that. You'll need a larger marker and some tracing paper if along the way you like to trace your letter forms and filament. So it's a solid shape so that you can see the shape of the letter form you're creating. So for this class will also be using a brush pen, and you can use a brush one like this. Or you could use a calligraphy pen. We're looking for anything that changes the stroke with, as you put more pressure on the pen so a brush panel do that nib pen will do that anything that you're comfortable using, we're gonna need some graph paper. If you don't have any of this at home on hand, you can download it from the project page and then you'll need a light box for tracing. You also might want to have some tape on hand. This is handy if your paper starts getting away from you and for this project at the end, we're going to make some postcards with our lettering. So you'll need some four by six sheets of either card stock or watercolor paper. That's what I'm using his watercolor paper and then the medium of your choice. So I'm gonna be painting my postcards, and I'm gonna be using ink, which is my favorite thing to paint with and then also probably use a little metallic ink. Just add a little bit of sparkle to it. So this is what I'm gonna be using to create my postcards. You can choose to use markers. You can use color pencils. You can use watercolor anything that you like for your final postcards, anything that you're gonna be using doing by hand. So, gathering materials. Then let's meet back here and start learning about variable stroke wait letter forms 3. Stroke Stress & Serifs: in a first class, we learned how to draw single stroke Wait, letter forms like you see on the left. What we're gonna do in this class is we're gonna go over variable stroke wait letter forms , and that just means that there's thin strokes and thick strokes within the same letter form . We're also gonna learn about syrups in this class within the category of variable stroke way letter forms. You'll start to notice that there are differences between the weight of the heavy stroke and the weight of the thin stroke. And that's what gives these letter forms. Some of their characteristics shows you can see on the left. There's just a slight variation between the thick strokes and the thin strokes. Within these letter forms, we go to the middle column. There's a little bit more variation where you can really tell the difference between the thin strokes on the six strokes, and then you can push that a little bit further and do a more drastic variation where you have a very thick stroke that contrast with a very thin stroke. So the variation between your stroke weights is something that you'll have to determine when you're designing your variable stroke Wait. Letter form, alphabet. So now we're gonna go through and determined stroke stress. We're just gonna make a little cheat sheet for ourselves as we're writing the letters. So we know when we're drawing them, What is thick and what is the thin strokes? So the rule of thumb to remember is anything that's an upstroke is thin, and anything that's a down stroke is gonna be thick. So to demonstrate, I'm just using a brush pen. You can use one of these or a calligraphy pen and nib pen, anything where you can put different pressure and get different stroke weights. So as we do this, we need to remember to draw the letters like we learned Ilham Elementary School. So we get the thin and the thick in the right places. So the a thin going up going down, that's a thick stroke Over here on the side of the B. We have six strokes, anything where your pen has coming down. You're going to get that thick stroke. The jays thick over here and thin on the upstroke. Okay, remember to make this one first, that's thinner to the upper stroke. and then this is a thick down stroke. Now you're, um you need to start from the bottom. Thin, upstroke, sick, then upstroke thick down stroke. Your end is the same. Thin upstroke, Thick, down, stroke thin upstroke. Yes, is thin on the ends. The spine ist thick ends thin again. Here you stick on the side, then on that side, Same with the V. Your W is opposite of the EMS. We start with the down stroke, so it's thick, then thick. Then your ex is thick on the side, thin on that science near why he would start thick over here and doing my strong stem. And then this one's a little thinner. Then you're Z is like the end where the thickest part is this diagnosed stroke here. So any time you have a question when you're drawing your alphabet, sometimes it's hard to remember what parts are thick and thin. You can refer back to the sheet that you just made, or you can just dry it out again real quick. Just write the letter forms and you'll realize what parts need to be thicker strokes and winter thinner before we begin drawing our letter forms I wanted to show you this slide real quick about some different Sarah types that I've drawn up. As you can see, I have them separated into bracketed and un bracketed. And all that means is I've drawn this little picture. Where has a bracket here in red. And the bracket is just simply a curved section that will connect the vertical and the horizontal strokes of your letter forms. So you can see we have the same shape of Sarah ifs. You look at this fine line modern here with the bracket and then here without a bracket and that just give you more variety. When you're drawing, you're syrups of how those can come off of your letter form. So take a look at this and get an idea of just some of the examples of Sarah's that you can draw and add to your letter forms that you're creating 4. Drawing Part 1: So there's a few design decisions that you're gonna need to make before you jump in and start drawing your alphabet. The 1st 1 if you remember from class number one is determined. The letter wit and the letter. Wait. Now the letter whip is the overall width of the letter form. This could be condensed a normal width or extended the letter weight is the stroke wait of your letter form? No. In our first class, we had a single stroke. Wait. So each of the strokes were the same weight for this class. We're going to be looking at a variable stroke wait letter form. So you're gonna have to waits to determine. And what you'll have to look at is how different do you want thes strokes to be? They can have slight variation, a medium variation. Or you could do a drastic variation where you're thick, strokes are really thick and you're thin. Strokes are really thin. The last thing you'll have to determine is what kind of Sarah if you'd like to put on your letter form. So today I will be drawing a condensed alphabet with a medium variation stroke. Wait, so I think I'm gonna make mine About two and 1/4 inches tall and my thick stroke. I just want to have that two squares wide on my graph paper, the my wit. I'm gonna go with just a inch on my wit, and that's going to give me kind of a nice, tall, skinny letter form. That's what I'm going for on this one. So I usually like to draw the structure of the letter form first. And then I'll work the Sarasin. Once I have that structure down something the crossbars I'm gonna do probably just one square with and the syrups on the end. I want them to come up about four squares top our bottom bar just one square high. So it's just half of what the thick stroke iss the my serifis. I'm going to bring those out two squares and down one, and then I'm gonna do a bracket. Just a nice curved bracket off of that. Sarah, you just want to make sure that I'm using the same curve on all of my different Sarah apps . So the top sir from the bottom Sarah, he had that same curve on the leading edge hair go four squares go in one. It's like my thin stroke. And then my Sarah if I wanted to have that same radius And so I'm just gonna go up one square straight and then draw the radius to my Sarah so that inside Curve is gonna look just like the syrups on the outer edge of my let her e. And the bottom syrup is just a mirror image of that. So just go down straight, and then I'll just make that curb. So it's the same radius as the outer Sarah. So when it comes to a crossbar, when I find the center of my E come out a little ways and then I want the end of my crossbar. So this a rough part, basically to be the same height as my outer Sarah apps on the top and bottom. So just make that four squares, and I just like that balance. It doesn't have to be that proportion, but I just like that balance for this one. So gonna make that foursquare's tall come in one square, and then I'll make that radius the same as I'm doing on all my other syrups so as you can see, I start with the E again, and this is just to determine my proportion for my letter forms for the alphabet. And then I can go on from here. So just smooth those curves out just a little bit. And there's my e. So let's move on to the F and the efforts, really basically almost the same as the e drop my basic skeleton. My letter form first allowed the too wide one down Sarah on the top. And then I still have that Sarah from the outside coming down four. And I'll just make sure that curve is the same radius was the other syrups, just like in our first alphabet? I want that cross bar of the after being just a little bit lower than the one on the. That's just so we balance out the negative space that forms on the bottom of the F because we're missing the bottom arm like we have on the E. So just like make that a little bit lower than it is on the can. I make it the same height as the crossbar in the E and add my Sarah. So the radius is the same along the bottom of the F since this kind of the foot of the f do a serif on each side of that stem. So just come out to and up. One on the other side will go to and go up one and then I add my radius. So it's the same as the rest of my service and there's my e and my So here we have the rest of the straight stroke letter forms. You can see they're all shapes similar. The serif on the bottom foot of letters like the F and the PTI repeat in the eye on the top and the bottom and then on the H and the L there also on the top. We have a letter like l this just one stroke here and then you have the leg coming off here . We just have the syrup on this side. We don't have a bracket on this site here where it connects to the letter form. So here I've drawn just a few samples of some variable stroke wait letter forms and you can see the differences in the stroke weights on the E. We have a very thick stroke. Wait here That's a really thin one here in the really big Sarah. So that's kind of Ah, chunky looking E. That's kind of fun on the F here we have pretty close stroke weights between the thin and the fix, but it's highlighted just a little bit with this inner decoration that I put in here and on the L over here. Pretty great difference between the thick stroke weight and the thin stroke Wait. 5. Drawing Part 2: No, it's draw are straight and curved Stroke letter forms. I'm gonna start with B and just start just like we did with the about an inch and 1/4 tall . Six troops were gonna be two squares wide and those thin strips were gonna be just one square wide the self a bit because it's so condensed I'm gonna make this would be about the same width as my e The last alphabet. It was a little bit bigger, but because of the condensed nature of this, it's gonna be close to the same size as the in the exact center, so I can put my center stroke of my B right in the center. In her last off of it, we had very round bowls, and on this one, I'm gonna make them a little bit more square. This is the down stroke part, so it's gonna be two squares wide, like I'm up here. I'm going around this off just a little bit, just like we are with tariffs right here, - syrups . I'm just coming out to down one, and then we'll just round that off, like to clean up a little bit of time going just so I can make sure that my shapes look exactly the way that I want them to. And I don't need to make any adjustments. This is the stage that I try to make all my corrections and adjustments to get the final shape of my letter forms. It's for there's maybe the D. A. Has made the same way, Mr with, um, two squares by. But on this side we have a down stroke, so it's gonna be thicker. Wait. Across the top of the modern, we have the thinner Wait. Think her service on this side. I just got around this off just like we did on the B. - Get up just a little bit so I can see my shapes. Then we have our d r B. So here I've drawn the rest of the street and curved stroke letter forms. As you can see, the P and the are are very similar to the B. But like her first alphabet, the bowl on the P and the are slightly bigger than on the B. That's just to take up some of the negative space that occurs down here. On the are. I've added kind of a fancy curbed leg, which happens. A lot of Sarah letters you'll notice. And then on the J. We have a terminal that ends in a ball, so it's another little addition that you can put on your letter forms. Then the U slickly demonstrated the thick stroke here is down stroke, and then it gets thinner on the upstroke. Here I've drawn a few examples of some slightly more decorative variable stroke wait letter forms you can see on the J. It's more of a slab serif on top here. I left the bracket off, so it comes into a nice, sharp point here. And then I put a ball terminal on the end, just for decoration on the D. I have a modified split Sarah happening here with the little points in the decoration on the middle of the strokes and then over on the are. It's just a nice, sturdy variable stroke weight with quite a difference between the thick stroke and the thin stroke that comes along here. 6. Drawing Part 3: so on curved letter forms on letters like R O and R. Q. Often times with a variable stroke wait, you'll see the heavier stroke weight on both sides of the letter form, and that's completely acceptable. A lettuce and you'll see it just on this side, just on the down stroke side. But then oftentimes you'll see it married on this site, to which is just a little bit more symmetrical way of drawing these letter forms. So that's what I've chosen to do here. Either one is correct. To move over to the sea and to the G, you can tell that that whiter spot on the letter form the thicker stroke weight comes around and ends in nice thin stroke weights on this side. And then the G has the syrups coming off here off the throat to create the little arm coming off here on the Q. I've added just a little bit of a curvy tail on it. Just mimic the are just a little bit that leg that we put on the are so that ties into that pretty well. And then on the S, I've done a serif on both the top and the bottom, which is just kind of ah decorative element that I added, and then I just kind of curved thes off just a little bit, so it doesn't have his big of a curve as the syrups on some of our straight letters, but it fits. This s really well. Here are a few other examples of some curved letter forms. No notice more drawing variable stroke weight. Even if our letter forms are relatively square, like this s we're still saying with the same principles of the cross jokes where the horizontal strokes are gonna be thinner and then those vertical down strokes which you see here we're gonna be the thicker strokes. So that works even when you're letter form is a little bit square like this one. 7. Drawing Part 4: So when I draw the A, what I want to do this is gonna be thicker. Remember, from our beginning, and I would have syrup up here and I have syrups on the bus. So this is how I'm gonna draw my little A. I wanted to be about the same width as my other letters. I'm just doing this condensed version, so it's gonna be about the same width. And then here's the center. So I want this to be centered. So I'm gonna draw that, and I'm gonna make that. What makes that pretty wide make about for now, making six clears mind. Now, the length of my letter is down here. The serums were gonna come out their wit from the bottom of the letter, so they come out to and then they come up here like this. So the two on the bottom whiter than the letter and then they kind of come up like this. I'm gonna go do that just so I know where my bases and then here I know that my Sarah is two on the other side. Thin side of my A. I was just gonna be one square wide about there. So, Sarah, he's just going to come out, right? Yes, it was put up here. I want to go into, but I want to come down, Want to? And then I just need to kind of sort of find with that angle is and draw that in. And that's witness Rulers. Handy was I could just say that's one. And then this one is too wide, bigger with over here. And then when it comes down here gonna go to out like that cross border there, and that's me. Okay, So when I make my m for this one, that's what I'm gonna be drilling. This is a thin stroke. When it comes down here, bigger stroke goes up within 10 strokes and then down with the fingers truck serious, come off of each of these sides and that comes off the top each end. And I'm gonna come down to a point I might Do you want this to be about 1.5 times the width of my other letters? So it's going to come, So I'm gonna go ahead and start with my side strokes to give myself sort of a skeleton. So this is the thing that's true. Never here. We know we have this Castro care. So that's this stroke. I didn't put the skeleton for my syrups in there, just like all When we go out to one there, down here, I'm gonna want about one squares thickness here. So what I'm gonna do is I'm just gonna come up to about this point. Make that diagonal. Now, this is a thicker one, so it needs to be two squares wide, so I'm just going to expand that when will make that connection of top. Now, here's the bottom I'm still gonna use. This is my measurement, and I'm gonna same point here. I'm gonna end this stroke so it's nascent, and then this is just a thin stroke here, so it's just gonna be one square just to come up to her. Then you have a pretty good looking in. Our final category of letter forms are the angled strokes. I'm just gonna go through these really quickly with you again. I feel like these are the ones that people get confused on most often. And from what I see from my students, they are the kind of the hardest to remember what strokes go where. So when the a new make your way, you start at the bottom. Here you go up with a thin stroke and then you come down with a thick stroke. Your V starts at the top, so you're coming down with that stroke and up with thin stroke your W just like your be come down with sick, then thick down, stroke thin upstroke your M you need to start at the bottom so you'll go up with the thin upstroke and then down for a thick, then and finish with a thick down stroke on the other stem. So in the end as well, it's a thin upstroke, a thick down stroke and then finish with a thin upstroke. When I draw my K, I try to remember to draw the stem first, so I do the thick down stroke here, and then I draw the arm coming up like this just so I remember that it's then, so I start here. I don't usually make my letters like this, but when I'm drawing them, I try to remember to do that so I can remember that this is then and then the late coming off. The K is sick on the are you remember that I did kind of a curvy leg and you could repeat that on the K as well. But I prefer to have my K Lake Street on the X. We make this joke first. So this is the heavy down stroke. Never Just come over here to remember to make this the upstroke. You remember that this is the thin one. And on the Y try to remember to make this coming down and then just end with the stem. So these were the thick down strokes and then go up like this for the thin upstroke and then on the Z, much like the end, we start with thin. This is our dental stroke That's thick. And then we end. Then, as we finish our variable stroke weight alphabet, there's a few things I'd like you to remember throughout class one into you've gained a solid foundation for how to draw letters from here on out. No matter how creative you are with your lettering, remember the structural guidelines we've gone over here and your lettering will look correct, which will make your letter pieces look more professional. I'd also like to reinforce that by drawing these relatively simple shapes of letter forms. You are also building up your drawing Confidence soon will be releasing a class that will cover some basic illustration skills that will allow you to start putting your ideas down on paper in a visual way. And you'll soon be complimenting your lettering pieces with your own illustrations. I would encourage you to practice back to rising your alphabet. You just drew. You can refer back to Class one if you need a refresher vector. Raising your lettering is a skill that you will use for many applications, but sometimes I like finishing my pieces my hand up. Next, I'll show you one of the ways I enjoy doing so and some previous work I've completed by So grab your supplies and let's create some are together. 8. Finishing Your Art by Hand: so I wanted to share with you quickly a few examples of work that I've done by hand before we jump in and work on our postcard. And when I started lettering, um, I was really searching for a way to finish my artwork by hand instead of having to vector rise it and vector rising is a really good option for really, for anything. I'm much more used to it. Now I've got my I've got my technique down, so I don't mind doing it now and I can draw so that it looks It looks good when I backed Arise it. But it's still really like finishing things by hand, and it just you just can't reproduce on the computer. So I tried several things. Most of my work that I've done has been watercolor and ink. That's the medium that I like to use. And so I went through several phases of doing very sketchy lying's and then just painting that end like this piece here. Um, there's just some real sketchy sort of outlines just to make it look more like my sketch. So that's one technique that I use sometimes. Then this is a piece that I had completed for a an event that happened here in town. Um, and it's called the Trying Time Travelers Ball, and it's a kind of a steampunk sort of event. And so this is the lettering that I drew for that, and I was just trying out different colors and different arrangements of my lettering. And then I drew thes little gear sections here to decorate the banner on the top of the posters. And what I usually do is a sketch things in pencil, and then I'll trace it over with pen like you see here and then I fill it in with my colored ink. So that's what some of these are just little tests of of ink and the color that I'm gonna use. But that's usually the process that I go through when I'm creating pieces by my hand and then I'll scan this in and then arrange it in photo shop or an illustrator once they're scanned in and kind of color corrected. And this is another piece that I did. This is all hand drawn hand lettered, and this was all in water color, So I did each of these little pieces separately and then scanned it all in together, um, to create this this composite piece here, just a city map and then for this piece. This is an invitation that I created for somebody's 80th birthday, and they were having a big party for this lady, and she loved games. And so games was the theme of the invitation in the theme of the party. So for the invitation, I created this little game board here that had all of the information that they needed for to get to the party and what to wear and where it was gonna be, Um, and all of that. And so this is, um, created, painted with ink. And this is the printed version, so you can see that, um, it translates really well to print. You still get the variation and color. Um, it just it looks really good when it's when it's printed. When it's painted in ink, and you just you can't really reproduce this. Um, no matter how hard to try, you could not reproduce the look of something. Campaign id digitally. So I really still like this option. So this year I just want to show you my process for this? Um, I sketch. My very first sketch was actually this size. Um, and then I went and I had it blown up to a bigger size like this, and this is still pretty rough. And then I traced over this to refine my lettering. And so that's what these pieces air here. And then I put this underneath my watercolor paper, and I just painted right over the top of it. And then these are all my ease. The party party girls first name started with the So I made just this pattern of ease on the back, so I just drew all of them out. See, some of these are some of the things we've been talking about with different kinds of Sarah's, um, different. Here's here's one of the splits. Arabs made this one look like logs. Um, and so then I just painted them all, and I combine them in the computer to make this pattern that showed through the envelope when it was mailed. So we do a lot of experimenting with outlining my letters with not outlining my letters with putting shadows on, um, with using different colors. So I just keep all of these little pieces just so I can refer back to them and see, you know, how does it look when I have an outline on it? And how does it look when I don't have an outline on it? Um, and different sizes of outlines, different thicknesses of outlines, shadows, no shadows on different color combinations. So I usually just hold onto all these just so I can refer back to them and then when I have a huge stack of, um, what I've done in the past, which is handy that you can't really do a digital work is that I just die, cut them and made a stack of business cards out of my scraps that, uh, that didn't make the cut. So that's how I use my my artwork. And it's kind of fun because I had one of these cards to somebody, and it's actually painted and it's real watercolor paper and they can they can look at it and see the see the work that I do. So that's what I like to do with someone Lee. Some of the scraps and some of the practice runs that I have can reuse things and create really unique pieces out of them. So let's get started on our project, and what I'm gonna do is make a postcard to send to a friend. And the intent is to use the lettering that we just drew and to finish it by hand and then just to send that original piece of artwork through the mail and they'll love it. So what I've done is I have gathered the alphabet that I just drew. So this is my variable stroke weight alphabet that I just drew for you guys. And I am going to leave mine actual size. Now, if you have a long word that won't fit on your postcard or if you want to do more than one word, you can reduce this either just with a copy machine, or you could scan it in and then reduce it and then print it out on your computer, whatever works for him. But I just use my just right off the graph paper. Just what we just drew. And my first idea was I would just want to say the word. Hello. Then I was gonna put just a little bit of of decoration around the edge, but keep it very simple. So put this out and I realized two things is that it looked a little bit boring and it was too big to fit on my postcard. I wanted to. I wanted to keep the letters this size. So I did a few little sketches just playing around with what else could I do to make it a little bit more dynamic and a little bit more fun? So this is the design I ended up creating and what I did as I just drew, um, the shape of my postcard on the back of this piece of paper. And this is just printer paper. This is really what I used to draw on most of the time. Um, it's cheap. You get a huge stack of it and it works just fine. So I usually draw my guidelines. If I ever have to do center lines, I'm drawing lines to align lettering to. We're trying to place things. I'll do it on the back of my paper because then when I have my light box on, I can see those guidelines. But when I erase which I do a lot, I'm not gonna erase them and have to continue to redraw. So I just do those on the back, and it just saves me a lot of trouble down the road. So this is the paper that I prefer to use. It's a cold press, so there's quite a nice texture to it. And it's not super expensive either. I've used some really expensive watercolor paper, and it's probably just the way that I paint. I'm sure the paper is great, but it doesn't make a difference in the way that I paint. So I'm not doing like, really great watercolors illustrating with watercolor, which there's a little bit of a difference. So this is the paper that I like to use, and I've already cut some sheets here into a standard postcard size, which is four by six. So my process is pretty simple. I'm gonna turn on my light box and then I'll just take a card and I will tape it and my guidelines right there, kind of arranging where you want the lettering to show up. I don't keep this take down cause I need to move it a lot. So take that will piece off. So the next step that I do and I've already done this step is I chose my color palette. So I'm gonna use thes fall inspired colors right here. And then, um, I played around just a little bit with the preliminary sort of painting, just to see how my colors work well together. So that's just a little test print. And keep those to make a business card out of it later. So hold on to that. And then I use my ink. So this is the ink that I usually use. Um, I just really like the color. It's rich and it's it's transparent, just like water color. And I just put a little bit into my palate, and I made this palette myself out of some oven dried love and dry clay. I couldn't find a palette that worked for this ink, so I just made on myself because I just need a little bit and traditional water color palettes. Um, the cells are much too big for what I needed, so I just made this palette with little tiny cells, and that's what he used with my ink. And I could mix it and they stay separate. There close enough together that I could mix. So I am going to paint my word, my lettering, just like I did here. And I'm not going to use an outline. Sometimes I'll use my fine line marker to make an outline, and then I color that in. But I'm gonna go without an outline on this. I'm just gonna go straight ahead and paint it. So as soon as you guys were ready, you can start working on your postcard, and I'm gonna just work on painting it and probably speed this up so you don't have to watch the entire process. And then what? I'm done. Check back in and see how it's going. - Yeah , - yeah , there's my postcard. I'm gonna let this dry and come back in just a few minutes and add a little bit more decoration. So let my postcard dry for just a couple minutes, and I think I'm gonna add just a little bit of decoration around the lettering. And when I think I'm gonna do is add a what's called a drop line, and it's kind of like a little shadow that just goes around the lettering. So I'm gonna go into shadows extensively in our decorative letter form class, which will happen in a couple classes. But until then, when I do this, I just like to pick two sides. Imagine that the sun is maybe appear shining down, so it would create a little shadow on this site on the right side and then down below. So I'm just gonna add my little line to the right sides and down below my letter forms I'm gonna use Ah, this iridescent This is copper plate gold. It's kind of a bronze e kind of gold. You're doesn't think just add a little shine, which is really fun to do. If you're doing original artwork, you can do all sorts of fun stuff like this. So I'm just gonna go around and add a little bit of a shadow to my lettering. I have just kind of a bigger puddle over here so I can keep stirring it to make sure that it stays mixed. Anything? I'm just gonna add a few little stars like I did on my practice sheet. Like how those turned out. It's a good opportunity to cover up a little mess that I made. Start over it. - Okay , The very last thing I'm gonna do is I want to put a little border around it. So I'm gonna use this better paintbrush, and it's all of green paint over here. There you go. Beautiful postcard. You consent to a friend if you guys have had fun and you can see the possibilities of lettering with just a really simple alphabet like we just drew. And I also hope that if anyone out there is a little bit scared of technology or not really wanting to use the computer to finish their artwork, which I was for a really long time that you can see that there's lots of other options so you can do hand lettering, you can finish it. We get stuff printed, you make beautiful pieces without ever touching the computer. So I hope you guys have fun. The next section we're gonna talk just a little bit about inspiration, and I'm gonna show you a few of my sketchbooks and talk about what sketching is important. See that 9. Inspiration and Keeping a Sketchbook: So when it comes to finding inspiration for lettering and for illustration their endless places for you to look, I always like to look at books. You can also look online and really be aware of your environment when you see Sign Ege. When you see packaging those kinds of things, take photos of these things and keep him in your files so that when you're working on a project, you can refer back to them. Now. The reason that I taught the two classes the way that I did was so that you can look at Sign Ege. You could look at a packaging. You could look at something that only has two or three letters and taking clues from those letters. You could then create an entire alphabet off of it. And I've had to do this many times. Ralph Fine. Just a tiny specimen of type that I really like, and it really fits what I'm trying to get across, and I just use that as inspiration, and I can create an entire alphabet off of that lettering. So finding things like hear this word pharmacy that has these really great rounded corners on the A's and then the why is like a small. Why that they put in there the shape of these letters right here, just the shape that they're put in right there. That's great. I do that a lot with my lettering and putting into a shape like that. Looking through books like this really gives you a great idea about shapes that you can put your letters into about the actual characteristics of the letters themselves. And sometimes I look at something and say, I don't really like this alphabet, but I, like the are So I'm gonna create my own alphabet with the R and usually using the techniques that I went through in specifically the first class. You guys could do that yourselves, find one or two letters that you like and then create an entire alphabet for you to use. So this is another. This is a B Z, and it just goes through and has lots of examples of vintage lettering from all over the world. And there's just some really great shapes of letters in these books. Look at that. The way the way ends like that, that's really cool. Looks very Russian to me. Good ideas protects chur to put within your letters, putting color within your letters to create an entire little piece of artwork just with your lettering like that. These are just really great books to look for for inspiration. This is upon when I have this for the forties and fifties and then also the same custom lettering of the sixties and seventies. And here the editor has gone through and picked out hundreds and hundreds of samples of lettering from thes arrows, and she has them all put into different categories. So here's electricity radio. They're stencil. Here's some brush script. Here's just brush some playbill, and it's just such a great resource toe. Look through here and define lettering that you really like to give you inspiration for your own lettering that might fit the project you're working on, especially if you're kind of stuck and you're not quite sure what to do. Just look through here and you'll get tons of ideas. This is another book about Sign Ege from Paris, and a lot of these are tiles, which is really interesting to see how they made these this lettering with titles like that that are that is such a cool Are all of this lettering is just so beautiful. It gives you ideas on how to decorate your letter forms on how to create different shapes of letter forms. And I also used this book once in a while and this is actually a reproduction of an old type specimen book. And so this is what a letter press printer would have on hand when customers come into their shop, find out what kind of type they have to make signs with. So these air old woodcut type and just looking through here, there's some really great look at that. That is great shape for that type right there. Those gigantic huge syrups and the little pointy. Um, like, there's some really great shapes that come out of some of this stuff, but you can look at and when you're using just type specimen books like this or books like this that just have some, like advertising type in. Um, you're only going to get a couple of those letters to show you what that whole alphabet might look like. So you have to kind of figure out what the rest the awful that looks like. So those are some of the ways that I look for inspiration Now, what to do with all this inspiration is a whole other topic. And I would really encourage you if you don't already to start keeping sketchbooks, um, of things that you see lettering that you come across, Um, just ideas that you might have for lettering for some orientation of letters for some decoration on those letters. Um, you know, I write down some, um, ideas that I have. Some are just thumbnails. Some of these air ideas for some illustrations. A lot of these air just, you know, sitting and watching TV or doodling when I'm on the phone. I just kind of go through and just right write things down, drawing letters during a shape of letters that that'd be really cool to kind of have it squished, just kind of drew it like this. And then I always look back through here. What? I'm kind of stuck just to find some ideas for things that I may have overlooked come up with hundreds of ideas for every project I'm working on, and obviously I can't use them all, so I like to just keep him on hand so that when I have another project, I can just flip through here and say, That's cool. I want to build an entire alphabet that looks like that. I love this little saref up here, and then we've got the split Saref happening down at the bottom. That's gonna fund. Sometimes I'll just dress shadows off of things. Just play with some different kind of dimension. It's kind of wonky letters, letters that are really severely on a on an angle there. But what that look like? What if you just saw the sight of it? So I like to play around with all sorts of things like this in my sketchbooks, and I keep different sketchbooks. Um, sometimes they're a formal sketchbook like this. Um, sometimes they're on different pieces of paper, and then I just go ahead and ologists tape the paper into my sketchbook. I happened not have may my book with me at the time, and I want to write some stuff down a draw. Awesome compositions of stuff. Just you know, how many ways can you draw the letter? A kind of a fun exercise. Just do that throughout the entire alphabet. So a lot of times I keep these little sketchbooks with me. Um, I'll just put one in my bag and through here I'll just write stuff down and in my sketchbooks air. Not like great drawings. They're like grocery lists and lists of things I have to dio. Sometimes I get around to actually drawing stuff in my sketchbook, which is nice, but it's never really it's not super polished by any means. When I was just sitting there thinking, How many different kinds of shadows can I come up with for letter forms, just from signs that I've seen around just drawing little pictures. So I really encourage you to keep something with you? Um, this is another thing I do. They don't have to be fancy or have to spend any money on these at all. Um, I've learned through the years that actually one of my favorite things to draw on, it's just a and half by 11 like printer paper, and you can find us anywhere and it's cheap and get a huge stack of it and just keep it by your desk and just draw your little heart out. And a lot of times this easier to draw, especially when you're just starting out. Just get a huge stack of this paper, because if something doesn't work out or you don't like it, you can just throw it away and nobody is gonna know because you're not tearing a page out your sketchbook. So I do know sometimes it's hard with a sketchbook, and that's why I keep these really little casual ones, because it's not as permanent To me, it's not as it's not a much of a big deal if I draw something in there that I really don't like, because they're gonna be used up pretty quickly and have to deal with it anymore. But using paper like this is really a great idea, and then when I do, a lot of times is once I have a huge stack of it, I'll just get one of these little filed older things. Just easy. Punch some holes, and I just kind of make a sketchbook after the fact. So, however, you prefer to keep a sketchbook, whether it's a little disposable sketchbook, you could make yourself or whether it's something a little bit more formal or whether it's just printer paper that you can keep and you combined at a later date into a sketchbook. Whatever is most comfortable for you, I would really encourage you to do it to draw as much as you can start writing down your thoughts about ideas you have about illustration about lettering. And it's really gonna help you when we start doing more illustration to have this wealth of ideas that you came up with yourself toe pull from. So it's a really great practice that really helped you. Even if they're just scribbling sketches. It really helps you hone your illustrations skills and really start to develop your own style. So I hope you guys had a good time in this class and let's meet back here for the next class. We're gonna be going over how to come up with ideas and drawing scripts. See you then.