Hand-Lettering Foundations: Skill-Building for Beginners Part 1 | Wendy Brookshire | Skillshare

Hand-Lettering Foundations: Skill-Building for Beginners Part 1

Wendy Brookshire, Artist, Designer and Illustrator

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9 Lessons (1h 2m)
    • 1. Introduction to Hand Lettering Foundations

      1:47
    • 2. Anatomy & Terminology

      5:35
    • 3. Supplies Needed

      2:23
    • 4. Drawing Intro

      4:48
    • 5. Drawing Part 2

      7:18
    • 6. Drawing Part 3

      10:51
    • 7. Drawing Part 4

      10:31
    • 8. Drawing Part 5

      12:19
    • 9. Vectorizing your Art

      6:41

About This Class

Welcome to the first in a series of beginning hand-lettering classes!

In this first class, I'll be teaching you how to draw a simple, single stroke weight alphabet. 

The goal of these classes are to help those new to lettering and illustration achieve a solid foundation of knowledge and skills, and to learn how to then take these skills and create some great hand-illustrated artwork. 

Armed with this knowledge, when you are drawing your letters they will visually look correct and balanced, and will take your drawing from amateur status to something a little more polished.

Practicing drawing the letters to learn their structure will help to strengthen your skills and confidence in illustration as well.

This class series is for anyone, no matter your  skill level with drawing or illustrating. It takes lots of practice to get to where you want to go, but we’ll start at the beginning and I’ll be walking you through the steps you need to make great lettering pieces. My goal is to help you build your confidence in your lettering and illustration skills so you can move forward and make some wonderful hand lettered and illustrated art!

Transcripts

1. Introduction to Hand Lettering Foundations: welcome to the first in a series of lettering classes. My name is Wendy Berkshire and have an artist and designer. The goal of these classes are to help those noodle lettering and illustrations achieve a solid foundation of knowledge and skills and to learn how to then take the skills and create some great hand illustrated artwork. The's first classes are focused on learning the structure of different styles of letter forms, how they're built and how each letter of the alphabet visually relates to the others. Armed with this knowledge, when you're drawing your letters, they will visually look correct and balanced and will take your drawing from amateur status to something a little more polished. Practicing, drawing the letters toe, learn their structure will help you strengthen your skills and confidence and illustration as well. After we learned letter form structure will move into classes that focus our lettering. Talent on creating some fun projects in these classes will be learning additional skills. Such a sketching how to come up with solid concept, choosing the best way to illustrate that concept, refining our drawings and carrying that through to a final piece of artwork. I'll cover how to digitally complete your artwork, as well as a couple techniques and watercolor, acrylic and milk paint on wood. This class syriza's for anyone, no matter your skill level, Withdrawing or illustrating It takes a lot of practice to get to where you want to go, but we'll start at the beginning and I'll be walking you through the steps you need to make great lettering pieces. My goal is to help you build your confidence in your lettering and illustrations skills so you could move forward and make some wonderful hand lettered and illustrated art. 2. Anatomy & Terminology: Hi, everyone, and welcome to hand lettering foundations, class number one, skill building for beginners Before we jump right in and start drawing our letter forms, there's a little bit of background information. I want to go over with you first thing. We're gonna go over his letter form anatomy and terminology. Now let's start off by talking about the word, letter form and lettering and letters and characters. Those are the words that we use when describing our own hand lettering. Words like font and type and type face are generally used for mechanically reproduced types , such as on a letter, press or computer. Those three general categories of lettering We have San Sarah, Sarah and script. Now, if you see here in the middle, we have a serif letter form. Now. These air, characterized by the little Sarah's that come off the ends of letter form appear. We have a sand Sarah Sands, meaning without so they don't have the little Sarah apps on the end There. Terminals, which are the ends of the letter forms, just end abruptly and down here we have a script, and that's usually more of a flowing letter form. Stroke weight is something. We'll be talking about a lot in these classes, so a stroke is any of the lines of the letter form. As you can see here, we have a sand saref up here that's a single stroke weight. And that means that all of the strokes of the letter form are about the same weight. Here in the middle, we have a variable stroke wait letter form, and you'll see there that there's six strokes and thin strokes within the same letter. Now, Serif San Serif and script letter forms can all be either a single stroke or a variable stroke. Wait stem is the part of the letter form that's a vertical, and you can think of it as a plant stem. It's strong and holds up the back bone of our lettering. Legs are particular to ours, and Kaye's the little diagonal pace that comes off in front right here and then on other letter forms. We just call those diagnose now. A counter form is any of the negative space that you find within the letter forms, and sometimes these have special names like the R and B contained bowls. That's what their counter forms air called When you come to the top of a letter like this with a point they're called Apex is, and the bottom point of a letter form is called a vertex. Now, aides and H is have crossbars, and you also hear the middle part of an E, the middle arm of ah, F. Sometimes those air also called crossbars because they just land right in the middle of the letter, the top of bottom stroke of an E. R called arms that also refers to the top of an F the bottom in an L. Anything that's a horizontal stroke could be called an arm. The G has a special little spot right here, where the curved part of the letter form meets the horizontal bar that comes across here, and that's called a throat. The generic end of a letter form is just called a terminal, and then another thing you might hear me talking about is a ligature. Now, ligature is when you combine two or three letter forms into a new character. This is usually done for space concerns or for a more artistic approach to designing your letter forms. So you also need to understand letter form widths and weights. Now wit is the overall width of the letter form itself. So if you can see here on top, this is called a condensed, and the letter forms are quite sin and quite tall. So you get this condensed letter form appearance right here. This is also called Compressed in the middle. Here we have something that's just more of a normal with It's not too condensed, it's not too wide. It's just a normal width. And down here we have letter forms that are actually wider than they are tall, and this creates an extended or wide letter form with Now your letter form weights are the actual stroke. Wait. So up here you can see we have a thin and these stroke weights in here are relatively thin , considering the size of these letter forms. A lot of times this is also called light. Now in the middle here we have a normal letter form. Wait, it's not too thin. It's not too bold. And a lot of times in the type world you hear this be called Roman or book. But just know that it's all just kind of the middle of the road. Normal stroke. Wait down here we have a heavy or a bold and these air just beefed up stroke weights to give you more visual weight when you're looking at your letter forms. So feel free to reference these charts if you need to. When we start drawing our letter forms, I'll be leaving it up to you to decide the letter form weight in the letter form. With that, you would like to draw for our first alphabet. OK, now it's time to go over some supplies that will need and we can get started drawing. 3. Supplies Needed: Before we begin drawing, there's a few materials you'll need to collect. The first thing you'll need is a pencil. I usually use a mechanical pencil so I don't have to stop and sharpen it. But whatever you're comfortable with you can use. We're also gonna need an eraser. I erase a lot, so I like to use these little pen style erasers because I could get into little detailed areas. I also use the one on the end of my pencil a lot you'll see, But you can also use a block eraser for bigger areas to any of those will work just great. I like to have a little ruler on hand, and this is really handy for measuring things and then also helping me with some diagonals and measuring. Something's on a diagonal, and I don't use this for drawing the actual outline of my letters because I like to have those hand lettered and kind of free form lines. But this comes in really handy for some things now. What will be drawing on today is graph paper now this is available on the project page to download. If you don't have any at home and I designed this to be 1/8 inch squares, and I just like that proportion because it's easy to measure, first of all, and then it lines up with my ruler as well, which is also gritted in eighth inch squares. So that makes it really handy. Another thing you need to have on hand is a marker or two. I always just have several sizes laying around, and this is nice so that after you draw in outline of your lettering, you can fill it in really quick and actually see the structure. Sometimes it's hard to tell when you just have outlines of your letters, sort of what they're gonna look like next to each other. So you have to fill in that weight. And so these air pretty handy to do that with you can also have some tape on hand if your paper starts to get away from this. Sometimes I like to take my paper down, tracing papers always kind of nice. If you want to. Just do a quick tracing and fill it in with your marker, and I always have my light box right here on my drawing table. I use this with every project I dio and as you draw more will probably be a tool that's pretty invaluable to you. These air really nice to use. You can put your drawing your outline on him, and then you can trace onto a clean piece of paper. If I'm water coloring my final artwork. I use this for that. It's just I use it all the time, so it's not necessary for this first class. But it's something you might want to think about as we get further into the classes and do some more complex lettering. So if you want to gather your materials, we'll meet back here, we'll start drawing. 4. Drawing Intro: so people baby in drawing. There's just a few quick things I need to go over now. In the beginning slides we went over with of letter form and stroke way, and that's what we needed. Determined now, So you know what kind of alphabet that you're drawing, So let's determine the overall shape of your letter forms. So in a fresh piece of graph paper, let's make a few E's so you can determine what you'd like your alphabet to be shaped like. Now, if you choose to make it condensed letter form, make sure the letter for Miss Taller than it is wide and then be a condensed E. If you want to go with more of an extended look, those will be a little bit shorter and the top and bottom strokes on those were gonna be a lot longer like this. If you want to go for something that looks a little bit more balanced, they're several versions that you could do but just kind of try to strike a balance between height and with it a little bit higher than it is wide, and that'll be a nice balance letter form so you can choose whichever with that you like for the shape of your letter forms, and this is gonna inform the rest of your alphabet. Now we'll learn every alphabet. Every letter of the alphabet is informed by other letters. And that's how we keep consistency. So this is really the first clue of how your entire alphabet is gonna look. So now we need to determine stroke. Wait. So was we went over? You could have very thin stroke. Wait, you could have a very thick stroke weight, and that's just kind of up to you and how you want thes letter forms to look and also down the road. It kind of depends on the application that you're gonna be using this for, and you're gonna want to design it specifically to what you're using it for. For this class, you just need to determine what you like on what's gonna be easy for you to use to learn the structure of these letters. So when you first start, you can determine your letter form, shape and stroke. Wait right here on the graph paper. So when she's start drawing that first letter, you can just go back and add in the stroke weight right around that, just to see what that's gonna look like. Now, this one, I just have to little squares is my stroke weight. And that looks pretty good for this one. I'm gonna just try a thin one. So just used one square. I'll just draw that in that one's kind of hits right in the middle. So just go right around it. Now, in this one will go just a little bit wider just so you can see I'll choose to do three squares on my graph paper three squares wide. We're not really too worried about proportion here And where those three squares land on our outline. We're really just trying to use this to determine what shape we're going to move forward with. And this is also a good technique when you start lettering. If you're not quite sure how to add dimension to something, just go ahead and draw the letter form with one stroke weight, and then you can draw the thicker stroke weight around it to get that dimension. Now, what you can do in here is just building is in. So you have a better idea of what shape of your letter forms are gonna look like so just doing this really quick, I just have a fat marker. And this gives you a much better idea of what your overall alphabet is gonna look like. Sometimes it's really hard to tell with just that water stroke. Wait, So just really quickly. We've John, three different widths and three different stroke weights of her letter e. And just looking at this, you kind of determine what you want to move forward with. So I'm gonna go with something that's a little bit closer to this, just so it's a little bit bolder and easier to see. But you guys can go up forward with any stroke way and any letter with that You like in the process that we're gonna learn your entire alphabet will look really cohesive If you just follow along with me, no matter what your first letter looks like. 5. Drawing Part 2: Now let's begin drawing our alphabet. We determine from the last exercise, the overall size and stroke weight of the letter E that you're gonna be drawing. So with that, we'll go ahead and get started withdrawing our letter E. Now I like to divide my alphabet up into four categories, and this just makes it easier to draw the letter forms in a consistent manner. It goes a little bit quicker because you're grouping like letters together, and it helps him remain really consistent. So I like to draw my straight letters first. That consist of just straight strokes. And then I do this straight with a curve, curved letters and then angled or diagonal letters. Just review. We are doing a single stroke weight Sand Saref letter form for this alphabet. So our stroke weight is gonna be consistent throughout the letter, form the same width, and there's no syrups. The terminals just end abruptly like this with no syrup. Some Ian. Now, the first group those straight letters consists of e the F, l, H T and I. Those were the first group of letter forms that we're gonna be drawing. So my measurement that I'm gonna be using is my letter forms are all going to be two inches tall, which are these darker lines on my graph paper, those air each and inch. So I'm gonna go two inches on there and then my e I'm gonna make about 10 squares wide. Now, my stroke Wait, I'm choosing as three squares and so that's gonna be consistent throughout my letter form. So this stroke, the stem is down, stroke here, and then the bottom cross stroke as well are all going to be three squares wide. As you see, I don't use a ruler because I want this to be hand drawn. I'm using the lines on my graph paper just as a guide. But these lines aren't perfectly straight, but that's OK. Um, it's hand drawn alphabet, and I wanted to have that hand drawn Look, Now when you go for your crossbar on your e, a few things to remember is it's usually waited, so it's a little bit closer to the top than it is to the bottom. So there's more air on the bottom, and it's not as long as these top and bottom strokes. So I'm gonna go down three squares on mine and draw my cross bar and just stop a couple squares. There's lots of different stylistic things you can do. You can make a really stubby crossbar here for one look. You could make it almost to the end, but not quite for another look. It's nice when your hand lettering you have that flexibility. Sometimes you can go a little overboard, and then your letter, no matter how creative it is, looks a little unbalanced. So see, there's things you have to stick to these rules 100% but they're just kind of guidelines to keep in mind so that your letter forms look a little bit consistent. So there's my E. Now we're gonna move on, and we're gonna do the F. So how the F relates to the E is we have the same stroke. Wait, this top stroke here is the same length as it is on the E. So I'm just gonna make that my measurement there and then when it comes to the crossbar because the F doesn't have this bottom bar right here means that there's a lot more visual open space right here. So we like to take that crossbar and lower it just a little bit to take up a little bit of that space and make it look balanced. So I'm just gonna go down. Just one square. Should be enough on mine and make it the same length of the crossbar on my E. If I had that crossbar, exactly the same places I do one my e t f. Would look really top heavy because that there's just be so much air down here that it wouldn't look balanced. So that helps the balance of that off a little bit. I've created these charts of each of the groups of letter forms that we're gonna be drawing today just so I can easily show you the proportion of each of the letters to each other and how they relate to each other. So we just finished drawing R E and R F, and you can see here I have them right on top of each other so you can see what I'm talking about, the F crossbar being just a little bit lower than the ease. Next we move on to the L, which is really just the stem and that lower arm of the so we get to the H. The H is always a little bit whiter than your E. So we still have our consistent stroke. Wait. But if we were going to use the same width as the E, it's gonna look condensed in this alphabet, so it's gonna look a little bit off. So I'm gonna go out right about two squares more than I went on the There's no formula to this. It's just knowing that it needs to be just a little bit whiter. And then it's whatever looks best to your eye. Now when it comes to the cross bar of the H, you have several options. It could be in exactly the same places it is on the E. They could be in the same places it is on the F or it can be just a little bit lower. Now, when it's a little lower, it looks a little bit more casual, a little bit more modern, so I'm gonna go just a little bit lower than I have on the F here. When we move on to draw the tea, you'll notice that we base this off of our H. Now the top crossbar on the tea is just a little bit thinner than it is on the age now. There's no formula for this. It's really just what looks best to your eye. It could be the same with us the age, or it could be the same with us. The E a lot of times, if it's just the same with of the E, it looks a little bit too condensed. So I like to make mine almost as wide as my H. And then the center stem just comes right off of that crossbar. And then when we move on to our I her eyes just one single stem, you can put the top and bottom bar on, and I, if you like for that look. But for a sand Sarah, I usually like to keep it nice and simple and just have one single stem. So here I'm showing you just a few variations on how to draw some single stroke wait letter forms in this group that we're talking about right now with the straight strokes. They don't have to be kind of plain and boring, like we're drawing right now. You can add just a few decorative touches, and it really dresses him up 6. Drawing Part 3: So let's get started with the B and the B is based on the e again. So go ahead and draw your stroke. Wait. Same as you've been drawing it, minus three squares wide for the spine of the B. And then what I like to do is just to make a real light line of where the edge of the falls . So that is 10 squares. Wives will just draw a little, just a little light line here. And that just reminds me that the B is a little bit wider than the E. So I want to make sure that I know where the edge of that, Yes, So I can just extend beyond just a little bit. So what I like to do is just to kind of draw the top in the bottom of the B. And then you can also add in the center crossbar here of the B because it is in the same location as it is on the. So if you just draw that in now, I'm gonna be extending the top bowl of my B just about one square past where the E ends and then the bottom bowl, which is bigger than the top bowl of your be just for balance sake is going to extend probably about two squares past the edge of the So what I like to do is I like to take the center line, the cross bar of the B. I kind of divide it in half, and then I start there and I just kind of draw my top goal on my bottom bowl and then I can draw the inside. So you be extending this about one square so it takes a little back and forth trial and error on this, and the bottom is gonna be extended to squares because that bottom bowl is gonna be bigger than the top pool of the bee, so it looks really balanced. Now, here's your first curb letter so you can kind of determine how round are curved. You want these letters? I won't mind. Pretty round. A lot of times I like to make kind of square alphabets. I think this one I'm gonna stick to kind of a round shape. So now that you have that outline on the outer edge, you can count and we're still doing Three squares are with so much account in 123 And this is where the edge, the inner edge of that bull is gonna follow. So 123 So, as you don't see this takes a little bit of finessing a little bit of back and forth to kind of get those curves so that they feel right. It just takes a little practice going from That's straight part of the B into the curve by erase a lot. So that's a pretty good general shape for a B. The stroke rate remained consistent throughout the entire letter, including on the curve. The top bull is just a bit smaller than the bottom bone and the bottom bowl because of the ease, just a little bit taller on the bottom than the top B is also a little bit taller than the on the bottom than the top, and so it looks really balanced. So the next letter we're going to meet moving on is the P. Now, the P, of course, has the same stem stroke. Wait so we can start there. But much like we altered the crossbar on the F, we're going to alter the bowl of the P now the P is the same with as the B, but the bull is much larger and ends much lower than the B. So again, there isn't an exact science to this. That's kind of what feels most balanced in your mind. But we do that because if it was, if it ended here like the B did, it would look really kind of top heavy because there's just a lot of air down here, so we like to bring it down just a little bit. So the bull in the P ends or be ends right about here. So I'm gonna bring the P down to about right here, and then the with is gonna be about the same as the B. And I like to kind of go with the top bowl of the B from my with my P. So it's one in 38 So just count out one in 38 So I'm gonna make my P Endres out there. So again you can kind of draw the square. It helps you and then just rounded off. So here's where the edge is gonna be. It's possible. And then we just count in three 123 three from the edge and define that counter space. Now, when you're making the curbs, you just kind of want to keep in mind Like I mentioned is how round your curves are in just to remain consistent and see on these examples of other letters that I've made, Sometimes I make him so they're almost completely square. Sometimes they just have a tiny radius on the edge, Um, and are pretty square. But sometimes they're completely round just like this one. So just kind of have to keep that in mind, so they stay consistent. The shape of the R is the same as the shape of the P. And then we add this little leg down here, as you can see when we line those up, it's exactly the same shape as that p. And when it comes to drawing the leg of the are, you can choose the placement of that leg. You can have it out here like you see that I've drawn, or you could move it all the way over. So it comes off of this intersection here. So once again, we're gonna start with their spine. Same with it's all the other ones. Now what's nice about the P and the be the R and D is that they're all really about the same width, so it makes it pretty easy. So I think I measured an inch and three eights on that. So let's just make this an inch and three eights deep. Bleeds over just a tiny bit. Just kind of a natural curve kind of bleeds over of its. It's kind of a big curve and you'll see I consistently fix my curbs to They started kind of square. Well, sister doubt to round and I go back and keep fixing him. There's once I get where you need to back the message count in three. Sometimes I just count in three, and I'll put my little dots there so I know where I'm aiming for. So when you go when you make your circle, you just kind of aim for those spots, and you're probably go back and consistently kind of fix your curves a little bit. That's just how it works. Okay, there's are deep. So the last two letters in this group, the U and the J for a special case they have a curve that's right on this base line. So when we're drawing our letter forms that include a curb that go over the baseline, we need to make sure that that extends past the baseline just a little bit. And that just lends visual balance to the letter form because that there's not a whole lot of real estate that sits on this baseline. If we were to put the very edge of that curb on it, it would look smaller than the rest of our letter forms. So to create a nice visual balance, we just extend that just a tiny touch beyond the baseline and our other round forms. You'll see that hit the cap line. We just extended a little bit beyond the cap line. So the you is the same with is the B as you can see here and you can see that just the end of the year with the bottom just extends just a little bit beyond that baseline. Then we move on to R. J. It's just part of the U, and you can decide how long you want your J tail here. It can be the same as the you and just follow that curb, or it can end more abruptly and you can have a shorter tail on that J. And that's just up to you. And how you'd like to see that look. So I'm just showing you here a few examples of some single stroke wait letter forms that just have different shapes. Different stroke weights, different widths and different serifis. As you can see here, you can create a huge range of letter forms with just adhering to that single stroke. Wait, look. 7. Drawing Part 4: when I'm determining the whip of my Oh, I like to look at letters like my H and the n, which we haven't come to yet. And I like to go just about one stroke whiter than that. That always seems to be pretty balanced to me again. It's variable. But that's kind of the guideline that I like to work off of. So sometimes with my oh, I go ahead and just drop box So I know where my sides are gonna be. So I'm gonna do this right at my cap line and my baseline, even though I know that Theo is going to go over these two lines just a bit. I'm just gonna use this is kind of a starting guideline. No, my age is an inch and 1/2 wide, And then my stroke with is three squares wide. So I'm just gonna go ahead and draw the boundary of my box here the width of my H plus one more stroke. Wait. So that's the wit that I'm working on here. If it helps, you can work your center point right there. And really the best way is just to kind of jump in and start working on your on your curves . I like to have my curve meet the side of my box right here. Keep in mind that it has to violate that cap plane just a bit. Usually it turns out a little bit squarish first, Just totally. Okay. And then I just go back and I smooth out the curves as you go with us. Just kind of erased the lines that you're not gonna be using just to get those out of the way. Sometimes I go a little bit outside the little box that I drew. But again, long as it's not. As long as you're not creating a completely different letter wits, then you'll be fine. Something to watch out for is not to have any points on your not to have any sharp points on your curve. So when you get to the top of the bottom, sometimes those have toe actually flat. Now just a tiny bit. Just that you don't end up with a curve or with a point right there. All right? No, that needs a little bit of finessing, but that's not too bad. And then I'm just gonna come in three squares on each side and draw the center of my O. What often happens is when I draw this, sometimes the center turns out a little bit better. And then I go back and I realigning the outside of my Oh, so it better matches the inner circle. Okay, this needs a little bit more finessing. There's a little flat area over here, but we can re draw that and work on that. We're doing our final. Okay, Joe. So moving on to the sea, the sea is gonna be the same width as Theo. So you can just redraw your little square shaped there to show you the width again. It's gonna go over the baseline a little bit here with the sea, you can determine where you would like those terminals to be and cut real short here, which makes kind of a shallow sea. You could move it out here, which makes almost a fuller kind of a full circle C. There's no real rule for that. It's just kind of how you like your letter form to look. One caution on that is just make sure that your bottom stroke is not longer than your top stroke, you're gonna start looking like G a little bit so you can see these. Take a little bit of finessing. I'll have to go back over that just a little bit. So as we move on to a G, you'll see that it also follows the shape of the O quite well. And then when we come around here to draw the throat, you have a few options. You can leave this full curb here and just draw your horizontal right off of that. Or you can do like I did and I just cut it off square, and that just made it feel a little bit more balanced to me. So as we move into the Q, you can tell that this is just an O with a tail Now that tell you have several options, you could come all the way up into this counter space. A lot of times I'll make my tale of my cue. If it's a little script to go all the way over to this side of the of the letter and then the tail down here, you can have a cut right off on the baseline like we do here or If you want more of a little script E or connected, look, you can make that tail come all the way out and maybe even connect to the next letter form . Accuser. Really fun were actually drawing them integrated into a word. Now let's move on to the S the width of the S. I like to base on the H. Sometimes it goes just a little bit over that. But my age is an inch and 1/2. So I like to aim for that with but make it as white as the O. Then sometimes it looks just a little bit extended. So somewhere between the width of the H and the width of a no is a good place to shoot for . Well, I'm drawing my s. You remember that You have to make a nice curve, and you kind of bust through that cap line just a little bit. When I usually do is I kind of do happen, asked to try to make the curve kind of nice, and then I'll do the bottom because what I'm drawing here is the outs outer strokes of that s so they kind of do the top and then do the bottom and then I can go back in and I could fill in, See 123 sticks, a little finessing hair to get the this curve Letters are definitely the trickiest letters . But Theo is the hardest of all the s. I usually can usually do pretty good. So then when to draw those center portions, the bottom center portion is gonna meet up with the top outer portion and the center portion on the top is gonna meet up with the outer portion on the bottom. So just kind of have toe finisher angles just a little bit like that. And then you have your s. It's actually not. That's hard to draw that letter as it is, Theo, in my opinion. So here's just a few more examples with some different designs characteristics that we can use to really make the single stroke wait. Letter forms unique 8. Drawing Part 5: So let's start with the A. The A is the same with us. The oh, and my oh was just one square shy of two inches wide. So just draw simple guidelines there. And then I find the center point of the apex, which is gonna be right here. Just draw me with my three inch with on here and for angled letters. It works well just to kind of draw the outer lines. And then we use our ruler to help us create the inner wit inter lines on the width of the letter. So I'm going to use my ruler to make that angle mine right here in right there. Now, to make the width of this letter consistent with the rest of our letters which is minus three squares wide, I'm gonna use my ruler and just count in. This is why I love these plastic rulers because this makes it really easy. I don't want to make it exactly three. I want to be just a little bit shy. Thes angled strokes could be just a little bit thinner to kind of keep the visual. Wait. So just do that on each side and you can use a regular ruler. If you don't have one of these, it just takes. You just have to mark each one of them and draw line. It's really no problem. And that forms the future. You're a now on the crossbar of the A. It's always much lower than it is on the H. Now, if you kind of look at this and negative space right here, we want to abide that space up. So visually there's a much space on top as there is on the bottom because it comes into this pretty severe angle that means that your crossbar is gonna have to be pretty low. So I'm gonna do mine where it's about two in two squares up from the bottom and I want to be consistent, so I'm gonna go three squares off. So there's my A Now the V for simple alphabets like this is almost the same shape as an upside down a. So that makes it easy. We move on to the W. We need to keep in mind the W is the whitest letter, so we don't want this getting out of control. And so what we want to dio is to make sure that we have a properly constructed letter form without it being overly wide, because it's gonna overpower the other letters so you can base it off of your V. But you need to know that the angle is thinner on a W than it is on a V. So it's not just to bees next to each other. That angle is much smaller. So for the first angle of my w just gonna measure what? My v waas this and I'm gonna bring it in. Probably about three squares. It's always kind of a guessing game with the W. If it doesn't great, all you have to do is read Dr So that's an inch and 1/2. I'm gonna go for each side of my W. So uninjured happens under that IHS 3/4 which right here, So I'm gonna make my birth Tex tell here I'm a w right there. And there's other ways that you can make your w two. You can make it so the center apex comes to point. You can flatten that point off, or you can actually cross the's diagonals so that in the center you have shaped like this instead of like this. So whatever shape you like that you're going for there. That's just flying. So now from this one, I'm just gonna start here and I'm gonna measure the same amount of squares across, which is an inch and 1/2. So I'm just gonna measure over an inch and 1/2 and that's where the outside of my next stroke is gonna be. And then I'll find my Vertex the same way. So between these two lines, that inch and 1/2 I've got a 0.75 and then I'll just divide that into and there's your W You move on to the M. The most important thing to realize about an M is that it's not an upside down. W If you look here are w has angled strokes and R M strokes are solid vertical. So when we layer w on top of the M, it's a much different letter form. As you can see here, you can also employed play around with the Vertex of the M Just a little bit on this one. You can see I have it pointed and on the w I have that squared off. I've also placed a V on top of my M here just so you can see the relationship there. The M is just a little bit smaller oven angle than that he is. So it's just for a little bit of visual reference again, I like to pull on my age and base my end right off of my H. So the end is the same width as my H Z is the same width is my end and my h so those three letters are always the same with. So our next letter is gonna be a K and with the K, we want to make that letter form approximately the same with as the age really aiming to make it about the same as they are. Those are all pretty consistent. So I'm gonna measure out, but inch and 1/2 to where I'm gonna aim for my angled pieces to come in, and these will be flat on the top of the bottoms. We kind of sketch that in. But then he just kind of eyeball I just a little bit see where I want these Bangles to kind of come in. That's right about three. So that'll probably work with that angle and then the spot a mangle. I'd like to have come up and not hit here where the angle and the vertical stroke it. But right about here. So it looks more like the shape of the are. In that case, that looks pretty good. I think we'll just go ahead and make those lines. It's pretty close to three wide now. I always like to make sure that my top angled stroke is just a little bit inside the bottom angled stroke. If the moon on top is too long, it's gonna look a little unbalanced. So go ahead and just pull that in just a little bit. So it comes just a little shorter than that bottom struck space. Those extra. Our last two letters are the X and the y. So we're gonna go ahead and make thes the same width as the and H. So that is an inch and 1/2. So this is where bottom angles we're gonna be. And then we're just gonna go in three for with and we're gonna go ahead and make this letter form and see how that looks. We might need to make it a little bit of adjustment on the angle with, but we're gonna try it and see what it looks like. Okay, so there is our X. Now, if we measure weaken, see that the's angled portion are just slightly smaller than three squares. And so I think that's close enough. I think I'm gonna leave it. I think it's gonna look really balance with the rest of my alphabet. Now, when you're looking at the why, the why is gonna be the same with is the X, however, and the X crosses right in the middle and you get the center point. That's a dead center of your ex on the why it's moved down lower to create some balance with that letter form. So if the center point here between your two arms, if that came to the center of the letter form like it does on the X, it would feel really leggy, and it would feel a little bit top heavy. So we just bring that center point down. We have a little bit shorter than leg, and that makes it feel a little bit more solid for that letter for him. So here we have just a few decorative options for this last group of letter forms. Thes air, all single stroke wait, letter forms somehow syrups and some don't summer extended summer condensed. And then we have some with shadows, some with in lines. And then here I've drawn a w. It's actually a little bit different than the one we just learned with the curved letter forms. So I've done full alphabets that are just curve like this, and they're really fun. So congratulations on completing your first hand drawn out so bad. It's really exciting. We're gonna move on now, and I'm gonna show you toe back to rise your artwork, and that just means we're gonna put in the computer. So you have separate little letter forms that you can move around and use as you like. 9. Vectorizing your Art: I was gonna do a quick, down and dirty lesson on vector raising your artwork. I just want to show you the process in case you want to play around with that a little bit with this alphabet. So you're gonna need a few more supplies for this. And what I like to use is my light box. Turn that on right now. You can use a window If you don't have one of these available, you're gonna need some paper to trace your letter forms on two. And you want this to be pretty smooth so your pen doesn't bleed. So this is marker paper, which is a really good option. You can also use Bristol Board. You can also use a laser paper that's got that kind of smooth finish on it. That should work anything with a smooth finish that's not gonna make your marker bleed should work just fine. As far as your marker, you're going to need something that's relatively dark. I like to use something that's thin so I can get kind of a nice crisp lying around there. This is an 03 Prisma color. You can use my crone's. This is another good one. It's fiber Castel artist pen. It's got a pretty thin tip on it. Or you could use this type that's more of a roller ball tip whatever you're comfortable with, and that's gonna leave you with a nice dark line. So then defect Arise this. You'll need a few other things. You'll need a scanner or you can use the camera on your phone, and then you're gonna need a computer. And on that computer, you're gonna need software that can do image trace as well as play with the dark and light levels. So where I use this photo shop for my levels, and then I use Illustrator to do the vector rising. Now I know that there's other programs out there that do the same things. I'm not sure what the names of Lamar, because I use photo shop and illustrator, but I know that there's some other programs that you can use and some of them are free. So that's what you need for this step. So go ahead and get your letter forms, and I'm just going to show you go through this with just a few of them, show you the process and then you can do it with your whole alphabet. Tape your paper in place there, and then you just trace your letters. Now it's time to scan your artwork into the computer. I like to scan mine using resolution of 600 dp I and then make sure that it's nice and crisp and gets lots of detail. Let's make sure that's all in order. Press can name your scan and then hit. Okay, you can also take a photo of your artwork, a high res photo and then import that into your computer and then get that ready for the next step, which is importing it into photo shop. So I got my artwork in the photo shop, and the first thing I want to do is turn this to gray scale, and then I'm gonna play with my levels. Now the levels are the black and white values, so take thes sliders and move them just so I have Chris black and crisp white and not a whole lot of dirt around the edges. So once that looks OK, just press OK and there's your artwork. Now You want to save this as a J peg to get ready to put it into illustrator. So now it imported my artwork into illustrator sheikhoun. See here that J pigs just imported right into here, and then we'll want to open up our image trace window so you can play around a little bit with your presets. I've already set my values, so just go ahead and pick your preset and trace your lettering. And as you can see over here, these are the values that I've chosen for my lettering preset. But I play around with ease and go ahead and just feel free to play around with, um just so your lettering turns out the way that you want it to. Sometimes it comes out a little bit more detailed with some of these values, and some of it's a little bit more, general. So you want to go up and expand this and then you want a new group, the lettering, And so you have all these just individual little letters. Now, if we zoom in, we're gonna take our open arrow. When I like to do is delete the white on the inside of my letters. Just so it's a solid color. So with your open arrow. Just click right inside that outline and then press delete. Do that with all of your letters. So repeat this process for all of your letters. Now, if you see on the A, I have this little connector line, and that's gonna connect the outer outline and then the inner outline around that counter form so that when you delete that white space the entire letter form gets deleted but leaves that counter form. You could do that in illustrator photo shop, or you can draw that line by hand. So repeat this process with your entire alphabet. And then once you get the entire thing vector rised, You could make an alphabet specimen sheet like this one here. Now, specimen sheet is just What you see here is the sheet that shows all of your letter forms. And now that your alphabet is vector rised, you can do all sorts of fun stuff. With that, you could make it smaller. You can make it larger. You won't lose quality of the line work. You can change colors. You can make your own sign. Ege. You can put these letter forms together to create words. This is really good practice for when we start doing are fully illustrated lettering pieces . I hope you guys have had a great time designing your very first hand lettered alphabet, and I'm looking forward to seeing you in my next class, where we're going to explore variable wait letter forms and learn all about Sarah's. So have fun drawing awful Becks. Until then, I'll see you in that class and we'll continue our lettering education.