Hand Lettering Fun Phrases: Illustrated Wordplay through Typography | Rylsee ☺ | Skillshare

Hand Lettering Fun Phrases: Illustrated Wordplay through Typography

Rylsee ☺, Artist, Too Shy To Rap

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10 Lessons (53m)
    • 1. Introduction

      2:05
    • 2. Finding Inspiration

      2:01
    • 3. Rough Sketching

      9:01
    • 4. Fine Sketching

      8:38
    • 5. Composition

      6:45
    • 6. Inking

      13:14
    • 7. Adding Texture (Time-Lapse)

      3:34
    • 8. Finishing Touches

      5:03
    • 9. Conclusion

      1:57
    • 10. More Creative Classes on Skillshare

      0:33
36 students are watching this class

About This Class

For left-handed lettering artist and muralist RYLSEE, the best drawings can often come from everyday life. Ideas that are found right under our noses — heard while walking to work, in your favorite song, or even something that's trending online.

This 50-minute class will teach you how to take those simple ideas, events, or essentially any phrase that strikes a chord with you personally, and transport it to paper in a lettered composition. Through listening and looking at things carefully, and applying some basic lettering and typography techniques, you’ll walk away with a fun quote drawing that expresses your personality.

Perfect for graphic designers, lettering artists, type enthusiasts, as well as creative people who just like to doodle, this class will teach you how to draw inspiration from daily events and turn it into art.

Transcripts

1. Introduction: I'm Cyril. I've been known by the name of, Rilcy. This is an old nickname that my friend gave me back in the days. I come from French hiphop. They used to mix up syllables when they couldn't find the right rhyme, when they're rapping. I don't rap. Yes, I'm specialized in hand-lettering and optical illusion, or pretty much everything related to letter. My class is called, Too Shy to Rap, because I am too shy to rap, and that's why I work on paper, punch line on the sheets. I pretty much wanted to try to teach people how to work on a simple idea, or a joke, or a lyrics that they'd like and to take this idea and transfers it into a nice drawing on paper, then you can use poster, or painting, I'll teach all the different steps that you- Throughout my whole life, I knew that I wanted to draw for a living, but when I was younger and small. Your teacher when you tell them, when you're at school and they ask you, "So, what you want to do in your life? Everyone is like, "I want to be a doctor." "I want to be like lawyer or this "real jobs" and then you're like, "I want to make drawings." They're like, "That's a hobby man. What do you want to do?" Yeah, I think it's pretty cool if you're drawing. Now, you know a bit more about what we're going to do today in the class. My coffee is almost over, so let's get ready, then we go. 2. Finding Inspiration: I always carry my sketchbook. Everywhere I go, it's always in, either my backpack, most of the time in my hand because yeah, I just like to walk around and see what other people do in this part where the Cassiopeia is. I think it's quite interesting with distortion of letters. Texture's also has a big part. There is these brick, that's nice texture. Wood stuff. It's always nice to try to copy real life texture. In this case, he copied the nature and I copied his texture, or her texture. Pretty much everything can be reuse in composition. In a way we're working on composition and texture, but then the letters are also very important. When I walk often, I see posters. They could be good or bad posters. This would always inspire me. Bike, that's one of the great thing in this area. You just have to walk around and sometimes you'll find stuff. This seems to be my new bike. I'll fix it. That's the gift of life. Gift of the street. See, gift of the street. This could be a nice composition to draw too. With some bricks, gift from the street and I can draw a little bike or something. You'll see. 3. Rough Sketching: So now, we're getting into this serious topic which is, I make it sound serious, but it's the funny part right now. I'm going to teach you how to organize your thoughts. As we went this morning, we collected some random ideas, and how to organize all the thoughts. For example, like we have on the top part here, remember we walk past this new mural that had a lot of funny textures and then I found a bike, which was pretty good. Through this, we're talking about like, "Wow that's such a gift from the street." I think gifts from the streets could be a good thing to try to illustrate, because actually imagine the whole morning we had. Before we start with the whole construction of our logo together, I think it's important maybe for you to know a bit more about my path. Because I did a lot of illustration as well, and maybe I can show you a few of my sketchbook, then you can understand more about it. As for me, those ones are more like poster design. Good things come to those who hustle like this guy. I actually did the poster of it, that became like this big or something. Some thing, some of these like these ones became signs, "Fat and happy." As I said earlier, I always have my sketchbook. So, it's almost like going back through a diary kind of. Let's pick one, maybe number five. This is more recent. That's also interesting book, not this but this part. This is how I, pretty much save all my different sentences. For example, I can choose to go through this one. As I said earlier, I get my inspiration from totally random things from, "Too fat for skinny jeans. " it's a picture that my friend Adrian, once took and I saw it on Instagram. There was just brit, badly tagged on the wall. But I think that the too fat for skinny jeans really deserved to be illustrated. So I did it. Some glitch things, some curved stuff. I can go on forever actually. But, I think this gives you a really good idea of, it's a bit ridiculous amount of information you can get. I think that's all for now. Let's get our hands dirty. A technique that I use extremely not often, all the time. I call it Analog InDesign. So, what is the idea behind this? Is just making small sketches of the same. So, now we know we are going to work with the gift from the streets. So, what I often do is just small thumbnails illustration. The whole concept of doing it small, because there is a reason behind it, it's that you just focus on the main composition. For now, you don't want to waste your time working on too many details whatsoever. You just want to try some composition. So for example here, which I hardly can even feel it. Try with the main thing. Confirm it's straight. Then let's do a second one. I don't know. Imagine with a more center line. I'm so happy I found this bike. Gift from the streets. At this point that I usually choose what kind of font I'm going to use. Because there's so many different letters for it. Let's take the G for the first letter. You can have it simple. This and then you fill it. Now, we work in only on the composition. You have a G like this, or another good technique to do it is you make the side part thicker. Here too. And that makes it more with the surf and give a classy look to it. Because you have to try to imagine what is the sentence you want to illustrate make you think of, is the gift classy? Kind of. It could be in more square. There's unlimited letters pretty much. Now we can coin with the negative letters. You just have to choose it well. Because depending on what kind of letter you're going to use, it would give a different feeling to people. These are more block letter. How I call it? But it can be also more escripted. Let's do it nice. G. That's another technique, you can see. First trace to G how you want, normal or, let's do another one, like an A. Then you think about the thick and thin. All the lines that go down would become thicker because back then when they were using the real, how do you call it? Felt tape. These hands. These guys. So, these guys, when you were going up you could impress, so there was the tip would just go in the paper. But when you go down, you press and the tip goes slightly like this and this. It was to make the line going thicker. So, that's the same idea. Every time you go down, you make it thick. This is what gives the dynamic to the script actually. The correct amount of thick and thin. We go up and then press down. As you can see, I can add a bit of both sides. I had to develop a lot of techniques because I'm left-handed, and to be honest I can't really use these kind of tools or even the normal brush. For me, the brush lettering is quite hard. So, let's go back to our composition. I went away a bit from my basic explanation of the composition. So, gift from the street, I think it would be actually good to have a bike. 4. Fine Sketching: Maybe I can show a mini example in one of these one here. This one. Yeah, here. So, that's the main idea. I did this drawing a while ago that says keyboard dyslexia. So, I had this idea of drawing a keyboard, because I'm keyboard dyslexic. I mean, when I write in my hands it's totally fine, but when I type on my keyboard that tend to invert letters. So, I wanted to view a drawing based on this. So, I did some research, the different composition. All those ones are freehand like I showed just earlier. The moment I thought about this, hands like this with the totally weird fingers, and after a while of trying different composition, often, it's good to mix the block letter and the script because it gives a dynamic. The balance is also in the different kinds of letters we use. Then I thought about this small one here, which was, according to me, the best composition. Maybe I can show like, in this small here. Then this became the bigger image and this one, I sketch it first with the pencil. So, you always have to go through the kind of brainstorming, if you could say it like this, in order to know where you go and then you can start the nice drawing with the pencil and everything. So, at this point, we have a few elements, we have this sentence, "Gift from the streets". That's beautiful. We said that we want to incorporate the bike. That makes me smile every time I pronounce it. That's a nice bike. So, when you work with letters you have to keep in mind that, that's a hard word for me to pronounce, it's hierarchy, the hierarchy of information. In this case, we have gift from the streets. "From the" is kind of secondary compared to "gift" and "streets", that's the part that you want to read first. So, they will most likely appear slightly smaller, that makes sense when you think of it. So, in the gift, what does gift inspires, we make this often simple, with the package. Then maybe, now I'm using my technique that I call the box technique, which is a really good technique. You map out this book you want to place your word in this case. Streets, streets has: One, two, three, four, five, six, seven letters. So, you go on, you divide this to be S-T-R-E-E-T-S. When you do these smaller drawings like this, the sketches, they don't have to be really precise or good looking. It's just a way to keep your ideas. Sometimes, you would make some tries that are not that convincing. But these tries would lead you to the next one, which would be most likely the good idea. In this case, gift from the streets. Then let's draw a bike, here. For those who want to learn how to draw a bike, that's quite easy. It's a few geometrical shape. You got like one triangle, then an upside down triangle, then just one bar, like a third triangle, and then one circle, a second circle, a third circle. You almost have a bike. Handlebar, and you have the structure of your bike. This is kind of a good composition. Gift from the streets, being bike. Happy face, with the helmet because when you bike, you have to put the helmet. Let's try last one with the gift, because now I think this composition is pretty nice. How do you see it? But maybe the gift can be with some more fancy letters like this. How cool is it to get a gift? So, I think the same composition as this one, as I said and I say it again, don't waste time to make your sketches like this too clean, because it's a waste of time. That's why you draw them super small. Because often in the workshop I see people doing the sketches for their sign way bigger. But if it's way bigger, we tend to spend more time on it, because you want to make it look nice. But this is not the point in this case. Probably the most important thing when you draw is to have fun. If you're bored or you're not convinced or you try to fake it. People would feel it and you know it, which stuck to check. Don't forget the bike. Should the bike go the other way maybe. Actually, I should make it go the other way, because now my bike faced the left way which in our society is going back because we always read from left to right. So, the natural way to read or to look at things in this way. So, when you draw a character on like an object that face the opposite way, it usually symbolize of going back to something or return or anti-evolution. I think this is kind of cool. I think we're going to go for this guy. Now you can see, with these two, it's kind of better and more dynamic, we were talking about the dynamic. What you see at first is street and then the fact that this first word gift and the bike have almost the same weight makes it balance all together. From there, it's just a transition where to streets. So, this all justify together. So, I think this guy is our winner. Let's draw a nice cup. It looks like a bad butterfly or something. This is obvious that I never played soccer or won a cup actually. Okay. 5. Composition: Cool. So, now, we are going to start the second step. Second or third, I don't know how many steps we've done so far. Which is the composition. Now, we have the small, this guy, in position that we choose. This is the part where we redraw it, but a bit bigger and cleaner. It's often the part that takes the longest, because you have to erase, and re-balance it, until you're fully happy with it. So, I'm going to show you. A good technique to do this is, the proportions are quite nice on this one. So, what you can do, is mark it on the side and on the tall width of it, more or less. It's not really here, it's more here. Then you simply mark it half, fourth. You can even go crazy and be eighth. I don`t really use this but. This would allow you to reproduce it bigger on the right page, or on the wall, or on the canvas or pretty much everything. This shows you, let`s do crazy lines all the way. So, this clearly shows you the grid that we're going to follow just next to it. In this case, this would be the next page, but imagine that it's a giant building, and you're just chilling here. So, let's mark. Let`s start with this. You mark the center. When you go on the page, don't go too close from the edge of the page. It won't look that nice. It has to be balanced. Oh, that's a good technique too. To make the straight lines, without having a ruler, you just touch the side of your book. Hold the distance that you want, and go. That`s magic. Now, if you look at it, like the first word is gift. But we're going to start with the street because it's a block, and that's kind of easier to match it. So, we look at it. It goes slightly over the middle line, which is here, then it, let's say touch the other one. Here it goes to here. Then it's a connect the dot. Street. It's slightly different than on the sketch but it's always different a bit. This is why you make a sketch before. Then letters are a bit like sculpture. You see how I hold my pen here, way further, not like this. Because you don't need to be really precise, you want to have the full vision of your board. Which is very important for the visual balance. Sometimes I leave one part, I wouldn't say undone but, we've worked a lot on the gift, now it's kind of okay. So, let's work on the next part, [inaudible] from. That's a good example of why it's so important to sketch, because as you can see, now I have this space here, this way bigger than here. So, you just sketch it again. Sometimes it takes so many trials to actually succeed. Sometimes you just go one shot and you're like, yes. This make you feel good. That way we have the other problem. Let`s [inaudible] in a bit more space. When you choose here, the F and the R have the same height, this has to be consistent. It doesn't matter where you choose. It could be higher, lower. This is up to you. But, you have to keep it consistent. Otherwise it would hold the composition would look weak because of this. This is definitely the longest part of a drawing. You need to check, recheck, recheck. That`s good. From the street, now we have to draw the bike. This look like the bike I found, right? So, now we have the main composition. More on this. Let's adjust a bit of this. This would give more weight to the street. I think it's nice. So, second step, done. 6. Inking: So now, we're going to start inking. Most of the time, I use pens between 05 and 03. I sometimes use the 01, but it's a bit too thin. So, I always start with the thinner one of the two, 03, and go with the basic outlines. Then also, when it's a bit messy, this allows you to just choose the best line out of all of them. Maybe I use the bigger one actually. Contradictory. The reason why I don't cross here or here like I was showing earlier when I was drawing that and then that and then just feel it, it's because we're going to leave some highlights in this. Highlight is some unfilled parts that would give a light effect. You will see. So, for now, you just focus on trying to follow your lines the best as you could. As you can notice here, I only use two different fonts, which is the street and this one. These two are, even though they have different thickness, they're the same family. Try to avoid using too many different fonts because this would actually not make it look good as planned, it's just confusing. See, I added a tiny little extra part on the H because, between T and H, we had this giant gap of white that you can not find anywhere else. So, just by adding a tiny bit, it would balance the whole letter. So, true, and now I can finish this. When you have two or three times the same letter that appear, in this case, we have two times S, two T, and two E, which is interesting, I just noticed that, it's important to trace it always the same time. If you decided to give an angle to the top part of the S, do it to all of them. This would make it also the more consistent. Same with the height of the letters here, we've talked about the line here earlier. Now, we're going to go for the bike part. When you draw the bike or any objects, pretty much, when you have the sketch, you have to think about what goes first in order. For example, if you draw these two pens above each other, you have to draw this one first. Because if you traced the one that is behind entirely, then would you have the crossed lines. It's the same with this. For example, the wheels would be the last thing you draw. In this case, we will draw, first, the frame, and the basket, and these mini lines here. So, I will start and talk about it. That's balance. Okay. Now, we have the basic structure of the bike. Now, we'll go back on the word gift, and as I said earlier, we'll try to make lights that come from here, which is the natural light. So, in order to do this, you imagine that every part of the letter that is either on top or on the right part of the letter, you have to leave, you double the line, and this would be our highlight. So, we go like this. Here as well. See here, it's exactly why I didn't cross earlier, because we want this white line to be one single line. If I had crossed, you would have had a tiny line here, and this would screwed up the whole thing. So, when you draw, you have to think forward in order to not have disturbing details. Same here, leave a tiny bit. So, now, we have the basic place, all the corner, you can double check. Okay, here, there is, top right. I forgot. This part is also on top. Here it's good. That's good. Okay, we have it everywhere. So, now, we can work with texture because we could either fill it with all black, which looks the sketch I did earlier, but I think a tiny bit of effect would be nice. So, in this one of case, for example, you can decide you trace two lines, for instance like this, and you decide that all of the parts that would be between these two lines would have a different texture. In this case, we're going to fill the bottom and top part block black, like full. The other part in the center, we're going to make it a bit scribble style but dotty. This would add light effect to it. So, for the big filling part, I'm using this guy, 08. Then it goes a bit faster. Can you see it? Every time I approach the line, I stop a bit because we don't exactly know how we want to do it yet. So, as I said, it's easier to add ink than removing it. That's just a fact. Maybe some of you notice that, most of the time, I start my filling or my drawings from the right side, it's simply because, since I'm left handed, if I start from the left, I might smudge my drawing on it. So, most of right handed people would start normal, and then for lefty's always start from the right. Same with paints and with everything. This would avoid some drama. So, now, we just have the middle line and I'm going to switch to this guy, 03, and make some. We're going to dot it a bit. I just go a bit scribble or I start from the left. Bad example. So, maybe you don't see it well on the camera, but see, it's dual style, but this would give the whole texture and makes it a bit more rough like old-school style. Like if it was used a bit. For small parts like the i here, the tip, even though it's in this area of shade, since it's such a small detail, it's better to fill it, otherwise it would just looks unfinished. That sounds more trick. But here, again, if you're not sure, just make it with the texture and look if it looks balanced or not, and this side afterwards. Okay. Maybe I should add a bit of ink here. One of the key is take the time to take your time when you draw. Don't think about being done as fast as possible, you're not in a hurry. Good job takes time. See? This gives a nice vintage look to it. Even a bit rough, it's inspired by the rust of the frame. Maybe you couldn't see it in the video when we found it earlier, but the frame is rusty. At this point, I don't know about the from the, if I want to fill it or how I'm going to fill it. So, always keep on going on parts that you're sure, which is, in this case, the streets. We're going to fill the back part. We take the 05 again. Now, we can stay on this rough feel. Same like this one, but we're going to use it like this. That, one tiny here, and a bit further at last one here. So, everything that would be between here, this bigger one over here would be slightly lighter and a bit less filled, and this would give a shiny effects like [inaudible]. Another reason why I decided to make this lighter part is if you decide to fill all the back of this word street black, this would be way too heavy visually. So, it's better sometimes to give a bit more air in it. You can always filll it if it's not contrasty enough after, but you can also try some different texture. Sometimes, in my sketchbooks, I just work on researching new texture. I try with some dots, with some lines, and different size of pens, and there's so many different ways to do it. Observing everything that is surrounding you will help a lot. Other artists as well, they have all different techniques, shading, and light or to make it, I don't know, scratch it over. So, these textures takes quite a lot of time, so to avoid having you sleeping in front of my video, we're going to fast forward this part, and when the drawing will be done, I'll get back to it and explain the tiny few parts that I added. But most of it, most of the structure is already gone. I might add a few shadow or details, but the whole part is now over. So, we're going to switch to the time lapse. 7. Adding Texture (Time-Lapse): 8. Finishing Touches: After this whole time, let's now, if you could see that we're almost done. The last part is I always erase all my pencil mark. Never rush before erasing. Always wait a tiny bit, go have, I don't know, drink or move your legs or something. Because if it's not dry, you might screw up your whole drawing, which you absolutely don't want. Also, when there is no pencil mark anymore, it's easier to see the parts that you should have changed a bit or what's not working in the composition or what can be improved. So you can see now we are almost done. Quickly comment the few parts that I added while we did the time lapse. So, I finished this whole texture, as you can see now would really look nice with the dynamic of this diagonal bars on the back. It's a bit lighter here than this part. It makes it a bit wavy, and that also, the diagonal breaks the string or the straight lines that we have in the word street. You can also notice that I slightly thickened the outline of the word street and I forgot one part here. Check. This help to pop the letter out because when the outline were too thin, at some parts it wasn't really clear where the letter was stopping and starting. Also, slightly thicken some parts on the frame of the bike. I forgot another part here. This also helps a bit for the dynamic of the bike. Now, we can see that here would be nice to add a tiny bit of dark. There is a super technique that I use a lot to make sure that your drawing is correctly the balanced. It's this, you can first go like this with your eyes almost close to them, and when you look at your drawing while doing this this, this would just push the two extreme, like black and white, and this would show you where it's well-balanced or if it's too much white or too much black. I think here, this could be a bit more balanced with if we add a tiny bit of dark part here. The rest is pretty okay. Another technique would be to flip your drawing upside down and look at it like this. By doing this, you focus only on the visual balance of the drawing and not on what is drawn. So, if that helps. The third technique is you can take a picture with your smartphone or camera, and then this would crop all the surrounding because even if you're only looking at your drawing, still your vision, even if I do this, I can still see my hands. So there's a lot of distraction whereas when you take a picture of it, you only frame your drawing and this really helps a lot to see the basic composition of it. You can mix these three techniques. You can take a picture, squeeze your eyes, and flip your drawing. This kind of works too. So now, I'm just going to add the slightly bigger basket there. Cute. I think we are really happy with this. Yes. Gift from the streets. 9. Conclusion: So now the drawing is done. I'll summarize all the different steps that we went through today. So, looking for ideas could be the simplest part as going to the coffee shops, just walking around, looking at posters and this morning, I found this bike which after talking with my friends, we're like "Oh, that's a gift from the streets." And this kind of sounded funny. So, I decided to make it the sentence of the day, drawing the bike, finding the right fonts. Then, as you might remember, it's this part that we went through with the sketching idea part. Analog small, and analog and design with this small gift. Then, pencil it. Take your time to do the pencil part, really important that the structure, the main foundation of your drawings. Then take your time to ink. If you're not sure, don't ink too much. Keep in mind that it's way easier to add some ink than to remove some. At the end, if you take your time, you might have a nice illustration at the end. So this was my class to share up how to find inspiration in the daily events, in our case, finding a bike in the street. If you find the video interesting and inspiring, feel free to share your own project on your gallery and I hope you had a good time with Doctor Snear. 10. More Creative Classes on Skillshare: