IPad Lettering - 12 of the most popular special effects for your lettering on Procreate 5! | Simone Sloan | Skillshare

IPad Lettering - 12 of the most popular special effects for your lettering on Procreate 5!

Simone Sloan, Calligrapher, Letterer, Mix Media Artist

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
14 Lessons (2h 2m) View My Notes
    • 1. Intro

      1:33
    • 2. 1 - Drop Shadow - Warm up special effect

      6:06
    • 3. 2 - 3D effect

      12:11
    • 4. 3 - Outline 3D

      14:05
    • 5. 4 - watercolor 2 ways

      6:54
    • 6. 5 - Marble Effect

      5:49
    • 7. 6 - Bonus - Digital shading look

      11:31
    • 8. 7 - Neon Abstract 3D

      9:04
    • 9. 8 - Paint Splatter Effect

      8:34
    • 10. 9 - Peeling Effect

      8:56
    • 11. 10 - Paper Cut Effect

      9:00
    • 12. 11 - Neon Sign Effect

      8:39
    • 13. 12 - Stained Glass Effect

      19:00
    • 14. Class Project

      1:05

About This Class

Learn some super cool special effects for your lettering! There are splattered paint effect, neon sign, stained glass, digital looking shading and more. I have compiled what i think it’s a collection of popular effects and out there and compiled them all together in one step by step easy to follow class! All levels are welcome, as we will start with super easy drop shadow as a warm up and work our way up from there! 

IMPORTANT INFO: if you feel that the videos are a little fast at times (sometimes it’s hard for me to slow down my thought process), please use the slow speed option so you don’t miss anything. You are also more than welcome to reach out to me directly if you gave any questions!

Transcripts

1. Intro: Hi, everyone. Welcome to my newest class. I bet lettering and special effects for your lettering. We're going to be using our iPad your apple pencil on appropriate five today and I'm going to go over. Ah, few basic and a little bit more advanced lettering effects. And, um, this welcomes all levels. You don't have to be advanced for this class because we're going to start from the very beginning and you don't have to have a pretty handwriting or be proficient and lettering either. I'm going to provide some templates for you to use if you don't want to use your own handwriting. But I hope you dio um, it's a lot more fun when you can see your work in your own handwriting with those effects. So we're not focusing on the lettering. We're focusing on the effects that you going to add on it. So even if you think that you have chicken scratches, well, let's add some special effects on those chicken scratches and they're going to be pretty special. So I hope that you follow along. We have about 12 less sends and is going to be super fund. Their free Bush brushes for you. They're also templates. There's a color palette, and there's also a list of a few words that you can use at your leisure, so you can either follow along with the same word or you can write your own. So I hope that you have fun and I can't wait to see what you come up with on the project section. So if you're ready to start learning some cool stuff, it just start with the next video. 2. 1 - Drop Shadow - Warm up special effect: Okay, so this is gonna be or warm up or first lessons was going to be the easiest one. Um, for the special effects for your lettering. So you're gonna open per create, and on the plus sign at the top, you're going to open a new canvas. So we're going to create one at the top, and you're going to with the measurements at 12 by 12 inches. That's what I usually work at, and it's going to give you are, verily, a fair amount of, ah, number of layers, and you click at the very top and you can name it. So lettering effects miss building. So that's correct. Murdering effects and create what's going to give you an exact square. So it could be time by 10 or 12 by 12 and I'm going to go ahead and the guys and I'm going to just reduce the size off my guide to about between 101 130 pixels, and we'll give me a good amount of lines as well. So I have already ah, little set of the color palette for my for this letter in particular, so I'm going to start with my brush pin that I created. And I would include that in the class as well. So I'm just going to write. If you want to do this with the text instead of just handwriting, you can absolutely do that. I'm going to do with my with the lettering cause and I hope you do too. But if you don't feel ages, wanna work on the ah effects so you can do that as well. You don't have to read it down. You just have to. You don't have to lettering. I should say you can always just use the text feature on for create. So I'm just going to write the word bloom if you watch my classes before I always use the word hello or love. That's usually my most popular words, but I'm trying to do something different, and I might use different wards throughout this class as well. So I'm just going to write the word, um, with the pressures thick strokes going down and thin strokes going up. If you haven't done any lettering before, you can also I have a class previous to this that just gives the basics off lettering. So that also could help you with that doesn't have to be the straight line. You can always also adjust that if you see that you know it's a little bit not on a straight line, but it's like, consistent on the line, just not straight. You can always go up and down on the little green guide right there where my pen it's moving. I'm just gonna leave it the way it ISS put it right in the middle. You can always do some clean up later. You don't have to do all the cleanup right now, So if you want to add a text, I would say Use this one that comes up as the default is good. But it's nice to use something that has, like, thick lines as well, and I would choose the bold as the feature, so it will give you even thicker lines so you can open, not increase the size of that square. So you can also increase the size of the word. Because if that square small but you want the world to be big, the letters will go on the line below. You don't want to do that, so just make sure that the square is big enough so the world can fit in it. And to make any changes to that word, you're gonna have to rest. Arise it and you click on that layer and you see my finger in there and become rester. And that's when you can make changes, as in, you know, of the effects on that you can change the color, but that's about it. So since I'm using my own lettering, I'm going to duplicate a few layers and I'm going to click on the top layer and I'm going to click on Alfa Lock. I'm going to go for this pink right here, so I have it ready. So click on the layer, click on Al Foot lock, then click again and then click on filled layer right above it, and you're going to see the change in the color. And I know I'm going to change again, because I just decided. But before we do that, I'm going to go into the bottom layer, the black one. I click on the select tool, and then I just moved the black way slightly to the right, so it's almost like a shade, a shadow to the top layer, which is the the darker pink. I just changed it a lighter pink because I want to have different shades later. That is going to be a little darker, so I want to contact with that pink one. Now you click again on the black bloom layer and you're going to click on the Magic one and you're going to choose Gaussian Blur, and you're going to just slight to the right until you see that it's a little blurry. I think I went about 15%. Right now it's 11 10 not too much. I just want a little affected, like it's almost like the bloom is floating on the paper, so some parts of that shadow is blurrier than the others. So now you have the easiest of all the techniques. With the lettering, you just have to layers. One is the color one. The other one is the black right, but right below it, you just move the bottom one slightly to the right, and then you do a Gaussian blur just to have the little blurry effect. If you don't want that blurry, if I just want a sharp shade, you can do that to you. Just don't do any Gaussian blur. You can do as much or as little as you want are not at all. So this is the easiest off all the techniques that I like is usually the 1st 1 day you'll learn. So we're gonna have a little bit more of a complicated once coming up. So in the next video, we're going to go for a little bit more complicated techniques, and I will see you then. 3. 2 - 3D effect: okay lesson to is going to be a build up from the previous lesson. So I'm just going to use the same blue, and I'm going to put one lettering on the below on the layer below and the that layer, the one at the bottom. It's going to be the black one. You're going to go into the magic one. You're going to choose the motion blur, and you're going to go from left to write. But going down a little bit with her pencil. So you slide and I'm going to. You can do us a stick as you want, but I think I went about, um any anywhere between 15 and 25% and then you're going to select the same layer and you click on felt layer with the black so you can see that is getting darker. So click on select and click on Felt layer, and you did this a couple of times, and then you can go or you can go ahead and multiply. Duplicate the late I'm sorry and I do actually both I select and fill the layer, and I also duplicate the layer to get a very dark of very sharp edge, as you can see, and then you can go ahead and merge all of them, which I already did, and to make sure that those lines are very sharp. I click on select and I went down to my airbrushing, and I'm just going over the lines of that black layer, so it to make sure that there it's as sharp as I can't. I wanted everything very crisp. Sometimes you can get that effect too much. So that's why I do a little extra, Um, and you don't have to press it really hard. Is not pressure sensitivity. You just go over it. That's totally fine if you have lighter hands, as you know. So if you use a paper like surface like me, if you press it too hard, it kind of eats away the name of your pencil, so just go over it lightly. You can do that a couple of times, and when you see that that is sharp enough. You un select the selection tool, and you just move the black layer slightly to the right until you see the left edge of the black. It's almost like a continuation of the right side, but you have to start at the left. Doesn't make sense. What I'm what I'm saying. So you doing? It's almost like you're seeing that whole lettering from the right side. So you seeing the base of it. So that's why three d. So I'm going to color that. So you click on Select or you can do Alfa Lock. Whatever's easier for you, and I'm going to select a much lighter pink, and I feel layer. So you have those two colors. So again you click. Click for two to move that layer, you click on cell on the selection tool, and then you move to the right, going down. Now we're going to do a shadow off that three d layer, so it's almost like that lettering. It's stuck in the wall, and the sun is going on the other side, and but I'm going to show you how I'm going to do some shady. So I'm just going to select ah, soft brush that comes with per create, and I'm going to go on Lee on the layer that is the three D debate, not the top one, but the lighter, pink eye awful lock it to make sure that I don't go over the edges and you choose a soft brush. It doesn't have to be on a brush. It could be a bonobo brush. Or it could be any any brush. Do you have actually a little bit of pressure sensitivity so we can go from darker toe lighter, and but I will finish that in a little bit. We're going to do the other shady, so we're going to do the same thing with the motion blur. So I have another black layer then I'm going to use. So it's going to be also the black one that's going to the to the underneath both of them. So see here is going to be where the sun is shining, for example. So I wanted to draw this so you know what I'm talking about. So if the sun is shining from right to left, the shade has to go on that direction as well. So we're going to use that black layer. We're going to do the same thing. Click on the Magic one motion blur and is going to be the opposite way now, from right to left, and you do the same of percentage you did before. If he did 15% before, make sure to do 15% this time, or 20% or 25%. So you're going to click on that black layer and you going to select felt layer with the black and you fill a couple of times, but always click on select. Otherwise you're going to sell. It is going to fill the hole layer with black anomaly, just going to duplicate all the layers. So the layer, the very bottom. So there's three layers the medium pink, the lighter pink, and the very bottom is the black pink you're going to do. Select the magic One motion blur is going to slide it from right to left, but going down and then you're going to instead of moving from left to right. You going to move from right to left and I'm going to show you. I had probably scratched the screen with my pencil, so I just had to go ahead and he raised that part. So you see, that looks a little bit out of place, so the shade has to be all the way to the left of the lettering. So you move that exactly the opposite of the three D part that we did for that lettering. And once you do that, always go on this position. You go from right to left going down until you positioned correctly what you can see. Each curve has a shadow on the left side, and then you're gonna go and click on that layer and lower deal pass ity. I usually do between Tween aged between 20 and 30% but this time I went a little lower so I can go ahead and delete that later with the sun. But you can see that shade is going to the left because the shot the son should be shiny at the top, right? So now we're going to do the shading on the lighter pink part. So I have my Alfa lock on and I'm going to choose a darker pink in a soft brush. And if you get into a separate part of that pink, that's okay because you can always repaint with the original pink if you see that it went over the line. So that's not so much concerning to me than going outside of the lines and and you have to erase a lot more, and it gets complicated off to that. So I'm going to speed up the video. But you're going to do the shadow on every little location of the lettering that it's a against the sun or not facing the sun. So usually it's where, by where the great of shadow it's because it's covering is being covered by the sun. So that part, it's not facing the sun, is the other side, the top of it that is facing the sun so naturally that little part is going to be darker. So is more playing with the lighting than anything else. So I'm making a little darker the places that I can, that you can see, that it's obviously not being reached by sunlight. So I'm were you going to, you know, follow the video. You're going to see what I mean. Once you have the whole thing done, I can always send you instructions. If this things that seems a little bit complicated or if you have any questions, you can always reach out. But always put the darker color where you see on the lettering that parts that don't reach the sun. So anything that it's like enclosed or is being covered by a curve or another, You know, part of the design. That's where you have the darker color. So ah, good guideline is just to follow is the the grey shading the gray shadow that we did to become three D Now for the little parts that the curves are not so much curves, but they're like sharp turns. I lowered the size off my brush into it can have more of a sharp line instead of a soft brush, and and I just make that separation between the light and the darker And this part, For example, I don't need to do pressure sensitivity because none of that is being reached by sunlight. So it's all darker areas of the lettering. So I'm just coloring everything. But I lower the size of my brush so I can have the sharp line, and you can do that as well. I mean, depending on the type of latter day you're writing. So the L, for example, it doesn't so it doesn't have so much of a place that is not reaching the sun, but it has a little bit of ah ah, turn. And there where son is not directly 100% reaching. So I just did a very light, just like a soft line, just so you can see more dimension in the lettering. But I'm not going to add darker shade and there because the sun it's still reaching just not as much as the other letters. So I just had a very light shade. Um, just so you see a little bit of dimension. So once you completed a, you can go ahead and just do a little bit of, ah, cleanup. So I'm just soft in that little line on the L right there and deleting any layers that I don't need, including that one with the sun. Let's say you want to do a background for that. Just not a white background. But he put a picture in this so a good picture will be a picture of a wall, and I I have something already that I downloaded from unspool ash it sunsplash dot com. You just go online. Type www dot on splash dot com. That's royalty free. Click on the picture and you said download free and then you're going to see a little arrow pointing down right at the top. You click on that and then you click on your download and then click on Save Image. You can also do a screenshot, and then you're going to go to the wrench ad and then add photo and you go in your Camero and add that picture. It's probably not going to go to fit the screen. I'm going to put that in the very bottom layers under the all the other later, some layers at the bottom and since his different dimension is not going to fit the screen when you click the fit to screen at the bottle. So I'm just going to adjust them myself, and now it looks like you have that bloom on the wall. I like to add a little bit of texture, just so it doesn't look so digital. I go into the bonobo brush and I just lightly go over to give me a little bit of roughness . It's almost like it gives me a little bit of a paper texture but very light, so if I do a close up, you can see that little texture, and I use that for a lot of my digital lettering is just because it so it doesn't look so digital. And I like a little bit of that roughness. So there you go. You have your 1st 3 D lettering and we have more tricks coming up in the next video. 4. 3 - Outline 3D : Okay, so let's go ahead with or next lesson I This is what you see from their very last one, and we're going to go on Adam outline to that word. So I'm just going back to just the base the bloom base. So I I'm clicked everything else in if you want, you can started a brand new canvas as well. You can just copy your work by pressing by clicking on that layer and you copy. And then you open a brand new canvas, the same the same dimensions, and you paste it. So I'm going to go ahead and duplicate that layer and with the Alfa lock on I when I had and changed to the darker pink, and that's in the very and the below the base. So I will go into the golf Sembler again. So you go into the layer, the darker pink. You go click on that and you're going to go into the magic one and going to go simpler, and you're going to slowly slide your pen to the right until you're like between three and 5%. The trick is to do a very little percentage because otherwise is doesn't you don't get a sharp line, so you're going to select that bottom layer and then before doing anything, you're gonna open a new layer right above it, and you're going to get your hard brush. And on the new layer, you're going to just brush over with a pen or, you know, design over or right over. You don't have to press too hard because it's not pressure sensitivity. There's no pressure sensitivity. So just go ahead and, um, press your not press, but just right over the bloom, the word bloom and then you're going to see, um, the harder the darker pink of going around in a little bit. And it's a little fuzzy, a little blurry. So the more you do it, you can see the darker it gets. But if we just do this with the pen, we're going to stay here for quite some time. So I usually do this a couple of times to earth between two and three times, maybe weren't depending on my mood with a pencil with the apple pen. And then after that, I will just duplicate the bottom layer, just like we did before. So to save us a little bit of time, and then I do the pain again at the end to give me a sharper line. So on the old procreate, you could do this a lot easier. You just use the pen to do this, what we're doing and me, you give very sharp lines with the outlines or any ship, any shadow or shady you wanted to dio underneath the word. But now, for some reason, we don't have the capability. Or maybe there's a shortcut or a different way to do it. So I'm gonna go ahead and duplicate a few times. So some people say duplicate six times. Some people say duplicate four. I duplicated as many times as I feel like it's sufficient or it's the size that I want the thickness that I want in a sharp as I want. So I just combine everything and I just keep, um, duplicating. And once I have the, you know, the sharp the thickness that I want. For some reason, this is this paper like surface that I have for the iPad sometimes doesn't I can move things with my fingers. It gives an amazing feel of a paper writing on the paper, but sometimes it doesn't. So I have to merge everything now. So with the pen. So just bear with me for a second. And there you go. Um, so now I'm going to click on select again because I want extra sharpness so you can see that there's a little, you know, pixelated edge. So we're going to try to get rid of most of them or some of them. So you click on, select right there on the layer and then select. And then you're going to click on invert at the bottom, and then you're going to click on your eraser and with the harder burst, just like if you're doing with to get the lines thicker, you're going to use the eraser to erase it. That residue. I should use that word, I guess. So. It's just going to get rid of some pixels. Some extra pixels is not a whole lot, but you can see that it makes a little bit of difference. You don't have to do that. I try to get the lines as sharp as I can. It's still not The sharpness is in like a vector, for example, but it helps as and if you don't do anything at all. So, um, just bear with me while I go a few times with a brush, it gets to a point that you don't erase anything extra. But if you zoom in, you see that if you press or, you know, go over with your pen a couple of times, you can see that you get rid of some good, um, extra junk in there. So I'm going to speed up the video, and then once we're done, we'll just go on to the next step. Okay? Now, I did some good cleaning. I once elected the lasso tool. And then I'm going to just move that bottom layer to the top, which is the darker pink, and just so you can see what the process is about. But you're going to go into the base, the lighter ah bloom, and you're going to click on select, and you're going to go into the top one, the darker bloom and you're going to click on clear, and you're going to see that you have an automatic outline. So, um, that's to your outlined that you get. So once you one click the base. You also got the outline with a clear background. So it's see through is just the outline and just not the outline. It's not just the thicker word. It also removed the middle, so it became Justin outline. So if you don't want to use the lighter pink, you can keep the darker pink and just do a completely different design. So now that we have that, I'm going to duplicate the outline and I'm going to add some shadow. So the bottom one, I'm going to change the color to black. So I just did the Alfa lock. Click on the layer, click on Alfa Lock and then you click again and click filled the layer so you're going to see the duplicate is going to be black and is going to be in between the outline and the base. So it's the 2nd 1 And then if you move that to the right, going towards the bottom, no move towards the left towards the bottom laughed just like that sun shading that we did previously, you're going to see that the outline is going to become a little bit three D, and if you don't want that shadow to be super intense black. You can always just lower the opacity. Now, if you want a little bit of a softer shade, what you can do is the same layer of the black outline. You can go ahead and click on the magic wand and choose the motion blur. I think I'm in out flock. So that's why nothing is happening. Yes, so make sure Alfa Lock is not on, because then nothing will happen. So click on the motion blur and go from laugh to right from right to left towards the bottom and just do a little bit because the online is already a very, um, you don't want that shadow to be too big, too thick, Otherwise you won't make any sense. And then once you do that, you just you can multiply if you think I'm a few times just like all the other shading process that we did. And once you have the, uh, it doesn't have to be super sharp, either, because it's going to be in the middle, so it's good to have a little bit of a fuzz, but not too much. Once you finished that duplicating, you go ahead and move from right to left. I have such a hard time with right to left, left to right. I have to look a man's and you're going to see that it's a little bit. It's really black and anything that it's outside the letters. You can go ahead and erasing because you just wonder shading on the inside of the letter to give the dimension. And I feel that it's three D or that the outline is higher than the base off the letter. So you just erase was on the outside of the letter, so just choose. Ah, hard brush. Um, hard to me is, just have a hard edges so sharp edges, and you can go ahead and just leave anything that it's on the outside of the letters. And that would give the dimension that the outline is just higher than the base of your letters jacking . And as you go along and erasing the outside of the letters, you can go ahead and also reduce, um, parts of the shadow that it's like missing or if you see there's just some imperfection. So I'm just there some fuzz here, right in the middle and I'm just using a very tiny brush and just erasing right in the middle. And also, I see that there's a little tiny bit missing right there. So I'm going to get a little tiny bit of a black brush and just fill in that missing piece . And, um, you shouldn't find a whole lot because those outlines were pretty sharp. But anything that you find that you can see that it seems obvious to you can go ahead and do some clean up as well. Okay, now they we did most of the cleanup for I think that's pretty much it. We're gonna go ahead and lower the opacity of the shade or shadow just so it doesn't look like so on such a hard shot like his black it's not is usually just a ah, some type of gray. And I looks like I missed a little bit here on the O. And as you move along the opacity, you're going to see if you miss any spots. So don't worry too much about missing cause you you will catch it. And there someone e l two, the after a while, especially when you start changing backgrounds and you had some texture to the letters, you're going to see that it looks really obvious when you miss a spot. I think I got everything and we can go ahead now and that some texture to the lettering. So I have some. Let's go ahead into the mid tone pink, which is the base, and we can choose, like some patterns or some half tones that we can use for just to give a little bit of texture. You don't have to, I added. The burnable chalk on top of this one, so it gives a little bit of that paper texture, but you can use half tones. I have 1/2 tone brush that I included with this glass is a simple one. But, um, I teach how to make halftime brushes on my other class. So, um, you can use that as well. You can make your own brush, so I'm going to go ahead and turn on the Alfa lock for that pink, and I'm going to choose a brush, and I'm going to add texture to it. Okay, so selected the layer that you want to add the half tone. I'm went toe on my brushes and I have 1/2 tone that is like a bunch of little hearts. So you choose the base and you just with your brush, just go over it. There's no pressure sensitivity for this one. Um, so but just make sure they you do in an all in one stroke. Otherwise, you're going to see overlapping patterns and it doesn't look all that great. So make sure day you choose the right layer and you can always lower the capacity. If you just want a little bit of ah, you know, remnants of your half tone. It doesn't have to be super obvious. So, uh, I will go ahead and see if I need to change the capacity for this one. But it looks good so far, and it's okay to change things around as you go along. You can choose different collars as well, but for now we have just a bunch of pink. I hope you like it. Now it's your first outline. Three D and let's go to the next lesson 5. 4 - watercolor 2 ways : Now it's time to do some water coloring on or lettering, so I'm using the same word. But you can use a different word if you want to. Just write any word or if you want to just reuse the blue because it's easier. So I just copy from a previous ah, working dinner just pasted on a new canvas. Same dimension. So since I won my bloom to be in white, I just changed the background toe like pink color just so you can see the color of the lettering. So, um, you can use your own handwriting for this or the text at add tax with the procreate has that future. So I'm right now. I'm clicked on a circle up top and Honore to choose my colors, and I can include that color palette as well if you want to use the same colors. But I'm just going around the wheel and getting all the different colors that are like mitt tones, but still pretty vibrant. So they're not neon colors, but they're still very, you know, they have a good saturation to them, so I'm just going to put a bunch of colors on my palette right now and then I can go ahead and choose my watercolor brush, and that's going to be included. It was as one of the resource is as well, and I'm going to on a different layer. Just choose. Mu knows very many colors on the layer above it, and you can do a clip clipping mask and as you you probably can see much. But I chose a very light pink just to show that it would if I'm using it as a base. So I just put that collar on the bloom and you can see that it's just very light, almost the color of the background. And now with the same brush, I'm going to just use a darker pink or more vibrant one, and I'm just going to go over the lettering, and you can see more now because it's a lot more contrast ing, and if you zoom in, you can see the texture of the brush as well. It's supposed to be a water color texture, obviously. Ah, but is very light helps and we're going to add a bunch of other colors and do some effect with the same brush that I'm using right now in a couple of others, one that I also created in another one, the the white glaze that came that comes with procreate. So it's a native brush. So let's go with the purple and I'm going to now choose the wag glaze that comes with per create, and I'm just going to just randomly just just go with my pen around the lettering. But I like to use it towards the edge and in random places not all over, because I wanna added that water. Cholera facts, which means you put the brush wet brush somewhere in the water, cut with the water color and you give you have that bleeding. The watercolor bleeding affect you, so just do randomly. You can just do like dots as well with repent with your pensions like I'm doing either big or small just to give some texture to your lettering and to give some extra colors. And you can go ahead and also start choosing other colors just to mix it in. I did warmer, called this time just because I wanted to do something different. I usually go for cooler colors, but I'm going for some oranges. Some yellow, some pink, and then we'll probably add some losing purple. So just go ahead and add. Add all the colors that you want at your leisure and just see what you like. There's not a ruling, and I just keep it simple. I just don't do it too much because I like the watercolor, the words just a lighter and more delicate, as opposed to super bold. So just go ahead and at some colors around it. And also just do some dots with the same brush, and then you can go ahead, Um, and also after that, what you can dio. This is actually one of my favorites. You go into the eraser and you choose the same brush, which is the weeklies, and you just do some dots randomly. Not too many otherwise, is gonna look like you're trying to erase your work, but do some dots around to give the distress look as well, like you have in fact, at it water to your water color. If you ever done alive or you know the real life watercolor, if you add a drop of water is going to bleed, and it's going to give that it's almost like is going to take the ink out of that spot so you can do that effect as well. With the eraser. Just choose the wet glaze. And now you have your simple watercolor A factor. Bloom, just on award. Now, let's say you want to do some in the background and just leave. The ward is blank, so your word is still going to be white. You can put that at the top. So since the background right now is white, you're not going to see much, right? So you can just turn off the clipping mask and you're going to get one of the brush that is the watercolor brush with texture, paper texture and it just going to on the layer underneath it. Just color it with whatever color you like. I usually go for purples and pinks, but you can go for green and yellow and orange and just make sure that you're on the layer underneath it. I'm going to decrease the size off my word just because I want you to emphasize a little bit of the background. So choose their colors, just go ahead and, um um, at whatever colors you won the colors should blend nicely, but you can always do a little smudging at the end. If you would like. I didn't. I just make sure that I When I change colors, I go for something similar. I don't go for yellow and blue or yellow and purple. I usually do a pink and purple and then the prime exit purple at some blue. So to have the nice transition, cause even with real watercolor, sometimes the mixing don't look as nice. So I am doing that trick that I shows you before with the eraser. You just use the wet glaze. I also wanted to just, uh, make it the Inca little lighter cause it was pretty bright. So how many? Some dots now that one is really bright. So I mean, decrease the opacity of the brush and you can see that it adds some really nice effects, and you can stop right here. Or you can add more colors. There's no rule for that, Um, but this is your trick for watercolor background. It's pretty easy again. It's touch. It's perfect for beginners, and, um, I think it looks awesome, and I will see you on the next video 6. 5 - Marble Effect: now following from our watercolor trick, we're going to do a little liquefy marble effect trip trick. This is going to be very quick, is very basic. So I'm just going to add a bunch of like, super bright colors, and I will add a color palette for you if you want to use those. But it's gonna be, like, pretty bright and vibrant, so almost like a neon. So I'm just trying to choose Brushed that I think it's going to add to that as I don't want something that is trans lucid so much I want something that's opaque that's going to add a lot of if it was in real life will be adding a lot of ink, so you might have to do a little, Um, I would say research to see which brush you like the best. So, um, I like usually acrylics, but acrylic on procreate. They're not super. They're not super opaque. So, um, washes pretty good, um, oils really good, but it drags all the ink around, causes oil. So I'm just going to test with a few different ones. And I'm just going for whatever bright colors air have I'm reusing the water color layer, but I don't have to. It can always. We start with a blank one. And if you want to do a color palette that it's, you know, super vibrant, I would say Choose the vibrant, the most saturated color that you can find on that wheel on the color palette on the per create. And instead of moving the inner circle, little little Tiny dot to change the the shade of the color just moved the wheel around and you're going to get all the super vibrant ones. So I'm just getting a bunch of pinks yellow, purple, blue, that blue one. You can tell that it's very saturated, so I want something very bright, vibrant to add to my work right now. So I'm just putting ankle over randomly. There's no rhyme or reason, so just put. Just make sure that there's a lot and everywhere so you can get a lot of ink. And on the letters that not just one Letter One Inc and each letter. So I just want a mix of everything. Once you're satisfied with all the colors, remember, this is the layer underneath off the word bloom. So you're going to click on that Magic one and you're going to school looking towards the bottom. There is, ah, one thing that you can choose on liquefy. So you click on that, and at the bottom you can choose if you want to just expand or if you want to swirl around it. So I just do a mix of everything, sometimes expand. Sometimes I pinch, which is just compress like what you see right now, they're just get closer together. So it's like you're pinching the colors together with your fingers. Ah, but I like to move it around and also expand, And then I do some swirls, either right or left. There's no room for that. I just want to make sure that all the letters get a bunch of colors because that's what makes it fun for me. So just play around when you see that you, you know, it's very makes, and you don't have to use a vibrant color. You can use whatever call appellate you want. I just like to use things very vibrant and very saturated. I like bold colors as you probably already noticed it, so I'm just going to move things around swirl Ah, lot or twirl. That's what it says on procreate. And once you happy with it, then we're gonna go to our next step. Okay? Think I'm pretty happy with us. So I'm going to move the layer on top of the word bloom, and I'm going to click on the layer, and then I'm going to click on clipping mask. So you see that the only thing that it shows the color is where you wrote the ward bloom, and that's exactly what I wanted. And I'm just going to make the word bigger. I'm not moving the layer below it. So you see that? You know, the the the word moved, but the collar state put so you can see that it's kind of moving on a background when I move the lettering. So, um, you can keep coloring even though he already used the clipping mask. Um, or you can just leave it right there. So what? I'm gonna dio I'm going to, um, do a little just a little light in the background, because I like the black background, but I like also a little lighting. So what I did was I use a soft brush and the white color, and I just do a little point dot and expand it, and I just reduced capacity and you leave that under the ward bloom. But this is like pretty light. So, uh, I'm going to also add a little shadow. So I'm going to duplicate the word blue and the one below the white. It's going to be black so you can do on Alfa Lock and then filled layer and then is black, and then just move it a little bit to the right. And then it's a really good contrast with the white little lighting in the back. You can do the little Gaussian blur that you've then we've done in the past. So you click on the Magic one on the layer of the black bloom, and then you just drag your pencil a little bit to the right. Um, I think that white, a little lighting. It's a little Teoh bright, so I just reduced a little bit of the opacity. But here it is just a little nice trick with the local fight, and now we're going to go to our next video 7. 6 - Bonus - Digital shading look: now we're gonna do something different. We're going. Teoh, use a text feature from for creates. So I'm going to use the same colors. I don't want to make this complicated. So you broke on Lynch and then add text, and then you just type in the same word or you can type whatever word you choose. So I'm just going to go with the same bloom. And I want all capital letters just because I think it looks more cohesive that way. So they're several funds that you can go with and it's called Futura, and you click on Bold because I want the very thick strokes and you make it as biggest you can on the 12 by 12 canvas. So make sure to increase the size of the square what the word is, and then you can increase the size of the world as well. When you have happy with the size of the word, you're gonna go to that layer, you're going to see the letter A and you're going to restaurants here and then that's when you can make all the changes as a special effects and everything. So we're going to duplicate that layer and the bottom layer. We're going to do the Gaussian, the motion blur. I'm sorry. So you're going to slide your pen from left to right going down, and I'm doing this about 27%. And I'm going to go ahead and leave it on a color that I want to call her A and I'm going to click on selected on the same layer and then feel layer and then select again and felt layer select again and felt layer. So we've done this and previous lessons. So we fuel of this is your first time You're going to do this a few times until you have them or opaque color, and then you can go ahead and duplicate the layers as well. Otherwise, which is going to be selecting filling the layer for a long time and duplicate? Save us a lot of time as well. And once you have done that, you just do. Man, you're going to see that the lines are not super sharp and what you can do as well you can get your hard brush and then you can select and just go over with your pen just to give the actual sharpness to the edges. If you would like, I always do that for my lettering. Sometimes I do more than other times, so it will be up to you into your preference. Once you have finished finished with your pen, you just going to go to the same layer. You click on that and then you click on the selection tool and you move that layer on the same direction that you did with remote motion blur from left to right going towards the bottom. That's, you know, the the same three d trick that we did with the cursor for the lettering bloom, that it wasn't a text. So I just decreased the size of my word. Just so I can I make sure that nothing is cutting off the side of the page? Because sometimes if the word is too big, the effect the three D part cause often page. So now I have a size that I'm happy to work with, so I'm using the same color palette as before. I just want to make sure that the placement of the darker pink is perfectly aligned with the lighter pink. So now we're going to duplicate the first layer again, the base of blue, the one that doesn't have any motion blur or Gaussian blur. And we're going to do another wanna put, Survive the very bottom, and we're going to do motion blur to the opposite side, just like we did previously. So we're doing up to this point the exact same trick. I'm just going to add a different effect to it. So, uh, click on the layer, then click on the magic wand, and then you go to do the motion blur two from right to left going towards the bottom. So about 25% I think it's good they think. Liam called that layer and you click on select, and then you're going to click on felt layer and then select and fit layer and then do this a few times, and they were going to duplicated again. And obviously we're going to change that color to black. So go ahead and duplicate and just pinch everything together and click on select on the same layer and then click on filled layer now to fill it with black and then duplicate a few more times. Then we're going to click on that layer and then the selection 12 and you're going to move the same direction that you moved your pen on the motion blur. So from right to left to going towards the bottom, and then we're going to click on the same layer in lower the capacity, so between 30 and 40% is good, but you can go lower or higher, depending on your preference. I like a mid tone, so I don't go lower than 20%. Now we're going to add the shady ah previously, So you're going to go into D actual three D parts. So the middle layer before we used a soft brush to go from dark to light. Now we're going to do more of a digital look, so there's no going from dark to light. You're just going to do a draw, a line. That's where your shading is going to end. So it's going to be pretty sharp layers and Alfa lock so you don't go outside the lines. And once you have that layer ready to go, you just get the darker pink with the heart brush, and you're going to make that line diagonal on the same direction where your three d is. And if airline is not perfectly aligned with at the direction that you want, you can always use the quick shape to adjust it, and you can go ahead and just fill that hole part. I'm just doing almost like a circle Teoh look. Fill it in, but it doesn't work that way, so I'm just gonna have to paint it, which is fine. And then a knee. L was a little bit easier because it's like a square or a least like a squarish shape, so or a triangle. But it's all sharp lines and corners. There's no curbs like the B, but it doesn't matter because even on the corner on the shop curves where it's not a sharp corner. I'm still doing just a sharp line because I want that graphic design or digital book. Another option is to add a completely different color than this pink Add like some cool blue or another color. You can even do just black. That's totally fine. I just use the same call apologised to make things easier. So we're just gonna add the shade for the shadow, whatever you prefer to call and all the bottoms off the letters coming from the left to the right. And after we add all the colors at the bottom, we're gonna add a little special effects. Just just for fun. Now that you added all the shading on the bottom of the letters that were going to do the inside of the letter. So in the oh, you're going to do the same thing as you were doing on the outside. You just going to follow the position off where the light would be shining and you can follow the same line diagonal with the bottom of the letter. So if you see both of the sharp lines inside of the O any outside, they're like one stray diagonal line. Same thing with the be on Lee. The upper part of the inside of the B have the shadow. So you do about a little bit last in half of that space following the same angle off the line and that you did for the bottom shade, shade or shadow as well. After you completed that, In fact, we're going to use the same brush either the hard brush or you can do the monoline, and we're just going to add a couple of lines next to the shadow just to give a little, you know, something like a little extra detail, but you're only going to do that on the letters that have a curve. So it's not like a sharp edge, Um, and that's what you're gonna do in both inside. On the outside, you don't have to do a line. You can do dots. You can dio other shapes that if you want, I like the lines because it gives a little bit of digital feel to the word to the lettering . So I used the lines, but I'm using a thicker line and then thin or wants to a thick stroke in a thinner strips. So I just reduced the size of my brush a little bit. You can do both thick or both. Then you can do several lines you don't have to do just to. I'm just doing too, so it doesn't become like a super long process, and you don't have to watch me do everything. Also, the inside of the letter M. I know that it's an open space, but at the very top is covered means there's no sunlight at the very top on the inside, so you can add a little, um, shade in there as well. So it doesn't have to be super big is just covering the very tippy top. What? You You can stop right here. Or, if you want to do a little extra something on other extra detail, you can added another layer on top of everything. Choose the color white in the brush like monoline, and you just add just a straight line coming from top to bottom and a little dog. So that's going to give more of or just extra detailed more of, ah, digital feel, um, so you don't have to add a straight line with a dodgy confused to a straight line, or you could do a bunch of dots. Or you can do to straight lines with a space and in the in between, our space in the middle. So one straight line with the space in the middle or two straight lines. Obviously, I'm just doing everything on the left side of the letter, but if your word is in a different position, you didn't follow exactly what I was doing because you want just wanted to do something in a different direction. You just changed the direction off those details as well. But that's totally fine. So this is the final piece. It's very simple. It's something just for you to just get your creative juices flowing. And now we're gonna go to our next video. There's more tricks coming up. 8. 7 - Neon Abstract 3D: This is another easy trick that I learned some time ago and I thought was really cool. So you're just going Teoh on your regular canvas, you're going to choose a hard brush, and, um, I used a guide just so I have everything in one straight line or at least somewhat straight and no pressure sensitivity on a brush. But you can have you can choose a brush with pressure on it. That's totally fine. So, um, you can do this by using text, but I think it's much cooler if you have. If you use it with just her lettering. Your handwriting doesn't have to be a nice handwriting is just because the effect is going to be on the letters where the letters connect. So if you do just the block letters, you won't be able to do it as much because they're all separate from each other. So I'm just writing the word bloom, and I'm doing just very simple, and I can include this template, um, as well, just if you don't want to just write it yourself. I hope you dio because this is not about how pretty your handwriting looks, but it is just about the effect that you going to add to it. So But I will add it. Just if you want to practice with something that it seems familiar to you, so I will add it to the resource is for this class as well. So I'm just going to ride the word bloom, and I want somewhat consistent. I don't want to look to Morgana court too much of a handwriting, so I will go ahead and open another layer on top of it, and I'm just going to choose a lot of vibrant colors. So I'm going to start a new palette and you just go into the palate onto the down to the bottom, and then you click of the plus sign, and it's going to give you a blank palace so you can put your own colors. And so I just chose a very saturated pain because you see as the first color. And after that, don't change the dot in the middle circle. Just go ahead and move around the circle where that pink was, and you want to see all the supervisor vibrant colors on that wheel, and you don't have to change anything else. You just dropped the colors right there. So once I got to the pink from where we started, you can go ahead and start painting. Now we're going to open a new layer right above the layer of the lettering. We're going to use the clipping mask again. I'm a big fan. Causes a nondestructive way of painting whatever you're doing. So I'm going to cheat you. Choose an oil paint brush. I like the way that it just makes everything kind of mix everything together. It just carries the color when you mix a bunch of vibrant ones. So I'm just going to put randomly a bunch of colors in there and see when you mix the yellow right next to the pain could get some orange and, um, you might not get, you know, completely different colors when you mix, but I like how vibrant and how bold they look when you put them together. So I'm just going to put them, make sure that I cover all the letters cause it's not 100% opaque. You can see a little bit of the black and try not to spread too much. So quote unquote your brush because the ink senses to mimic the oil pain it will carry around the ink, and you will uncover the black from the lettering. So, um, don't move your brush too much or too wide on the campus. Okay, well, once you happy with edges, click on that layer day. You're just paying it and going to clipping mask and is just going to pretty much a show. The painting on Lee on the lettering that is below a sometimes a duplicate that layer with the painting just so he gets a little bit more vibrant. And then after that, I get a brush and I painting a little more. Just make sure that it's on the layer that you painted first, and now you're lettering because it's not going to show. And, um, I'm usually adds a few colors here and there. If I see that something is may saying, or if there's ah, color that is showing last and others or more than others, so I go in there and do a little touch up, then you're going to open a new layer on top of the clipping mask one and you do another clipping mask and you're going to choose the color black, and you're going to go into airbrush and choose a soft brush. But she's the bake one, and you lower the capacity towards the middle, Um, or maybe a little lower, and the size could be pretty much does the size of the thickness of your stroke, and you're just going to lightly put your pencil like just a stroke on all where the letter the letters connect. Make sure that is not too dark, but we can fix it if it iss. So it's just going to be a darker color. So you just putting pretty much like had like it will have, like a smoky effect. So I'm also adding on the M because I think that it will add a cool effect for that, too. So right now you're just adding, like just a basic shading to the letters. Now you're going to go into the eraser and you choose the hard brush, and you're going to erase that black. The shading Onley on the parts that it's supposed to be on top. So that stroke for the B. I want that to be on top of the connecting off the B, the bob, the top of the bottom. So I want that to be not have any shadow. So I'm going to erase that. Make sure that you're in the later in the layer that you did the clipping mask for the shadow. Same thing with E l. I want the stroke of the L B. On top of the one that it curves back down. I want the oh, to be completely Let me see if this works. Yeah, quite so I'm going to have I just went back a little bit. I want the oh completely on top. Same thing with the 2nd 0 so the connecting of the O is going to be underneath the actual circle or this fear, whatever you call it. But you can do the opposite. You can have the connecting one being on top, if that's your preference. So on the AM, I'm going to erase that shadow on the stroke, going down in the second stroke, going down as well, and you don't have to do on 1/3 1 because there is no shadow in there, and then you can go through eraser on a soft brush and just lightly erase any heart lines that you made by deleting or erasing those shadows. So just to make sure that he gets it's just a very soft shading. They you're adding to your letters, and you can also adjust it on the other letters as well. If you think that the shading or a shadow is too dark, you can get a soft brush under the eraser and just, um, a lower deal opacity as well. So, um, as you probably know, I like the dark background. I think everything looks better in the black navy, blue plum or a very deep green olive. Ah, background. Everything becomes a lot bolder if he used vibrant colors like Ideo. So, um, I chose a dark, just a black background, and I'm going to do a little white dot with a soft brush on the layer underneath the lettering. But on top of the background, of course, and I'm going to increase the size of that dot onto becomes like a huge dog in a lower D a pass ity. So it's softer and I duplicated the blue, and it's already in a black color, and if it's not you just color it black, and then I changed a little bit. I moved the layer a little bit to the right just to give that shadow. You can also do a Gaussian blur, but if not, you're done. And now we have mawr tricks and techniques coming up on next video, so we'll see you there. 9. 8 - Paint Splatter Effect: so following from or liquefy marble effect, We're going to do a painting effect. So some paints bladder. So on the lettering layer, I'm just going to remove the black background. I'm just gonna put in white just so it doesn't, so we can focus on the lettering. So on top of the lettering, you can add a new layer, or you can do it on the same layer. If you don't mind that, you're going to be adding that, um, effect forever. But I like to added layer above, So you go into, ah, the top layer, and with a monoline, you go ahead and just start drawing some paint droppings like some like a drop like a teardrop. But it will be paint, and since it's in the same layer as the lettering or the layer above it, make sure that the clip clipping mask it's both layers. If you're doing separate layers, the whatever your painting is going to just show on a clip like a the clipping mask. So it's just be a continuation off the marble effect or the liquefy effect. So that's that would add it to, ah, the splatter. The paint effects was dripping. So that's what you adding and dripping effect as well with the with the paint so you can go ahead and add some bigger ones, some smaller ones. So, um, it doesn't have to be perfect because drop into teardrops or pain drops. They're not perfect. They're completely, you know, you you can't control would they're gonna go down if it's standing, but you can't control the direction that they go ast faras like a little bit sideways. They don't go as a straight line, especially the wall has some texture. Ah, but you can add, like, you know, just add a little bit of variation to it. And, um, we will add a little bit of a plane splatter after this one is done. - Once you have added enough dripping effect, we're going to go down to the water folder on the brushes, and you're gonna either do. I'll do both the water drip and the blotch, and you just add a couple. Make sure that you changed the um size of it, so it doesn't look exactly the same. And I also add some coming out from the letter. So to add an actual fact and so the blotches also coming out of the letter, not just a dripping. And since you're already out of the dripping to your lettering, you can, if you choose just to add the blotches totally fine. You can do that as well, I added. Both, um, the block doesn't have a dripping coming out of it, so that's a nice addition as well. If you want to do something different, that doesn't include a dripping or a drop on every single one. So I added both. But it's up to you. Whatever you feel like, it looks good for your piece once you're done adding the effects of the painting. Now we're going to give this lettering a little bit more of dimension by adding some shading to it. So it looks like the pain is actual pain coming out off the wall. So on the layer of you can do either of the clipping mask or layer above the clipping masking. You also click of Kip clipping mask on that one as well. That's where we're going to add the shading. So with the black soft brush under the airbrush, you can softly just go over with your pen on the very edges of the the lettering, so that's going to give the illusion that it's not flat. So the pain is just like it raised a little higher than the surface, if you know what I mean. It's like it's almost like a bubbly. So you doesn't matter if you press a little harder and you give more black into some spaces because we can always fix it later with the eraser on the soft brush. So we're just gonna go with the soft brush around it to give a little bit more of the shading. So we're gonna go around the letter on the very edge. Ah, little bit extra on the right side. The left side will be probably very little to none. So I'm just going to concentrate on the right side of the stroke. And just to make sure in case I have to erase any of the shading, I am well doing this on a brand new layer on top of the clipping mask and you clip mask that one as well. Because if I have to erase the shading and it's on the one clipping mask with the colors, then there's no way for me to erase that. So make sure that you add a new layer on top of the clipping mask and you click on clipping Mask is that would clip mask on the one underneath it, and it will work out for your letter just the same. Um, so I'm just going to go around the word and all the letters, and I'm going to do everything on the right side. If it's too dark for your liking, you can always fix it later, so you don't waste too much time. So I'm just going around all the letters on the right side. Like if the sun it's shining more from the left side this time would not. Doesn't have to be the son, but any lighting. So if any natural light or lighting is coming from the left side, so you see a little bit more of a shadow on the right side this time, so I usually do the opposite. But this time I want to do with something different. Don't forget to add the same effect to your blotches and drippings, um, around the campus as well. That is not even the ones that are not attached to the word just to make sure that the pieces Oh, cohesive and everything looks pretty much the same. I'm going to speed up the video so we don't have to watch every single little detail that I'm going around the word. But you can still see what I'm doing And just make sure that you add everything on the right side. And after that, we're going to add some lighting on the left side this time. Okay? Okay. So once you have completed all the shading and one on the right side of the letter, we're going to add the lighting on the left. So you going to choose the same soft brush? But it's going to be in white, and you can do that in the same layer, and you're going to add is going to be a little thicker than the what you had on the right side. You're gonna add the laughter just a very soft stroke. You can see the the how thick it is. Based on my letter. Just want to give a little bit of ah glossy feel to my lettuces paint. So there's no not much texture to it, even though you could at some texture to it. I'm just going to keep it like this because I want a glossy effect so you can go ahead and attitude all the left side of every stroke on the letter. I do even the thin stroke as well. I just made that. I just make that the white shading just a little bit thinner. And I also add in the blotches and other than the drippings as well. And once you're done with a shady, if you think that's too bright of the white, you can always erase or just do a light eraser with a soft brush as well. Ah, but once you're done, just go ahead and you can either leave on the white background. I change it to black, you know it. And but I'm not adding any other effects to it. And, um, now we are done. I will see you in the next video 10. 9 - Peeling Effect: Now we're gonna do one of my favorite tricks, which is gonna be the peeling effect. And you're going to get one of your previous blooms project. I I just got the three d one with the outline. Um, you can do which one, whatever you want. And the first strict that I wanted to show you is the color drops. So when you color job drop in, there were more colors on whatever it is connected, all the colors are going to change, but they're not going to be the same. So I wanted to change the three d part of this word, and I just dropped a blue on the lighter part, and everything changed two different shades of blue. So if you want to try that, you can. I just didn't wanna have too much pink or too much purple. So I just dropped a blue in there just to, you know, do something different. So we're going to write a different ward on, um, on this canvas, so that's where the effect is gonna be. So if you don't know, there's the same bloom where you plant it, so you can just write in whatever. Ah, block letters where you are and then plant it. We're going to do a lettering, but you can also add a text. If you don't wanna do the where you planted and like in your own handwriting, this totally fine. And if you do write yourself, just keep it in on a smaller side because we're going to focus on the bloom and planted. So the planted is the new tricks. So I'm just gonna add a taxed. So you go into the ranch up top to the left and you just click at taxed ad and an at text. I have my campus crooked, so the text is going to be on the same angle that my cables were, So you can just click on that layer and then you can just ah, put it on the right angle. According to the letter, you can leave it in Diokno if you won or whatever a lime anyone. I just wanted everything straight. So I'm gonna go ahead and a different layer. I'm going to write planted, which, um, that's the fact of the peeling affection that I'm gonna add. And I'm going to use my brought my, uh, lettering brush that it will be included with this class as well. But you can use whatever brush day you want to just one that lettering effect. But if you want something that there's no pressure sensitivity, you can use that as well. It will not make a difference which brush your using for this project. That's totally fine. Once you have finished your lettering, you can do this with the text with the block letters, but I like the fact much better if it's a hand written, like a letter like cursive. So you go ahead and just place it on the position or enough location on the campus that you like. And they were going to duplicate that layer and the top one I'm going. I was duplicated one extra, by the way, and the top one I'm going to select and then feel layer what that blue one that I have a top you don't have. If you don't sell acted, that's what's going to happen. It fills the whole layer, not just where you selected, which is whatever is. There's pixels and that layer. So I go to the layer below, which is the black one, and then I move it slightly to the right. That's what's called a drop shadow, the very 1st 1 that we did in the first warm up and then you're going to go into the Magic one to a Gaussian blur and then slightly move your pen to the right. I think I did about 6% so but he doesn't have to be an exact number. It could be 6%. It could be a percent 10. 15 is. But don't let it get to blurry because you won't see the effect. It has to be somewhat just a slight blur, and I will show you why. So once you've done that, you're going to go and to the you can do either top layer or our bottom layer. But I'm going to show you the top layer first. So when you selected the layer that you one click on the selection tool top and you see a bunch of options at the bottom, you're going to select warp, and then you click with your pen on one of those dots of top, and if you look at it and you start moving on Lee, that part will move it warp the shape of the word or the figure or whatever design you have in there. So I'm just pulling a little bit to the center and you see that it's almost looks like I'm folding in. So I'm not going to do it too much because it's going to get a little bit confusing and is going to lose its shape where you can't tell where it's fully if it's forward or backwards . So I just leave it a little bit, and then we can go ahead and add some shading to that part. So I just moved it back and we're going to do it again. So this one is that if you do the other options, I'm just going to do keep it on the warp just because it's more fun. And it gives more of, ah, feel that the word is actually peeling from the canvas or the paper, for example. So right now I have if fold it pretty pretty much like a lot, so I do. If you ah, go ahead and zoom in or if see that I zoomed in, I'm going to do just a little shady so it looks like it's folding full word. But it's just the very life shading. So I'm just going to do a soft brush and you don't have to do this because I'm gonna if you don't want to, I have another option as well. If you think that looks better in your case, so I'm just showing you both. I'm showing you the harder one first. So since the cross off the tees, folding forward, the very top I did a shading this to look like it's not facing the light anymore, the same thing with the loop off the D so that in the middle I just do a light shading and I delete erase the shading right on that line and they go across. But it's something very, very light it just to give an extra little bit of dimension and there, and I'll show you the other way that you can do it as well that you don't have to deal with this. But for the the students that want to go for the more complicated, Um, this is a This is one of the ways you can also do a different part of the the wording so you can do the bottom, you can do the other side. And, um, some people like to lower the capacity. I like to live it close to the full because I like the dark shadow. And this is what you have If you're going to peel the top ward and now I'm going to show you how to do the other side. So you're gonna go to the layer off the shadow, which is your shade, your drop, you drop shadow. And this is what you have right now you have been peeling the top, but now we're gonna go back and you're gonna erased. Uh, are you gonna at some shade if you want to keep that one of the top? But this is another easy one. If you don't want to fool the too much, that's just slyly pulled forward, or you can go ahead and do the back. So let me go and do this full effect here just to give you the full impact. So I'm going to change the background to Black, and I'm going to do that white dot and I'm going to click on selection Tool. This isn't a very bottom layer as well, and I'm going to expand it just so you can see everything on the canvas. And that shadow is going to have a more of, ah, impact because the background is also black. But with the lighting coming from the center now, if you want to do the bottom, the shadow, as in the effect I just went back to where Iwas and I went to the Bottomley, which is the black. I'm just adjusting the size a little bit so you can see better. And on the very bottom layer, not the very bottom layer but the shadow earlier. That's where you make the changes. So you click on the selection tool and then the bottom you click on warp and then you just move the dots a little bit towards the bottom and it look, it's gonna look like your lettering. The blue part is moving from from the top of the paper, and that's what the peeling effects going to give. You actually like the second option better, but I want to give you both for you to have an idea, so I hope it enjoy it, and we have our last video coming up 11. 10 - Paper Cut Effect: So this trick is going to be the paper cut effect. And, um, it seems very popular these days. So I wrote down bloom in a different way, Sit still similar than the other ones. You can just use the ones they already had. Just a black coffee. So I, uh, going to open a new layer on top of it, And I just chose a bunch of random colors that I'm going to just, uh, cholerae on top of the layer of the bloom. So I'm just doing a solid shape. Doesn't have to have, like, an actual shape to it. It just that some waves that goes over the letter. So I chose that light pink. Then I'm gonna go for something a little more brighter. Actually, I'm just chose the purple by accident. So with the purple on top of it, also like doing little waves, you can do like zigzagging. You can do other shapes, whatever floats your boat and every color and a different layer. So I just wanted to do of that purple again because there was not enough waves and then color drop just so you don't have to paint it on top of it. So let's do this ugly yellow on top of that. So I knew Layer, you going to do another color? So more waves the color drop and then the last one also on a different layer. Let's go for that red. And I'll just do the rest of what it's left over from the from the word it is Look, look. Gonna look like a sandwich a little bit. Oh, I didn't do it on a differently. OK, do it in a differently. Otherwise your colors air going to connect, and you don't want that. Okay, Perfect. Now you're gonna dio every for every layer you going to do a copy of that layer and black. So I put the red at the very bottom because that one is supposed to be covered by the yellow and the yellow supposed to be covered by the blue and the blue supposed to be covered by the pink so every color will have a copy in black. So did a copy of the yellow and then black a copy of the blue and then black and a copy of the pink and black, the red. I didn't do a copy and the simple reason is there's nothing to shade over it because it's going to be in the very bottom off the letter. So there's nothing underneath the red to have that effect. And for every black copy you're going to come up. Click on the Magic one and two Gaussian blur about 10%. You can go a little high if you want. Think. 14 15 16. I think that's good. Make sure to added the same or very close percentage to all of them, so they look consistent. And then you go on the black underneath the blue and do the same thing, and then the black underneath the pink Gaussian blur and do the same thing. I also want to add a little texture so it looks like a paper, Um, do the texture on top of the color layer, not the black one. Otherwise, you're adding texture to the to the shadow, and that doesn't look very realistic. So, um, do on you can do an Alfa lock and then click on sketching and you choose the bonobo chalk, and you just do on top of whatever color you are doing first. So you do the pink, and then you do the alfa lock on the blue, and then you do the same thing for the yellow and the same thing for the red. And if you do awful lock, it's much easier because it would Onley add the texture to the actual color and not the whole canvas. So if you add an effect behind, you won't see the bonobo chock residue going outside of your design. So I just added to the color, and it doesn't have to be super dark ages at it a little bit, and you can see that it's only on the color, and the shadow doesn't have the texture, but you can see the texture underneath the shadow. And that's the exact effect that I wanted to dio. And then you can go ahead and just merge everything and then removed the awful lock and then go ahead and do a clipping mask. And that's your first step. Well, not the first step, the first results, and then now we're gonna add a little shading around it. So if there's a little bit more death into your word and what I was trying to do before it was to do another clipping mask and do the shadow myself like the shading around it. And I just didn't like the result that I was getting. As you can see here, I sped up the video a little bit. I didn't do the whole war, though, adjusted the B. But I didn't like that. It was just extra work, and it wasn't giving me the shadow that I wanted. So what I did was I changed the technique and what I I just duplicated the base, which is in black, And I did that same trick for the outline that I did in previous video. So I did a little Gaussian blur. I put that, uh, layer at the very bottom, and I just didn't like about 5% and same method that I use on previous lessons. So make sure to check it out if you have skipped it. So I just duplicate that after you do the Gaussian blur, I just go back to that layer that I did that the fact and I just still act. And I was actually doing a select and field layer, but I just elected and I just started duplicating the layer to Ah, save some time. I'm going to name my base base. So just I don't merger with the wrong layer, since there is a several copies and they all look the same and they're all in black. So, um, I don't really have the habit of naming my labeling my Miley years, but you absolutely should. So that's that's my advice. Don't do what I do. Do what I say. I guess eso go ahead and duplicate on that layer dated the Gaussian blur until you see that it has a thicker outlined, just like before. And this doesn't have to be super sharp outline because it's going to be underneath. So you click on that layer again on the base and you click select, and then you go the layer below that you did the glove, the Gaussian blur and click unclear, and then you can move that on top of the masking. The clipping mask. We're going Teoh, I did on extra Um, I duplicated the layer totally lost my train of thought. I duplicated the layer. Justify if this doesn't work out, so I put it on top of the clipping mask, and I'm going to do a Gaussian blur on that outline that would just did, but just a little bit just to give some shading on around the lettering, also with the to give that death into it so you can see that there's not too much of it, so you can leave either on a black background or you can do on a white background. It's totally fine, either or works. What I also like to do is, since everything is just so bold. But in a darker, uh, side, I duplicated the black bloom, and I turned. I colored into white. I dropped a wide look. Could do a color drop in white, and I just moved that layer. And why, slightly to the to the right, Just so gives a little bit of extra. Um, in fact, I would say That's the warding. So here's your paper cut effect. It's a very easy one. Obviously, it becomes a little more time consuming if you add more colors. But there's just so many different things that you can do to add wet. That paper cut a fact. It doesn't have to be just like paper over paper. Or, if you are doing paper over paper. You can always do different shapes to it doesn't have to be just like waves, just like I did, So I can see what you do. If you decide to do the paper cut for the course project. I hope you post it on the class project because I would love to see you. So right now I'm just, you know, trying to see if I like the black background or the white. You know, I go for the black most of the time so we have more cool stuff coming up. So I hope you stick around and I will see on the next video. 12. 11 - Neon Sign Effect: Another super easy, in fact, is the neon sign affect. So you see most of them in pink, sometimes in CNN, white or green. But I'm going to do it in pink just because you know pink. Um, so I'm going to add the guide So you do that by click on the ranch, and then you click on canvas and then you click add guides. And for that I'm going to just use a hard brush, and I'm going to keep the word on more like vintage or mid century style for this just because the young Sinus just that's what it reminds me of. I will include a template if you just want to practice the effect and not worry about the wording. But you can also do that with your own handwriting, which I think is really cool or with the, uh, block letters or at text feature from procreate. So let's go ahead and write Bloom, and I want everything pretty symmetrical. So every time I do a curve, I just wafer to snap into a quick shape, and then I can do some adjustments with dots. The show up and for the two O's, I do just a circle and adjusted the size and the missions that I want. And then after that, I click on the last hole tool and I just go around it. Sometimes the paper like won't let me do what I wanted. Three swipes and then you're going to see the cut and paste. It's going to cut it and paste it on another. I'm sorry, copy and paste and is going to pay some another layer, and I will do some clean up afterwards. So let me just finish with the M. You can see that there is some imperfections in there from the copy and paste, so I'll just finish the ward and then I can go ahead and clean up whatever. It's Ah, outside the line to clean up any imperfections. You're just going to the eraser and get the same. Brush the heart brush and just make sure that it's very tiny, so you can just clean whatever. It's perfect in there, and I just do the curve. The same thing is, if using the brush to write something, you can also use the use the quick shaped feature to erase it. So you just do the whatever stroke on a curve, and then you just hold it in place and it would become, like, pretty much perfect curb. And then you just let it go, And then whatever is on the other side of that erasing, that's ah, what you can erase. Then it's I just had everything following that line from the guide. So it looks pretty consistent and pretty street for me. I don't have to have anything Perfect. I just don't want anything super messy. So, um, cleaning up any other imperfections that I see on the line again you don't have to do that is just a look that I'm going for. I think that is really cool when you add your own spent to it and have your own handwriting . And, um, one day maybe you have your own signed with your own and ready in it. So that's how you would see how it would look like. So we're going to have a three start with three copies of that bloom. So three layers, I always duplicate more than I need to, just in case. So the first layer is going to be you're gonna alfa lock it so we can change the color and then you're gonna color It filled the layer with that pink, which is the neon color that I want. The one underneath were made black, and the one underneath that will also be pink. So I'll just duplicate that and put it under the black one. So three layers, one pink, one black, one pink, and you can go ahead and remove the alfa lock. So the 1st 1 the top one, the top layers the pink. You going to do a little Gaussian blur, but not very much, because we're going to do a bigger one on there underneath. So you're going to do a little Gaussian blur until you see the black outline. So I would say less than 10%. So, um, I have are now 8.8 and you can already see the black outline on the letters. And that's look that I'm trying to accomplish the black. You just leave it the way it ISS, and you're going to go into the one on the very bottom, and then you're going to do a much higher Gaussian blur on so, uh, magic wand, Gaussian blur. And then this slide your pan until you reach about 20% and then you see that it's kind of gluing already. So change the background, and on the screen you probably see that it's like, really blurry. But if in person, if you do it on your own screen, is not going to look that like that all that much, But you can always do either higher or lower if you think that's too much. Now we're going to do on an extra layer, because we're going to do at a little lighting to a So you're gonna go open your all the layers and you're gonna Adam actually or to it, and it will be with the same brush. So I'm just going to, ah, lower the size off the stroke of my You can also do with them on the line. But I'm just using the same brush so it doesn't make it all that complicated and with a color that it's almost way but not quite super way, you're just gonna go on top of that layer, but following the exact same lettering they used for your bloom. So ah, the percentage should be, I think I did probably 10 or 20%. I don't remember right now, but not it's obviously not a stick as the bloom, and you just follow the curve and, uh, the shapes of the letters, and he doesn't have to be perfect. But it's just have to be close to what dear original is and make sure to connect all the lines as well, because everything is going to glow. Once you added Dad, the off white, you're going to duplicate that layer just so you save in case it doesn't work out where you want a different color, Um, you're going to go into that layer and choose the Gaussian blur, and you're just going to slight a little bit to the right to give just a little blur to that white light. You're not going to do it too much. You don't want that light to disappear. You just want it to be, ah, little blurry, and it's going to give the gluey effect. And I think I'm really close. I'm zooming in the screen, so that's why you can't see it all that much. But now when I zoom out, you can see that the y just glow, um, help with the glowing of the pink because it has a blur to it is not super sharp, and you can do a Gaussian blur and on the higher percentage, if you would like, that's totally fine. But this is what it would look like on a black background if you want to add ah, background to it that it looks like a wall. You can absolutely do that. We're gonna go into on splash right now. You can type in Wall War night wall. I didn't find a whole lot of options, but I'm just going to get something as an example, so you can see what it looks like. So I got to pictures, and this one is the one that I like The best it doesn't look like is that night. So you download it, you save it on your Camero. And then I had another picture and there, But I'm just going to show this one as a as an example. And then you're going to add an ad, insert picture and you can put in the back of your bloom. And I'm not gonna include that green one. So I'm just going to expend that picture until his shows. And I explained I have blood several times how to pull a picture from, um on Splash. So make sure to take a look at my previous lessons as well. If you want to look like it is a little darker, you can always add ah, black layer on top of it and just lowered the capacity. But I didn't really like that. Look, I like just the black background. Simple. There you have it. This is your me on sign, and, um, we have more stuff coming up, so I'll see you there. 13. 12 - Stained Glass Effect: okay, We made it to our last videos. Is going to be a little bit, I think, the longest glass, but it will be worth it. So we'll start with the basic word. I'm going to write glass this time, so you open your canvas and I'm doing this with the pen brush. Um, you don't have to do it with the pressure sensitivity. I challenge you to write your whole word. I will include this as the one of the words that you can use if you would like, but I hope they use your own word or write something. So if you're watching this close to Mother's Day, you can write Mom. If you watching this close to Valentine's Day, you can write love and you get the idea. So I'm just writing glass, cause that's something very random, but not really. This is going to be staying glass of fact. I included a few brushes for you. I hope he use it and make awesome stuff. So this is going to be, um, something. When we call a sun catcher, you Ah, hang it outside your door or your patio so it's going to be simple. But it's going to be super cool. I do have a stained glass class on skill share, and there's like a bunch of other brushes in there. I'm only including, I think, three or four in this class. But if you want to learn more about a stained glass of fact on procreate, make sure to check out my other class. So we'll just start with that word we're going to duplicate, and then I'm just going to go ahead and start coloring. So I just used of light mitt tone toe light pink. So I just click on the Alfa walk on that layer and I clicked on Phil Layer, and I'm not sure if you notice, but I do this a couple of times is because when a word is black, um, if you try to color it with a lighter color, you can still see some residue of the black. So I I wanted to make sure that there's none no black, so I wanted to do the outline like with done in previous classes. So I duplicated that layer like you saw it, and I colored in black or it was already in black, and I went into the magic wand, and I chose a Gaussian blur. And then I went ahead and slit my pen or what was sliding my pen slightly to the right, less than 5%. Now I went into the airbrush and chose, um, one of the heart brushes and I just start painting over it to you can see that is getting darker. I slowed down the video a little bit so you can follow along but is going to go back to the normal speed pretty soon so you can go ahead and paying over it with your pen a couple of times, and then we're going to duplicate it. So I've done this a few times already. But, you know, if you follow this class of with every single video, if you watched all the videos, you know that I've been doing this a few times, so that's why I'm not going over the Super Details. But if you want to step by step, ah, lot slower. Check out the three D outline, which is one of the very first class I think is the second or 3rd 1 So make sure to check out this class, but by if you follow all the videos, you should know already how to do the outline off the word without going into every single little detail. So I'm just painting over it. You can see that the outline is a lot thicker now, and I'm going to go ahead and duplicate. Well, first, I want to. Phil Layer, I do this a few times. Select and then do it feel layer and then select fit layer. I wanted a little bit on a thicker side, and now we're going to go ahead and duplicate a few times just so we can get the sharp line . So I usually duplicate 56 times and then I merge all of them. Click on the same layer, click of Select and choose the same brush, which is the hard brush, and I go over it one more time just to make sure that I have a little bit of extra sharpness. You might not be able to see all that much in a video, but if you if you zoom in, it adds a little tiny bit like an extra almost like an extra layer to the outline, and then we're going Teoh, see if it's sharp enough, and then we can go ahead and make other adjustments now, we're gonna go ahead and get rid of the extra pixel. So you click on the layer, then click on select and then down below. You're going to click on Invert. You're going to choose your eraser. Also the hard brush, and you're going to go over it to get rid of all the extra pixels that you see around the letter. So if every time you remove the pen like you lift the pen and you go over it again, you see that a little bit X rays removed. So but it gets to a point, and I think nothing else changes. So I would do this a couple of times. No more than that, because you see that you're going to just be painting and painting or, in this case, erasing and you're not going to see much of a change. So, uh, two times is what I would recommend that you go over. It's not going to be super sharp perfect, because this is specs away. It's not a vector, so, but it's still worth doing in a couple of times and sometimes I do 1/3 time, hoping that is going to be extra sharp above very rarely see any difference now, we're gonna go ahead and duplicate that layer, and I'm going to go into the top layer the pink one. Click on select. I turned off the Alpha lock and then you're going to go on the one underneath, which is the one that we just did the outline and you're just going to click on clear And you see that if you want click the pink one, all you're gonna have is the outline. So it's, like, empty in the middle. And that's what we were looking for anyway. So you also duplicate that outline because we're gonna use it for some effects later. And if you want to on click it for now, that's totally fine. I usually actually duplicate more than a couple of times just as a backup. I'm always afraid that I'm going to get to a point where I have to undo a bunch of times. So I just always do a little bit of ah, over duplicating. So in this case, I open an extra. I'm going to open an extra layer on top of the glass word. And now I just want to make sure that the thickness of my monoline is the same as the outline of the glass. So once you get to the same, he doesn't have to be what I'm doing right now. So whatever you're outlying thickness, it is around. Make sure to adjust your old monoline or whatever brushy using to that same or close to it . So right now I'm just adjusting the size. I just want to make sure that everything fits on the screen and on the top layer, I'm going to do a square, but a square sideways in angle so you don't have to do a square. You can do a circle. You can do another shape. You could do a heart. If you're doing something that has more of a theme. I'm just doing the square because that's the look that I'm going for. So if I put two fingers in that it will adjust to ah pretty straight, it would do with the quick shape, and it will be a pretty straight line, and then you just click on square is going to be a perfect square, so That's the some perks of for create right now and then I'm going to go and duplicate that layer and just want. Make sure the size is good and it's in the middle of the screen. I don't want bigger than the glass that wants some of the word to overlap with that outline , Um, and you see why it's part of the effect. So I'm going to go ahead and duplicate, and one square is going to be bigger than the other because I'm going to make it look like it's a little bit of a frame, and you can adjust some on the lines as you go. This is not perfect, because I also want to look like, you know most all, most about all stained glass art. In real life. It's handmade, and they don't look so like extra perfect. There's always some imperfections in there, and that's what I love about it. So now I'm just designing the frame. I'm just adding some strokes and and just to make some little rectangles and squares, um, they don't match every side of the square. I am doing something different, and they're all going to be a different color. So I'm gonna go ahead and just make sure that they're somewhat straight. Then you can always oum al see if they need any extra details. You can add us Muchas as little as you would like, and I'm going to put this underneath the glass and when the glass on top of it, and we're also going to duplicate that eventually. So you're welcome to do that right now. And let's start by painting or a glass. So we're going to go on top of the word glass on the pink on top of the pink open and you layer and choose one of the glass brushes and just paying it all over. We're going to do a clipping mask on that, and then it's only going to be on the ward and I put on orange. But I don't know if it's going to match. I'm going to change us some of the blending modes on the layers, and if you haven't explore that, make sure that you dio because it's awesome and I'm going to show you how that makes a world of difference when you play with the blending mills because it plays with the colors and the effects of each layer. So right now he just added the orange on the top layer. That's the clipping mask. And if you see if you click on the end of rednecks, the check mark the little square, you have all those options and look at the color that it gave me by clicking on the option difference. So go through all the options in there and you see all the difference. Choose one that you like the best. I'm not a huge fan of that. The orange. So I'm going to change my clipping mask to purple, and this is much more my style. And I'm also going to reduce a little bit of the opacity. Just so, uh, it's not too much or too purple or too much of a texture, and I'm also going to add a little white on top. But just to give the illusion of a reflection on the top on the layer on top of the clipping mask. And I'm also going to clip Mass that so everything that you want to put on top of the glass and to give that effect on the work glass, make sure to clip mask everything. If you're clipping, mask, clip masking one thing Clip mask. Everyone like all the layers. Um, now I'm going to duplicate. I just want to make sure that everything here Okay, so I'm going to pain the border. So the frame underneath So you always go underneath the frame. So I'm opening a brand new layer in there and I'm using my acrylic first thing glass. It's going to be on included in this class. So it's an acrylic that came with Burke re, but I modify it to look like it was actually painted on the glass. And now we're going to do another clipping mask. I chose, like a pink, and I'm going to go to one of my brushes and I'm just going to paint it all over because it doesn't matter. When you clip mask, everything just disappears and it just keeps on where you quick clip masking. So you see, everything else is out of the screen like erased, vanished, and I'm looking for now, I'm clicking on the blending modes again on that later, specifically because I want to see what the effects will give me, and I'm going to start painting all the squares in different colors. And then I can also play with the blinding bolts again. So now I'm going to go in pain on top of the, uh, clipping mask layer, you can see there's on top of the clipping mask, and that's where I'm paying painting right there. And I'm just using right now some form of reddish pink, and I don't have a color pilot for that. I'm just choosing whatever I have it in there. So I'm also going to clip, mask whatever I'm painting on this frame, so I just want the colors to be a little bit more vibrant. So I just chose that pink, and now I'll just go for, like, some blue and then I'm I might do some yellow and orange. So again, there's not a rule for this. I'm just choosing color as I go. I don't have a plan for this, and if I don't like it, I can always change it. And while while this video is putting up just for you to see what I'm painting, always paint underneath whatever outlining you trying to color because you don't want the color. The black of the outline and the color took start mashing together. Dis acrylic kind of drags the collar a little bit, so make sure that you do everything underneath the layers. Everything is done on their own layers. You're not going to color the actual outline. You're going to call her underneath and you doing going to do a clipping mask. Clip mask is always done on the color on the top of the coloring layer, not on top of the outline. Why? Because you're not going to see anything if you do a clipping mask on top of the outline. The outline is just black, and I wanted to remain black because that's how it is on the stink blasters. No effects on it now. I just duplicated the frame outline and the one on the bottom. I'm going to do a little Gaussian blur, so you click on the Magic Wind and then you click on Gaussian Blur and the same thing with the outline of the word it duplicated. And I put one at the very top and, um, the one and underneath. I'm going to also do a Gaussian blur, and I do about in this case I'm doing about less than 5% because I just want us very slight . Blur is just to give a little bit of dimension and whatever is on the outside of the square . Any blurry blurriness, you go ahead and just erase it because there's nothing to blur it on. Um, the squares, the end, the outside of the square is just the end of it. There's nothing t to make a shadow on the, um if you want to add, so I'm just right now. I'm just erasing whatever extra. It's coming out of the outline. The middle of the glass is supposed to be clear glass. That's what I want it right now. If you want to something like another texture, you can add another of the glass texture as well. So now I'm going to look for on landscape. So I went to unspool ash on splash dot com, and you just type in landscape and you just choose something that you love. So I usually to find something I think about, what, what I would like to see if I just open the door of my house. So let's go to Yosemite. I think that's the one that I want to be with or go with. So I'm just going to do download free and you click on the little arrow down click on the picture and then saved you a camera. Well, now you're going to the ranch on insert photo. Choose the one that you, um where you saved it, and you put it at the very bottom. And I don't know if you're going to be able to fit to screen. Oh, yeah. And there you go. You have your, um, your son catcher on top of the layer. But you can see that I have some residue off the, um, the glass brush. But that's because I didn't click mask that one or I forgot to do it or it and went back to not doing it. And I forgot about it. But I just click on clipping mask and it disappeared. So now I'm going to just the group, not group of, but I'm going to get all the layers together. So by that you just swipe lightly with the European to the right, just so you can get them on in a group so you can adjust the size. I wanted them a little smaller and on top you open a new layer. You get whatever simple brush. I'm just doing a sketch one. So it's six B, but you can do a monoline and choose black. And I'm just going to draw a little circle at the very top and with that line and pretend that is being hung somewhere, like on the patio of your house. So very simple. No details, nothing. If you look from a little bit far away, you're going to see that it doesn't matter what it looks like, and I want. Since I have a clear glass in the middle, I want to make sure that that glass is a little bit blurry to give the illusion that is, just there's something in there a little bit of, Ah, you know, the glasses. It makes a little bit blurry, so I didn't just duplicated that landscape right now, and I'm going to get the selection tool going into that top layer just duplicated, just in case it doesn't work out and you just go. And so, with the lasso tool, go around the inner square and then you click on Selection Tool and that part they used the lasso tool is going to be Let's do this again. It doesn't have to be a perfect square because you have the same landscape underneath and then click on Selection Tool. Only that enter part is going to be selected, so I have three fingers and do a copy and paste. Then you're going to go into that layer. Click on the magic wand, click on Gaussian Blur. Let's blur that out to give the illusion that there's a glass in there, so I'm not doing it too much. If you're looking at your old screen, you're going to see that is a lot more blurry than it. ISS looking at my own screen. But you can go, Ah, lob more blurry. If you would like this totally fine. I'm just going about 56% and there you have it. You're staying glass sun catcher with your own lottery, so stay tuned. The next video is going to be a class project 14. Class Project : Thank you so much for watching this class bite. Now you probably learn how to do your basic drop shadow. You learn some really cool water. Collar of fact, Do a lot of clipping mask. I did a lot of those learn how to do an outlining effect and add that three d to it as well . Did some paper cut a fact? And the stained glass is so I hope you, uh do some really cool stuff with it. Please tag me if you do it on Instagram, I want to see a work. My business name on Instagram is the vintage minutes. So make sure to tag me if you post anything in there. I would love to share your work and also posted in the project section. I would love to see what you just create. Okay. If you have any questions, please send me a message. You're on skill share or you feel free to reach out to me on Instagram as well. See you soon. What