Illustrative Lettering - Turning Letters into Art | Ray Mawst | Skillshare

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Illustrative Lettering - Turning Letters into Art

teacher avatar Ray Mawst, Lettering & Design

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

17 Lessons (32m)
    • 1. Introduction

    • 2. What You'll Need

    • 3. Mind Map

    • 4. Concept Board - Collect Images

    • 5. Concept Board - Create A Collage

    • 6. Draw Your Letter With Templates

    • 7. Choosing A Font

    • 8. Draw Within Your Letter

    • 9. Set Up Digital File & Load Brushes

    • 10. Draw Your Letter With The Pen Tool

    • 11. Draw Shapes Of Flat Color 1

    • 12. Draw Shapes Of Flat Color 2

    • 13. Add Texture & Depth To Your Letter

    • 14. Add Texture & Depth To Your Objects 1

    • 15. Add Texture & Depth To Your Objects 2

    • 16. Finishing Touches

    • 17. Farewell!

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About This Class


I will be teaching my illustrative lettering process from concept to completion, and students will be given the assignment of illustrating their favorite letter, or the first letter of their name. Once the students understand the process, they can then extend their concept to an entire word if they please. Otherwise, their illustrated letter can stand alone as a piece of artwork worthy of being framed!

If you have at least a beginner skill set in adobe photoshop, you will have no problem working your way through the digital portion of the class. I have done my best to explain all of the tools and techniques I used in the creation of my project, so after watching the videos, you should have a better understanding of how illustrate your letter digitally!

Meet Your Teacher

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Ray Mawst

Lettering & Design


Hello! My name is Ray, and I am an independent lettering artist, illustrator and designer currently living and working in Madison, Wisconsin. For just over two years, I worked in New York City in a Branding Company as a package designer. Over the years, I have had the opportunity to design packaging for companies like Glade, and Ziploc. And I have also had the opportunity to help out a hand full of start up businesses with logo designs, and t-shirt graphics.

Also, I just recently have had my lettering published in Goodtype The Book Volume 1, and Typism 3.

Feel free to get in contact with me here:

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1. Introduction: My name is Ray Maust, and I'm a graphic artist specializing in lettering, illustration and design for business. I went to school for design, and after graduating I worked as a package designer and branding company in New York. While I was out there, I was able to attend a few lettering workshops, and that was enough to fuel my passion for learning lettering. After a couple of years of working full time in practicing my lettering on the side, I just recently decided to focus full time on pursuing my freelance career as a lettering and graphic artist. I've learned a lot over the years from experience on the job and taking skill share online classes. So I hope you can get a lot out of this class. I'll be teaching my process for illustrating within the confines of a letter, and I'll also be touching on custom lettering technique. But my process can also be applied to illustrating within the letters of a found. You could eventually apply this technique to illustrate an entire word. But in the essence of time, we'll start by learning the process and just illustrate one letter my classes for any student interested in learning more about lettering and digital illustration within Photoshopped. Illustrating within letters and words allows us to create a truly unique image capable of expressing meaning on multiple levels, while a word already has meaning attached to it. Are illustration adds the visual interest and depth of showing versus telling. I've got a lot to teach, and I hope that I can inspire you to create your own beautiful piece of illustrious lettering. So, without any further ado, let's turn some letters into art. 2. What You'll Need: all right For this class, you'll need a pencil and paper tracing paper or a light table, a scanner or a camera, A printer. Not gonna hold that one out and adobe photo shop. 3. Mind Map: Before we start drawing, we need to first decide what we want to draw. So to do this, I like to create a mind map waken, start with one idea and then expand upon it, coming up with as many related ideas as we can. So for my peace of lettering, I wanted it to be centered on art. I just started with the word art in the center. I was thinking, What does it mean to me? I went to art school, and in our there was 18. There's drying sculpture. Terrific. Is I digital art. I started by writing down these four camps and then trying Teoh expand upon them. So when I think about painting, think about brushes. Think about a palette for a strokes. Water color, splats that and drying. So you get your pencil paper. He's a compass, razors, markers and pen. Then sculpture was thinking there is clay. Pottery actually didn't wind up using sculpture, but you can write down stuff like concrete. Steel would zoologist different materials in sculpture. And then there's You can also right down, like the tools ever used, maybe spinning wheel known for digital art, you know, just obviously computer and all the things that come along with the computer. You get a mouse, your old school. You got a mouse pad, you got your keyboard. Nowadays, we've got digital tablets. And then I was just thinking, outside of the tools, there's pixels. That's what our computers display and then grid systems. Davies graphics Where there's glowing grids echo off into space. Now that we have a list of some ideas around a concept waken start to build a visual guide to refer to once we start drawing. It's OK if your list is not 100% complete at this point because they're still opportunity to refine your list in the next step of the process. Next must design a concept board. 4. Concept Board - Collect Images: It's hard for me to draw unless I have a clear idea of what exactly I'm trying to accomplish. So the next step of the process is to create a concept board, which is basically a visual manifestation of our mind map. To do this, collect images of the items from your mind map and arrange them into a cloud within photo shop. I know that it might seem like extra work, but in my experience it really helps to solidify vision for your project. Let's hop up to the computer and I'll show you what it's all about. My favorite resource for collecting images online is interest. Start by searching some of the words on your list, and don't forget to be specific. These images are what you will use to reference while you're drawing, so make sure they are appealing to you and, most importantly, make sure that the image is a clear depiction of the object. I will usually go with photos over pieces of art because I don't want to recreate someone else's art. I want to create something that is totally my own. So for the style I am working in, I want to collect images of riel objects. This way, when I create the digital rendering of the objects, there will be no question of whether or not a resemble what I was trying to create. Since creating a concept board is all about exploration, search Pinterest for some of the words on your list and see what it comes up with. But don't feel like you're limited to just using Pinterest. Instead of pinning images to a Pinterest board, I like to create a folder on my computer where I can save all of my images. This way, if I can't find what I'm looking for on Pinterest, I could hop over to Google images and see what they've got going on over there. And if I see something I like, I could easily save it to that folder I've already been saving images into. It helps to have everything in one place when it comes down to throwing all the images into Photoshopped to make our collage. Now that we have a collection of images, we can open up photo shop and collage them into our concept board. So in the next video I'll quickly run through. How do you do this? 5. Concept Board - Create A Collage: to create my concept. Bored, I'm going to start a new Photoshopped document. All of the default settings are fine for now, so letter size 8.5 by 11 300 Resolution RGB. It's all good hit OK, and create your document. Open up finder and locate the folder of images you just collected. Select all the images and dragged them into your Photoshopped document hit. Enter on your keyboard as the images populate your document, and once you have all the images placed, the next logical step would be to start organizing the photos. But since the photos have a white order around them, they can be difficult to arrange. I like to isolate each object from its background, using the quick selection tool hit W on your keyboard. To bring up the quick selection tool, make sure the layer you are trying to effect is selected in your layers power. Once you see the moving dashed line around the perimeter, all you need to do is hit the mask button at the bottom of the layers palette. Then apply this technique toe. Isolate the rest of your photos if you have an object that is difficult to make a selection of as long as the background color of the photo is white, you can set the image blending mode to multiply, and in the setting, the white of the image will not display effectively. Isolating the object Masking images is simple, and since this document is just for you to reference the photo shop, work can be down and dirty. The concept doesn't have to be a piece of art in itself. Its main purpose is to be a reminder and sign post for us to refer to while dry, however you end up a rain junior images. Just make sure that the basic shape of beach object is not obscured by the other objects. Again, we'll be referring back to this document once we begin illustrating within our letter. Now that we have decided on a topic written our mind map and designed a concept, or to help us visualize the elements of our project, the next step is to decide on the letter you want to illustrate. In the following videos. I'll share with you some tips for drawing your own letter, and I will also be touching on styles of typography that could be used for this class. If you would rather use a font 6. Draw Your Letter With Templates : I have to drawing templates for you guys. And if you head over to the class info section there available for download, you don't have to use these templates. But I figured it couldn't hurt to share some tips about how to draw letters. So I'll be demonstrating how you can draw Slab Serif letter and also show an example of a brush script letter. I put together this grid with large units so we can more easily make decisions about how thick we want to draw the parts of our letter. I recommend breaking down the letter into components and then drawing it bit by bit so you can start by deciding on how many units high you want your service to be. You could choose an even number like two or three or if you wanted, and in between, you can usually split a unit, have and choose maybe 2.5 units. So once you've decided on a measurement, you can draw it in real quick. Next, I would decide on the width of the stem. I would start in the center of the Sarah and move out 1.5 units on either side to make the stem a total with of three units, Then I would extend those lines up to complete system. Here. I will use the same measurement, decided to pardon for the bottom. Sarah. I'll just draw 2.5 units down from the top to sketch in the top of the letter. The next part of the letter to draws the curve shoulder. One way to think about drawing the shoulder is that you're drawing two circles, a larger circle for the outer radius and a smaller circle for the inner radius to draw the leg. I reflected the bottom Sarah and drew it in the right corner. I eyeballed how I wanted the rest of the leg toe look, and once I had that complete, I went over my drawing with a marker. Here's the template I put together for drawing a brush script inspired style. Light dash blind represents the angle it which you hold the pen when creating brush script letters. So I point out this angle is something to consider while drawing your letter. Notice that the angle stays the same throughout the entire stroke. That makes up the stem. In this way, the angle at the top of the letter should be the same as the angle on the bottom. So this is basically the shape I want to make. But I want to draw my letter more bold, so I'll approach lettering this style in the same way I approached the slab. Sarah, I'll start right breaking the letter down into its components and then drawing each stroke one at a time. The fun part about lettering is that it's an iterative process, so it's okay to draw a line and then you raise it and go back over it and make changes on the fly. You'll find that when you change the weight of one of the strokes, you'll have to adjust the others to balance out the space. It really comes down to just pushing and pulling the lines until they look right to you. 7. Choosing A Font : since the class project will involve drawing within the confines of a letter, I do recommend that you choose a bold letter style. This isn't to say that you cannot have contrast within the weight of the strokes of your letter. The style you choose can have been strokes, but it should also be bold. Choosing a bold style will give us ample room to draw within the letter point. Some good examples of nice and thick fonts are Rockwell, Extra Bold, Gotham, Ultra, Helvetica and new. Basically, any heavy black or extended font should work nicely. So far, I've only worked with this election of lettering process, using a bold sans serif and a slap serif style. So it'll be really interesting to see what you guys come up with. Some other bold font styles that could be interesting to work with our Adoni poster, where it has a nice contrast between thick and thin. Cooper black, maybe even something like Bauhaus. Ultimately, this is your project. Choice is up to you, and the possibilities are endless. If you don't already have nice spots on your computer, you can head over to different dot com to downloads of free fonts. Honestly, there are a lot of poorly designed thoughts on this website, but there also are some gems, and if you're looking through their selection, I'm sure you can find some similar alternatives to the fonts I have already recommended. 8. Draw Within Your Letter: now that we have our letters designed or ponchos, and we can start the illustration part of the class. If you chose to use a pot, print out your letter at a large scale on 8.5 by 11 inch paper. And if you drew your letter, have your drawing in front of you. If you've got your letter all set up in a pencil and paper at hand, bring up your concept board and we can get started drawing. I started my sketch by trying to incorporate the canvas, but quickly realized it wasn't going to work with the shape of my letter. If an object isn't working, just forget about it and move on to something else from your board. So instead I started with the brush and figured that since it's tall and straight, it would work nicely in the straight part of my letter. Although I decided not to incorporate the shape of the palate, I did decide to incorporate the splotches of paint. Almost is it. The letter itself was the palate tip for drawing your objects is to start by lightly defining the edge, and then once you have that basic loose outline go over it once again to draw a more defined line to incorporate the Mason jar in a dynamic way. I drew it, tipping over with paint water splashing out this way, the drawing elevates the mason jar from just a static object to an object in motion. So don't feel like you need Teoh. Recreate carbon copies of the objects from your concept board board is there for us to reference the basic shape of each object. But we have the artistic freedom to appropriate their shapes and new ways unique to our project. For instance, instead of drawing the tube of paint rigid like it is in my reference, I decided that it could be bent to mimic the shape of my letter. Also notice how I have drawn the paint squirting out of the tube to break the confines of the letter farm. This is a good way to bring visual interest to our illustration. We just need to make sure that we don't kill the overall legibility of our letter form. Another way to add visual interest is to have some of the objects overlap. Since my mate Sinjar will be clear, I want to make it look like you can see one of the paint swatches through the glass of the jar. Also, you can start to think about how light and shadow will play out in the illustration by defining a light source in my drawing. The light source comes from the top left, so the top left sides of each of the objects will have highlights and the bottom right sides will have shadow way have flushed out our sketch. Let's bring it into the computer to start illustrating digitally within photo shop. 9. Set Up Digital File & Load Brushes: When we get into Photoshopped, I'll run through the techniques you will need in order to digitally render your illustration, And I will also provide you a set of my custom made brushes so you can add an artistic texture to your artwork. But before we get into photo shop, we need to either scan or photograph our drawing. I prefer to scan my images as opposed to photographing them, because with a scanner, I know that the perspective is going to be straight on. If you don't hold the camera perfectly parallel to your drawing, you risk skewing the drawing and ultimately the line work. But if you don't have a scanner, it's not the end of the world. Just try to photograph it as straight on is possible. To use my texture brushes, you'll have to download them from the class project page and then dragged the file into your Photoshopped Brush Presets folder. To do this, open finder and navigate through your applications, find photo shop presets and then brushes, and this is where you'll keep the value downloaded. It should be labeled skill share texture brushes. Next, launch photo shop and create a new document. Since I drew my letter in the square. I'm going to make a square document eight by eight inches, and I'll be working in a resolution of 300 dp I in C m I K color mode. Once you open up your brush presets palette, hit the top right button to prompt a drop down menu and click on load Brushes It Finder doesn't have your brushes here right away. You'll have to go through applications. Photoshopped presets, brushes and then select the file from there. Now that you have the brushes loaded opened finder and navigate to wherever you saved the scan or photograph of your sketch, drag it into your document event. Increase the scale until it takes up most of the canvas. If you have smudges on your drawing and want to remove them quickly, you can add a levels adjustment layer above your sketch to bump up the brightness. But before adjusting the levels, make sure toe hold option and click between the adjustment layer in your sketch layer. After doing so, you'll notice a little arrow on the left side of the adjustment layer. This means that the adjustment layer will only affect this sketch layer. We don't have any other layers as of yet, But when we do, if we didn't do this theater, just mint layer would affect all of the other layers below our sketch. Not what you want. So group the two layers named them sketch and now you're good to go. 10. Draw Your Letter With The Pen Tool: Let's start by using the pen tool to recreate our drawn letter. If you decided to use a letter from a fund, I still recommend you watch this video because the techniques I share will also help you with digitizing the objects in your letter Right away, I'm going to select the sketch layer and change the color mode from normal to multiply. In addition, you can turn down the opacity of the sketch layer. Both of these options will make the sketch layer transparent, so we'll be able to draw beneath it and see what we're drawing, similar to the way I recommended you draw your letter. I'm going to digitize the letter, breaking it down into its basic components, the stem bowl and the leg. For no particular reason, I'll begin with the bowl. I know that at first, using the pen tool might be intimidating, but with this technique, it's going to make a lot of sense to demonstrate on pulling guidelines to the very edge of each curve. It is at this juncture that I will place a point when using the mental, I will be placing my points on the furthest point of the Ark also known as the extreme up. If you don't need the guides, more power to you. But if it helps go for it, I accidentally started drawing on top of my sketch, so I dragged my shape layer below the sketch layer. Remember, we set the sketch layer to multiply so we can see through it as we weren't beneath it. When I set the point on the extreme, I click and then hold shift while I drag out the handles. This insurance that the handles are perfectly vertical or horizontal. In this way, we can create silky, smooth curves. Another thing to note is that I like to make adjustments on the fly to select and adjust the position of a single point. I hit the letter A on my keyboard to bring up the direct selection tool. After making the adjustment hit P To get back to the pen tool, click on the point, hold shift and then drag a new handle out in the direction of your next point. Sometimes getting the curve off of a corner point can be difficult. If you plot the next point and realize that it's handles. Can't create the ark, you need hit command Z to go back to create a small handle off of the corner point. This small handle can help supplement the curve. Also noticed that if you click back onto the corner point with the direct selection tool a drag diagonally while holding shift, the handles will lock into a 45 degree angles. Once you have come back all the way around and completed your shape, use this process for the rest of your letters components. 11. Draw Shapes Of Flat Color 1 : Now let's start digitizing the objects we have drawn within our letter. At this point, we aren't overly concerned about picking the perfect colors. As much as we're focused on creating all of this shapes that constitute our objects, I'm going to start with the brush handle and for now I'm using Scion. But we can always change the color later. Like I said before, let's just focus on making the shapes. For my first attempt, I tried to me as conservative as possible in Onley set three points to make up the handle. But once I completed the shape, I realized the curved end wasn't looking right. So I scratched my first attempt and tried it again. This time around, I added two extra points to the end of the handle right before the curved and begins. This way I was able to make a smoother curve. If you don't construct the shape to your liking the first time, don't be afraid to delete it and start over moving forward a change the color a little bit to differentiate from the handle and then started to build the head of the brush. I used a rounded rectangle and any lips from the shapes palette and finished the rest of the head with the pen tool. A quick way to change the color of a shape is by first adjusting the color slider to your new color and then hitting option and elite under keyboard. Notice that I am labeling all of my layers as I make them. This isn't it habit to get into, because when you're layer count goes up, your document will be much easier to manage when you can read what is what. This next tip is a bit of a game changer. Or at least it was for me when I first learned it. If I make this first arc by dragging out the handles, I will need to option click on the point before I could make a quick, sharp turnaround. Otherwise, you're sharp point would end up rounded. Next tip I have for you is basically the good old tracing method. I used this for the Mason jar because it has a pretty distinct shave, and I wanted to capture its likeness as close as possible. To do this, I clicked open the file drop down menu and placed in the photograph of the Mason jar from my concept board. Once in my documents, a scaled down and position to the photo to fit directly over the jar in my sketch and before drawing the outline with the pen tool, I turned off the sketch to remove visual distractions because the water in my sketch was such an organic shape, there is no need to trace anything besides the drawing. Actually, the water was pretty easy to draw with the pen tool. I just zoomed in a bunch and places many points as I needed to make the curves happen. 12. Draw Shapes Of Flat Color 2 : since I wanted the tube of paint to look like he was crushed from being used. I want up having a plot, a fair amount of points to describe all of the debts. If you're working with points that are close together, you'll need to make sure not to pull the handles too far. Otherwise, you'll get someone pleasing results here. I'm just demonstrating that if you belts out the length of the handles, you'll achieve much smoother curves during the paint. Blobs were a pretty easy task. I just kept with the principle of keeping the points close together in the handles short in order to maintain smooth curves. I didn't want any sharp angles to describe the wet paint. Now that we have all of our objects described with shapes of flat color, we should have something that looks like this next waken start to refine the colors, add texture and create an illusion of death with lighting 13. Add Texture & Depth To Your Letter: adding texture with brushes is one of my favorite parts of the process, and I hope you enjoy it as well. To begin, I opened up the group that holds my three letter components and made a selection of all three by holding command and shift and then clicking on the thumbnail images to the left of each layer. Once I had the entire layer selected, I created a new layer above the shapes within the group. This is a demonstration of how I like to apply texture to shapes. There are instances where I deviate, but for the most part, this is what I like to do. If I wanted to add texture to this rectangle, I would create two new layers on top of the rectangle and then labelled them highlights and shadows. I then option click between the shadow layer and the rectangle layer in the highlights layer in the shadow layer. So the way I get highlights and shadows is by setting the highlights layer to screen in the shadow layer to multiply. In this way, I could use the same color as the rectangle to create both the highlights and the shadow. I started out I said in my texture layer to multiply and then grabbing the light of brush. Then increase the size of the brush so I could easily flood the entire letter with texture . If you think you added too much texture, a good way to get rid of some of it is to set your brush mode to clear. In this way, you can use your texture brush as an eraser. Next. I wanted to give my letter an illusion of depth, so I decided to add shadow to make it look like the bull and leg came out from behind the step. To do this, I created a new layer on top of my leg layer, made the selection of the leg from the layer thumb now and then brushed in that main blue color. With the layer on multiply, I vented the same thing for the bowl and duplicated the shadow layer on leg to push it back even further than the ball. Then I made a selection of the entire letter, again, made a new layer at the top of the group and added highlights to the left side of the letter 14. Add Texture & Depth To Your Objects 1: adding texture and depth to the objects of our illustration is a really fun process because we get to see the flat illustration come to life in a new way. This is also the time to adjust the color palette, and I've got tips for all this stuff. First thing I wanted to look at was the color of my letter. Right now it's a little bright, and I would like to add some yellow to the blue to create a teal. One of the best ways to adjust color is hue and saturation. So I pulled up a hue saturation layer and tied it to my letter by holding down option and clicking between the adjustment layer and the letters group. Make sure to hit the colorize, but this allows us greater control over the lightness, saturation and hue. If you crank this saturation backup, you'll bring color back into the letters, and from there you can adjust the hue to find whatever color you're looking for. Next, I decided to work with the paint fresh. This time I rest, arise the handle shape and then brought up human saturation using a key command command. You then continued by adding shadow and highlight to handle in the head of the brush notice that I'm staying consistent with which sides I apply. Highlight and shadow. Since I decided that my light source was coming from the top left, highlights will be on top left of everything. Shadows will be just the opposite on the bottom, right? They tricked ahead. Definition between two similar colored shapes is to add a highlight on the edge of one of the shapes. To exaggerate this, you can add a shadow onto the bottom shape underneath the highlight. Next, I decided to work on the paint tube. I talked to add shadow to the pale yellow paint using a shadow layer on multiply. But since the color had such a light value, you could barely tell that anything even happened when I made the shadow. So I brought some magenta into the mix to give the color Martone. I really enjoy using the light brush I made because while using it at a small scale, you can achieve beautifully smooth gradations of color and at a larger scale you can achieve grainy texture to create a selection of just the opening of the tube. I selected the entire tube and then used the polygon lasso tool to de select all but the opening. I also used this method for the end of the tube, where the metal falls over onto itself to create the yellow band across the tube. I made a yellow shape with the pen tool, and then option clicked between the yellow shape layer and the grey shape layer. This way, the yellow shape only appears where the great shape it's. 15. Add Texture & Depth To Your Objects 2: the way I applied texture to the blobs of paint is what I talked about in the last video. If you're working with my light texture brush, you can achieve different results at different scales for each blob. I started by adding soft shadow and highlight using the light brush at a small size. This gave the blobs a little bit of dimension. Then I would increase the size of the brush to be pretty large, and then just click a few times over the block to get a larger, more noticeable texture. And then apply this technique to all of the blobs detail that I worked on was the tip of the brush. I wanted it to look as if it were picking up some of the pink blob, and while I was zoomed in working on that, I realized I could add some separation in the bristles. To do this, I made a new layer and used my dense splatter brush to draw in some lines. If you've got some detail that you would rather use the brush as opposed to drawing in shapes with the pen took, you can definitely do that to make the jar and water take on a transparent look. I lowered both of their opacity ease. I then continued to add texture in the same way I have been doing for the rest of the objects. But I ran into a roadblock when I wanted to create highlights on the glass of the job because the opacity was turned down to about halfway when I tried to add highlights using white on a screen layer, brightness was still capped at 50%. So basically I couldn't create bright enough highlights using the screen layer. So to work around this, I created a new layer above my screen layer and left it on the normal color mode. I've been painted with white on that layer and was able to get the bright highlights I was looking for. The next detail I considered, was light refraction and how that might come into play with the green paint lobbying seen through the water of the jar. A real life example of this is when a spoon let's bent when placed in a glass of water. To get this effect, I located the green blob and use the key commands Man J, to create a duplication of the blob. I then increase the size of the new blob and changed the position up into the right. Then I selected the outline of the jar so I could create a mask for the new blob. The mask effectively cut off all of the new green blob that wasn't under the jar. And in this way it gives the appearance of the block being magnified by the water in the jar. Here's a quick rundown on how to make a mask. If I wanted to cut off all the green paint love that is under the jar here, I would first select the outline of the jar. Now, with the jar out on selected, I can click on the blah Blair and then hit the mask button at the bottom of the layers palette. 16. Finishing Touches: add some final touches. Think about how your objects might be casting shadow onto their surrounding. If I start on the stem, I would paint in the shadow on the bottom, right of all three blobs and the brush, then go around the rest of the letter, adding shadow in this way. While the shadows. We have just drawn anchor objects to the letter. You can also paint in shadows that are cast from one object onto another. An example of this is where the paintbrush overlaps the three blobs I just went blub, blub head and shadow, where each blob met with the brush. I finished off my illustration by adding one more paint blood to fill up the extra space in the top left of the bull and then added a subtle cream background. 17. Farewell!: All right, you guys, I hope that you're inspired to create your own piece of illustrative lettering on I really hope that you learned a lot from my class. This'll was my first time doing something like this. So I'm sure my teaching style change debate as I progressed through the videos and I apologize, it got weird at any point. Anyway, I look forward to hearing from you, and I can't wait to see your projects will be available for feedback, and I'm sure our classmates will be able to help out as well. So make sure to update your progress to the project gallery as you move from step to step on another note. In addition to the brushes and templates I have available for download on the class info page, my Photoshopped file is also available for you to take a look at if you're into that type of thing. I love making art, and I hope I have inspired you to create your own