Learn to Hand Letter! | Brush, faux, embellish! | Hand Lettering for bujo, notes, life! | Jessica Owinyo | Skillshare

Learn to Hand Letter! | Brush, faux, embellish! | Hand Lettering for bujo, notes, life!

Jessica Owinyo, Creative Entrepreneur

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10 Lessons (39m)
    • 1. Welcome!

    • 2. Pens

    • 3. Fonts

    • 4. Anatomy of Lettering

    • 5. Muscle Memory

    • 6. Rhythm

    • 7. Seeing Pattern

    • 8. Shape & Embellishment

    • 9. Hand Lettered Life

    • 10. Challenge!

47 students are watching this class

About This Class

Hand lettering is a really fun way to spice up your daily tasks and life! I use it absolutely everyday, and can tell you from experience, you only get better with time! + I am a left handed letterer, so if you've been looking for help with lettering as a lefty, you're in luck!

It can be overwhelming to start from scratch, but I've got some tips to help you get better, fast! I'll go through the basics, teach you some technique, and then give you some fun embellishing tips for your lettering that you can use right away with any pen!

I love to see how personality and imagination come through the creativity of hand lettering. It's such a rewarding skill, and I hope I can be of service to you in your journey to hand lettering. Let's see your handiwork... Literally!

Don't forget to download your workbook! Have as many as you like, and remember, practice makes better!

If you want to know how to use your skills in bullet journaling, I tell you all about how to bujo in 3 classes I teach right here on Skillshare!


1. Welcome!: you guys. It's just from generally ginger. And I am really excited about this hand lettered in class. I'm gonna take you through some of the basics of hand lettering as well as just some techniques. Brush lettering. So lettering, some practice tips and ways you can use him muttering. And then also some really practical embellishing tips that you can apply your handwriting and see instant results today. So I hope you join and just know that and there is really only a complicated is thinking. I've been hand lettering for years, and I back in the day didn't even know there were these terms and specific sciences and lettering, and I progressed and got better and better and better with practice with. So you don't need to know all that. But I know this analytical mind whether you want. In any case, it is helpful to know those things. So I'm gonna walk you through them just briefly, and then we're gonna get down to in practice. I've got a workbook down there that you can print out really helpful stuff on there, some exercises that I want you to help you get better patterns and creating your own hand letter for Except Art. So just remember that practice does not make perfect because in your hand lettering it's a little different. And there's beauty and imperfection so well, it doesn't make perfect. Practice does make better, so join the class and let's get started. 2. Pens: Okay, I'm just gonna walk you guys through the pens that I'm gonna use today and why I like them or what types of lettering I'm gonna use them for. In case you are looking for pens or you just want to know which ones to use when so these two are brush lettering pens. This one is kind of about a medium tip. I would say this one is Tom Bo pen, and it is a little bit bigger. The difference is, is this one's gonna provide less flexibility in this one more for obvious reasons. And I'd like to have both Just for the different options. This one Tom bullpen again does have a bullet tip and will use some bull tips today. So I'll show you. This has different sizes on each side picker and smaller. And this is a zig memory system pen and, of course, the micro pen. And if you watched my bullet general class, you are probably quite familiar with this because I talked about it a little bit this one, actually weeks, so I don't use it, but I just thought I would show you because it still has the wrapper on it where this one has just worn off because I've used it. But this is the one I'm gonna use today, and it's actually a point as euro five. So that's my favorite size to each his own, Really? On that part. This is a prisoner color pen. I won't be using this one today, but it did just want to bring it up and show you it does have a bullet tip on one and then a chisel tip on one, which is nice and wide and definitely has its place. But I did want to bring it up, mostly because if you have about one, they are somewhat expensive. And the difference is all of these are water based ink. And this one is alcohol. This one will bleed through most papers where these will not if using really thick card stock. You're welcome to use these, but they will leak through anything thinner. I use my pens a lot for bullet journaling. Um, so I cannot use prisma color pens for that purpose. A good way to know if it's alcohol or water based. If it doesn't say it on the back is the smell. If you open it up. Just give it a whiff. It should not have any sort of odor or very, very faint. If it is, a water based pen and alcohol based pen will always have an odor to it. I think of a Sharpie Sharpie ways through, and it definitely has a scent. So there you go. That's definitely a good way to think of it. I'm just gonna pretty much use these today. Um, and if you are wanting to know, just say you're familiar with them. And when I'm using them for what technique? 3. Fonts: real quick. Before we get into anything, I'm just gonna walk you through fonts really quick. I'm not gonna do anything extensive or really detail. This is just the basic of the basic bond identification, mostly so that when you hear these terms, you're familiar with them. Or if you see a font that you want to try out or work on, you are able Teoh, pick it apart a little bit. So this 1st 1 is many of you have probably heard serif So serif, the big indicator of a Sarah is these little tick marks here at the bottom or any part of the letter of It's a D, and it overlaps right there. These tick marks right here. That's a major identifier of a serif font. Uh, this is San Serif, and it does not have those ticks. And that's the main identify air here. This one is a script about which you are probably pretty familiar with already, which is what we're gonna be talking about most of the time today. And it's just more formal, more of the curse of type family that you probably grew up practicing like crazy. And then, of course, this is geo metric on. The reason they call geometric is because you could draw a shape around any of these letters and would perfectly fit so perfectly even on all sides. Square. Um, triangle The O's are perfectly circular, so it does lend itself to a definitely a more modern, end simplistic look that others don't where you have a more stately look or formal look. So that kind of changes the way of font acts and looks, and that's other classified. So speaking of which, that's how they are identified in a typeface. Now a typeface is a consistent type style letters that share similar design aspects. If you consider the weight, the slant, the style of it, that's how you get a tight face. And so the serif is a type face. Okay, so which, you know it has. They have the similar characteristic here. Same thing with San Serif script and geometric. They all share that commonality of being ableto fit into a shape in their all geometric. So those air four, the four most common ones and I here and work with and familiar with myself there are definitely way more out there, and so much more to learn, but this is just again crash really quick, Basic course on on for identification so that you can use it as a tool for you in your lettering. 4. Anatomy of Lettering: So I am just gonna walk you through the anatomy of lettering just because I know some of you will have a little bit more of an analytical mind and you might want to know. So this is just some basic, um, labeling here I've done, and this is not completely extensive or conclusive, but the most important things air here. So the down stroke is this heavier part here. And if you think about it when you start, you're gonna go here and then come down and they're gonna go up. And I've labeled the upstroke over here because same thing in the G, you go down and then you go up, OK? Theus enders wash In the dissenters wash, the swash is basically just when you are going to finish a letter and you're gonna curve it , okay or that loop that you're seeing. So the ascender is when you're doing your down stroke here and you come up, that's your You're coming up with the endings. Wash this under same thing coming down right before you finish. OK, uh, the counter is in between that connecting point and you're going up, so it's gonna be an up stroke and it's gonna be lighter. The stem is the thicker down stroke. Um, I most often identify it when it's the start of a letter. The shoulder, of course, is the bump here in your turn with the letter, Let's see. And in the weight, the weight is pretty darn important thing to note and think about it. And it's just the width here of the letter. So you have a heavier weight on your down stroke. You have a lighter weight on your upstroke, and that is something to definitely pay attention to and keep in mind because we're gonna use that next. The other thing. I just want to point out, and, um, have you keep in mind cause we're gonna reference this again towards the end of this lesson ? Siri's is the mid stroke, and that's the middle part of any letter. Um, and we're gonna play without a little bit later, but here it's the eve. It's the K in the K right here. The right here. Pee right here so you can do it. For the most part, you can also work on it when you're doing script funds. But for the most part, will use it with printing. So, uh, this is just again basic overview. You can You can make it as complicated as you want. But again, you don't have to know all this to do hand lettering and to get good at it. So let's move on from this and get to the fund stuff. 5. Muscle Memory: here we are on to the fund stuff. Let's start practicing the hand lettering. So muscle memory. I am a huge believer that muscle memory is one of the key components in hand lettering. And I have just seen over the years my hand lettering gets so much better. And I think a lot of that has to do with muscle memory and just your hands and your muscles have an incredible ability to learn and remember and just do it almost without you thinking about it. So if you keep practicing, you definitely can get there. Now what we're gonna do here in the 1st 3 line segments here, we're going to used brush lettering. So if you have a brush pen again that has this kind of tip, go ahead and grab that. If you don't hang on a sec, I've got another way for you to work on this. Okay, so the first row here is about the Well, actually, the 1st 2 rows here are about the weight of your pen. So here you're gonna have a heavier stroke and you're gonna have a lighter stroke. So that's what I want you guys to practice is putting more weight down and just getting familiar. What does that feel like? Toe Have that more weight. And then on this one, I want you to practice having less weight, okay? And practice is just a huge component in this. I still am not so great at my up strokes with my brush lettering. So practice is great. I do just want to encourage you when you do the thinner strokes, go from the bottom and start up to the top, because that's how it is when you're actually lettering. And if you get used to doing it down, which for me is a lot easier to do it down. But that's not I'm really hopeful, because when you're working on it in your actual letter and you're gonna be using the light in Europe stroke. So practice these. Get a feel for it. Print as many as you like, because the practice is really gonna make the difference for you. And here you're putting these two strokes together. So we're going up with a light stroke down with heavy stroke up with the lights start. Okay. That's what I wanted you to practice here with the light up with the light down with the heavier up with the lighter. Okay. And you're gonna want to practice that over and over again, and your hand will start to catch on. I promise. Even if it's super bad at first, you'll get better. That's so it is with anything in life, right? So if you don't have a brush pen, that's okay. I'm just gonna show you a couple other ways to do this. So if you have a thick and thin double edged our double ended pen here, you can do the thicker in the middle and the lighter on the outside. So I'm into the lighter on the outside first. So just go ahead and put some decent pressure on that and then definitely on the other side . And then you're just gonna put he heavier, one the middle. And when you start, start gentle, coming heavier and then whisper off a little bit to connect those. So you still can accomplish this. Um, same look with a different pen. And lastly, with this one, of course this does not. I don't have a dual independent. Just gonna use the one size here, and I'm gonna go up I'm gonna go ahead and just come down just like a regular stroke. But I'm going to make the middle one wider panes. The hard outlined it there, and then I'm just gonna color it in. And a lot of people are probably familiar with this technique as faux lettering, and I'll show you how to use it a little bit more specifically here in a minute. So again, a similar look. And you can change if you want it thicker or thinner. Doesn't have to depend on your brush pen. It can depend on whatever you want. So now let's go ahead and bring in your practice sheet. I'm just gonna show you how to put into practice these upper techniques. Before we moved down to here, I'm a left hander, so I gotta have it over here. Okay, So with the brush lettering, if you're just gonna right, maybe your name or something or whatever you want. I'm just going to write. Hello. I'm gonna go up. Down is the heavier stroke. Lighter? Stroke up, down, down. See how that's consistent. Remember the muscle memory? Yes, I'm writing. Hey. Okay, So now we've got, um one done and brush lettering. And I'm just gonna go ahead and do the same word. Can this pen here and then it's a little bit different, but that's OK. And then I'm just gonna do the down strokes in the thicker, see how that changes it and gives it to some more. Look, I did a little bit differently. I apologize, but I'm not used to sticking to the lines so much. So now with the phone lettering, this is kind of the lettering, but this one is even more so where you can control every aspect of the lettering. So I'm going to do it again down here again. I'm gonna do it a little bit differently. Okay, so I've done my initial. Now I'm gonna go back, and I'm gonna make the down strokes nice and thick. This is a down stroke. It's a little bit more forgiving too, because if you make a little mistake, you could just stick that inside of down stroke. And it's really no big deal. See, here I left a little bit more space than I think I want. Someone's gonna cover that up. I'm gonna go outside of this one. I'm just gonna also fix this curve a little bit, then I can color in it. I've been calling him with this one, though, just because easier to color it in this sort. There you have it where it's thicker and thinner, and you get you have a similar look. But this worry way you can control. Look how thin the upstroke is and look how thick the down stroke is. Now. One more thing. If you want Teoh, you can grab a thicker bullet tip and make your down strokes thicker. Now you can write the word initially with this pun totally fine. Or you can do it with a thin and then decided to make it thicker later. Totally your call. But again, you're changing your lettering every time, and you just have a lot of control over how you do it. 6. Rhythm: we're gonna move down to the second half here and for the second half, you can use any bullet tipped pen. I'm actually going to use this tip here. It's nice and life. So with this one, this is where we're really gonna work on muscle memory because I want you guys to start taking notes of patterns and rhythm and just feeling it as you go along. Okay, so when we trace this one, we go around and then it stretches way out, and then you start the next one stretches way out. Okay? So just think about it. Think through. What are you feeling when you're tracing it? Maybe it's tiny with down here. I notice a lot of times when I'm doing these tall or loops which looks like an owl, or you might use it in a d. I noticed that a lot of times I'll end up going up quickly and down quickly, but I'll stop. I'll take a break up there, come down, up, come down. So just if you can feel some patterns from rhythm, whatever it is for you, the consistency is really important. Because again, in in a font, if you're working on a lettering set. It's going to be consistent. If it's the same front, they're gonna consistently have a similar fuel somewhere. Slam to similar shape. So just trying to get you guys familiar with that. This one has big gaps in between. It's stretching, so it's going up and over up, over, thinner, closer together. And this one is a little bit probably more out of what our minds are talked to. Two. And that's bringing you nice and wide. Okay, And we're also not crossing. Appear were crossing way down low. Okay, so for some of you, this might need a little bit outside of the box. But if you just keep practicing again, Prentice, many of these as you want and just get familiar with those shapes. If you move super slow, it might actually be worse for you. So if it's not hoping you're having a hard time if you're going really slow, try speeding up and just see how your handful is a little bit better on, and that might help you down. Here is the last part of this practice sheet, and I think this one is a little bit outside of everybody who grew up doing Curse of Handwriting's box because we were always taught to stay within those lines. Always taught Teoh, go up and meet this midline take all about away You gotta blow it out for hand lettering because, ah, lot of the hand lettering sets that we really like in the false that we like aesthetically , don't stick to a straight pattern. Calligraphy definitely does. Calligraphy is a lot more rigid and thought out and practiced. Very beautiful, but hand lettering is a little bit more free flowing, so keep that in mind on. And I just want you to practice with ease to getting yourself to go outside the lines, to not have the same lying each time. It's not just that you're going outside the lines is that you're not meeting the same planes every time. So here were way above way over, way below, way over. Now we're too short. Okay, it's okay. Just let it happen. And then with this one, we're gonna do loops, okay? And even in these, I want you guys to notice patterns. If you can feel the consistency, the flow of it, where this has a very loopy pattern short where this one is very much up and down. Okay? 7. Seeing Pattern: Okay, so we're now on to seeing the patterns page. And if you have this and are able to bring it up on your computer and just listen to this portion, that's great. Where you can print it out. Printing out is definitely better. But I do have a quick challenge for you in this just to see how you do. If you want to be extra challenged, you can try this. So what we're gonna do is we're just gonna go through these five funds that I grabbed, and we're just gonna look for the patterns and slams the weight slant since washes, we're gonna consider the weight, see the patterns, and then we're gonna try it. Okay, So if you really want to challenge, pause this and try to look for the patterns and slants on your own and you can mark up the paid as much as you want, um, and then press play and see how you did. But either way, we're gonna do together. So I'm gonna describe a pun here. When you look at this first line, what we can see is that there are definitely it's overly a slant, and it's consistent, right? so we can see here how everything is going along these planes here, right? Everything's curving towards the same direction at the same angle on a few past lines. Through it. You can see that a little bit better. Okay? Everything is. Is that the spacing? We've got? This l here and there's equal distance between each one. They definitely take a dip and move to the next one came. So those are some notes to take without one. What about this one? What about the slants? And swash is about the curves. How is it different? This one now we've put stroke service. You can probably see pretty easy. This one goes up and down. Kind of like the loops that we tried earlier on the practice sheet. Very up and down. That t goes straight up and the S is pretty pretty straight up and down. Okay. The other thing to know is I just want you to be able to look and see here. They have their down stroke upstroke, town stroke, upstroke towns trick, okay. And everything's a little bit closer together. And that's the other thing to know down here I wrote consider the wait for a reason because I just want you to know this is a print. This is not script lettering, but its print and that is still part of hand lettering is to do print, and you can put the weight in different areas to change the look of your letter. You can do it on just one side, like so, or you could do it on both sides. Francis only hasn't on one side, but if it was a different type of thought, you could widen it and make it on both sides, and it changes the look of the letter a little bit. Okay, so just take no of the width. And remember, the width is how wide any part or any stroke of the letter is, particularly the up strokes and down strokes See the patterns. This one, Um, let's hear looking if we put our stroking it a little bit similar to that top one. But there's one very, very key difference. And hopefully you already noticed that the really close together. It's very slanty, probably a little bit more like your own handwriting. Um, things are very close together, whereas up there things would be a little bit more like this, right? The easy before their part, That would be a little bit further apart. Okay, so you see the difference How close and how far apart that can really change the way your lettering looks. The last one here is the reason I did it is just because this one could be a little bit hard If you're not used to it, it's the longer stretching out. So it's not a super great example. But when you look at these, they are more stretched out, and they're also short. So just try making more distance in between your letters when you're writing. Okay, So just pick a word you really familiar with Your name is a great one to start with and just write your name with stretchy stretching out your letters more. So if I write Jess, I might read it like this normally, but I'm going to stretch it out and just put in that counter right there, which is this piece right here in between. I'm gonna put more and I'm going to stick it out there a little bit farther, and I do it faster because it makes it a little bit more consistent when I am doing it the same uniform in between each one if you do it faster, if your muscle memory will kick in and it will work. So I hope this actually was a helpful exercise for you. And my intent was really so that when you are working on Hamlet doing projects, or you see a style that you really like and you're taking inspiration firm that you want to try to make something on your own, that you could look at it and kind of pick out the characteristics. What's the slant? What's the weight, the spacing, and that way it can help you develop your own if you know the different components that make up that font or style. So hopefully that was helpful to you and hopefully it through you back to the last lesson and these loops and different things I had to try because they will come in handy when you try different funds 8. Shape & Embellishment: all right onto the last lesson here. And this is the really kind of a fun one that you can have instant gratification with, if you know what I mean, where you apply this right away and get results. So I really like this one. So remember, back in, I think it was the first video I talked about the mid stroke, and that comes into play right now. So the mid stroke is that middle part of any letter right here, Um or right here. So when you change the placement of it, rather than it being just in the middle, which were pretty much always used to it being, if you move it up or down, it really changes the personality and look of your letter. So up here we have it high. And over here we have a low. So look at how different on the letters look in. Your font can look just by moving the mid stroke really easy right now. What if you make your letter wider or skinnier? That totally changes the look right. And then if you combine these tips by moving the mid stroke low and making that wide, it could give it kind of Ah, silly Look, um, and then over here, you could make it skinny and tall, um, And then put the mid stroke up high That changes the look all together again. So or you could do it a different way and do the mid stroke high on a wide letter or low on the skinny letter. Right. There you go. So look at how easy and how simple it is is just moving that center line to a different location and making it consistent with your all of the letters totally changes the look of your fund. Easy peasy. And every time. So the midpoint on the Y right here it is near the bottom. Were these two meet you wanna put it toward the bottom? So fun. Okay, the next is the embellishing tips again. Instant gratification. I love it. So the Grady it fill. It was the first time I have here, and I just want you to think of that one. Basically, if you've ever shaded in something, even if it was in a coloring book, you put more pressure down when you're wanting it to be darker, and then you just gradually lighten it right, Which is a little hard to do that a marker, but, uh, same idea with the greedy until you're just using lines. So instead of putting pressure and getting lighter, you're just gonna go closer and then gradually get farther apart as you go up and we'll give you that. Look here. It's super simple. You just put a line in the center here, especially fun if you grab a color and just do it with the color Really fast Embellishment brightens up your wording and gives it some complexity. The diagonal lines. Just make sure you have that straight edge so you can make the consistent movements. Um, if you do it close enough together, you don't have to be super anal about the distance between each line. But that's you, the Chevron Phil. Similar idea to the dying, the lines. But this one can go awry pretty quickly if you get your points must up. So what I recommend doing is just grabbing a ruler or straight edge and putting a line straight down the middle part of your letter there and that way, which is with a pencil. And that way, when you take your pen. You're always hitting the line and your your Chevron won't go awry. Because if you miss that, that line your points are off. Your Chevron is gonna go right. It's not gonna look right inside your letter. So just a tip there, and then you can always a race. That pencil mark here, the shadow. This one can be slightly tricky for some. So I am gonna show you a couple examples of it. Um, this I really like how it can just be a very finishing look. Can maybe up the professionalism look of your for finishing look of your letter. So I use is pretty frequently, and the key here is to pick two planes that you're gonna have a shadow when you're casting a shadow. Usually it's from an angle if you're going to see two sides, but with lettering, if we do it straight on, it just doesn't look quite right. So you always wanna have to do is coming from one side or the other underneath or below. So you don't wanna have it coming from just one side. You wanna make sure it's coming from either above the side or below an aside here, The light, if you will, is coming from above. And it's casting down this direction, which is why we have a shadow underneath and on this side because they're light here and there's light here. Okay, Now, if you want Teoh, you could do the shadow on the other side where the light is coming from. The bottom came and the side so we wouldn't want light over here cause lights being cast on the bottom and on this side. So we're gonna go on the other side. So there you have a shadow on the upper side. Now, I don't personally really care for, um this type, but if you want to, you're welcome to do this. I This one just makes more sense. You're going to see it most commonly in all of signs and billboards Examples. This is the one you're going to see is below, um, and on the right side just works with the eye flowing. Aesthetically, it's more pleasing, but again, it's totally up to you. One little thing you could do. Teoh, make this even more fun is to add little tick marks. Comic these diagonal lines to the shadow just try to make sure they're roughly the same length. They're all going the same direction. Even when they change planes, you need a straight edge to help you keep this. That's totally fine. Just use that. Try to keep the same distance between each mark. All right, so that gives it a kind of like a three d look, So that's kind of fun. My easy way to up the embellishment there. You can also use this with script fonts. It was you that real quick. And just remember where your light is coming from. And the easiest way to do it again is here's your if you want under a little pencil Oto Hope you remember. That's totally okay. Remember? So the lights coming from above. So we're gonna go below? No, on the side below. Inside. Here we go. So it can work with script. Just the same home as with a print. Okay, Now, this one obviously is, like, probably the most simple and easiest, but it is a little deceiving. This actually could be a little bit difficult to pull off because leaving this inner space as kind of a mind trick for us. So when you're doing, say an E and you go to make that mid stroke, a lot of us go like this, and then you're going to ruin your empty space here. That doesn't work for this. Look, So you have to be very purposeful about leaving this empty space there. Okay? Same thing with the are we would tend to cross this and make it come over here, so got to be intentional. Now, if you are going, I've had plenty of times where I've done this or I've been starting the letter basin. I maybe I'm doing the word love, and I get to be our get to eat. And when I went to do this cross piece, I crossed it and I ruined the whole things. And now I don't have empty space anymore. Well, you just got to be willing to either color it in into a shadow or two, just do horizontal stripes and just roll with it, okay? 9. Hand Lettered Life: here are just a couple of ways to use hand lettering in your daily life How it can just make things really fun and energetic and sugar personality and whatever you're doing throughout your day. Um, and this is some ways and how I use it in my life, apart from business. So this is, ah, journal that I work through. I study my Bible, and I like to have, um I like when I take notes. I like to just make it fun, so this is a really simple way to do it. It's just have a fun title or heading every time you're in a different part of your notes, and then you can just do you regular handwriting. But I'm not just spices it up a little bit. Or you could do a little bit more fun with your titles and headings that could just spice it up to make things a little more fun. So that's how I do it when a journal or when I study and take notes, I use it all the time of my bullet journaling. And if you are not familiar with my bowling tournament class, I showed you a little bit of that kind of stuff there. And, uh, in all of the different headings they use just all throughout my bullet journal here, I have a couple other ways you can use your hand lettering. He want to address a novel. Ope, You can just use a different font on every part of the address and just make sure it's legible to the postmaster or post man can deliver it properly. And also, of course, you could make a card for your friend or whatever it is I'm or even maybe a little inspirational thing to hang on your wall. 10. Challenge!: Okay, guys, it's challenge time. I like calling it a challenge instead of home work, because I just think homework is not as fun as a challenge. So here's your challenge is actually two fold. So first thing I want you to do is think of a song lyric or a verse or a quote that inspires you, encourages you, challenges you whatever on I want you to hand letter using some techniques we learned or an idea that you have. You've got more skills in your tool kit now, so I want you to apply them and make something that is beautiful to you and put it up somewhere. I want to put it up on the wall or tech indifferent journal, or put it on your desk where you're going to see it pretty often. Part two is I wanted to let her something every day for a month. You can start on the first of the month and finished whatever you want. Todo but letter every day that month and the end of the month, I want you to re letter the piece that you started with because that you hung up at verse, quote burek. Whatever it. Waas, I want you to redo that You can change it up a little, but it's really good if you tried to do the same thing. Don't copy it. Just use the same style. And then I want you to see how you progressed. And maybe you go back to the very first day, started wondering and compared to the last day of that month. And just look at your progress because I guarantee you you're gonna have gotten better. And that's one of the beauties of any skill. But especially this one is just very tangible and you can see your progress. And really, I can tell you from personal experience practice makes better. Not perfect, because we are a hand lettering. And that's part of the beauty is that every stroke is a little bit different in the last one. So but they do get better every time. I hope that you do this and that you are encouraged when you see your progress. And I also hope that I get to see some of the work because one of the great things I love about him lettering is just seeing everybody's different personality and style come out in it. So I'd really love to see what you guys come up with. And things were going through the class of me. It was a blast.