Typography in Procreate: Using Fonts to Make Gorgeous Letter Art | Jennifer Nichols | Skillshare

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Typography in Procreate: Using Fonts to Make Gorgeous Letter Art

teacher avatar Jennifer Nichols, Leila & Po Studio

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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

25 Lessons (2h 53m)
    • 1. Introduction

    • 2. Downloading Resources

    • 3. Canvas & Brushes

    • 4. Finding Fonts

    • 5. Installing & Deleting Fonts

    • 6. Should I Rasterize?

    • 7. Lesson A: Alphalock

    • 8. Lesson B: Clipping Masks

    • 9. Lesson C: Shadows

    • 10. Lesson D: White Layers

    • 11. Lesson E: Outline Letters

    • 12. Lesson F: Block Letters

    • 13. Lesson: G: Curved Edges & Motion Blur

    • 14. Lesson H: Bubble Letters

    • 15. Lesson I: Warp & Distort

    • 16. Lesson J: Glitter

    • 17. Lesson K: Chalk

    • 18. Lesson L: Hash Marks

    • 19. Lesson M1: Joining Words

    • 20. Lesson M2: Joining Words & Outline

    • 21. Lesson M3: Joining Words-Finish

    • 22. Layout Tips

    • 23. Class Project

    • 24. Thank you!

    • 25. Bonus Lesson on the Skillshare block letters!

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About This Class

I admire all the calligraphers and hand-letterers out there so much but I just can’t bring myself to practice enough to get good at those skills. Procreate is so amazing and with it’s ability to use fonts these days so I want to show you how you can get similar looks to hand-lettered and scripted art just with fonts! 

We will explore some free fonts sites and learn how to install them. Next, I will walk you though a variety of styles that can be combined in various ways to create dozens and dozens of different looks. Finally, I will guide you through a complete illustration from start to finish to create this beautiful piece below. As always, I include brushes and palettes with class. Join me!


Meet Your Teacher

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Jennifer Nichols

Leila & Po Studio


I’m Jennifer Nichols and while I’ve always been an artist, I’m also a teacher, a musician, and a lifelong learner which is one reason I love Skillshare! I love sharing what I know about iPad art and the Procreate app. My teaching style allows you to follow along with me and learn a ton along the way.

If you are new to Procreate, I would start with the Beginner class and then you’ll be ready for any of my other classes! I gear most classes toward beginner and intermediate level procreate users. ANYONE can succeed at the projects I teach no matter what your artistic abilities are! All resources that are needed for my classes are given as free downloads, including palettes and brushes!

Here are a few illustrations I’ve made in Procreate. I lo... See full profile

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1. Introduction: Hello, my name is Jennifer Nichols. I'm an artist and a teacher, and I have always loved fonts. In this class, I'm going to show you several ways to use actual fonts, apply various techniques, and turn them into gorgeous works of art that you can apply to any of your work. First, we'll talk about finding the perfect fonts that are free use and easy to download and install. Next, I'll go through several lessons building on your skills with each lesson, starting simply and working up to more complex will have fun with shadows, glitter, block letters, and much more. I'll even provide several free brushes and pallets. Finally, I'll show you this entire illustration from start to finish. Fonts are the perfect way to get some really awesome quotes and phrases on your work without worrying about your lettering skills or your handwriting. I hope to see you in class. 2. Downloading Resources: For the downloads for class, just go to the projects and resources section of the class. Make sure you're in the landscape mode here on the iPad, in a browser, and also not on an app. And although sculpture is trying to fix that, and also make sure you're not in that portrait mode of your iPad. And once you're there, you can go to my Pinterest board for some inspiration. And also this article that's pretty interesting about the differences between calligraphy, handwriting and hand lettering and typography. But over here on the right, you have a brush set, some pallets, which are the dots watches, and a couple of jpegs. So for the JPEGS, you just tap them. This is in Safari, and then you can download. You'll see it right there. Once you get it to there, you can probably just tap it directly. It's going to be in your files folder. And then you can tap this little arrow and save image and it'll go right to your camera roll. That's where I usually keep mine. This fonts J peg is also when you'll need to refer to brush sets. You just tap, tap download. You can see it downloading right there. And once you go there, you can just go ahead and directly tap to their this is your files tab. If you're not familiar, it looks like this. Once you're here, you can go into recents and it'll be up here at the top. It'll automatically bring you to downloads though. And then it's, I think in alphabetical order For me, I think you can change that right there and tap on it and it'll go right into procreate and brush sets go right to the top of your list. If you import an individual brush, it'll actually go way down at the bottom to this imported category. And then for swatches, tap on those top, download a little arrow. And let's see. So if we go to recent than it'll be right there, that's the easiest way to find it. So if you have a whole bunch of stuff here, you need to make sure you know what you're looking for. I just tapped it in an imported and then to find swatches, you need to have all these different ways to view your palettes. And if you go into this mode right here, it's going to be at the very bottom. And you can change the order. So there it is right there. So if you want to change the order, you can grab the little title bar here and just drag it around. Alright, and then I have a separate lesson that will review all of the brushes and getting the canvas setup. See you there. 3. Canvas & Brushes: Let's go ahead and create a canvas by tapping this little plus sign. And then this plus sign. I like to use the dimensions ten inches by ten inches. So you can select inches. And then I always use 300 dpi. So for pixels, if you do pixels for your dimensions, that would be 3 thousand by 3 thousand. And that would give you the same size canvas for my ipad, that gives me 55 layers. It's different depending on the type of iPad you have. For the color profile, I've been sticking with this SRGB That's right below the P3. Because the P3 is not quite compatible with a lot of other apps right now. So if you ever hop back and forth with your art between Affinity Designer and things like that, you have some color issues. And then you can tap up here, let's say font, Canvas, just call it whatever you want. Tap create. And that means it's going to be in your list from now on unless you delete it. So if you tap this plus sign again, it's going to be down here at the bottom of your list. You can tap and hold and drag that to wherever you wanted if you want to keep it at the top. Oops, I guess I have to drag it all the way. Oh, here I already had one called Font art. So to delete, you can just swipe and delete. So my font art when is the same exact canvas, it ten by ten SRGB. And now anytime I want that Canvas, I can just tap that. Let's just review the brushes really quick. These are two overall paper texture brushes. I have classes on how to make this type of thing if you're wanting to do something like that. And then there's a couple of watercolor brushes. There's more of them in my class on drawing cacti. A couple of texture brushes. You can see this one is pretty solid texture and this one is a little bit more soft. A thick pencil. I like easiness for a lot of things actually. So that, that's a brush I've given away in classes before. And then I have two line brushes when it's just a little bit more condensed to them, the other and a half tone, this line, I intentionally added some texture to. So if you look really closely, you'll see the dots have texture around the edges. So pressing lightly. If you don't rotate the canvas, you can lift your pencil and put it back down and it does pick up where he left off. So that's kinda nice unless you change the size. So you can see there's quite a bit of texture on those dots. So that's kinda nice when you get to the edges. Now some of my favorite of all time. So the harpoon and software Puna is my version of Lara Puna. It's a great brush for discrete in some nice texture or tapping it to get some nice solid color. And then you can smear and smudge with it without even switching over to the smudge tool. And then this is a brand new branch, milky chalky Lara patina. And it is similar in a lot of ways. It's a little bit softer. It does give you that great texture if you tap. So that is a brush I've been using for a lot of things lately. I hope you enjoy it. May detailing rashes, just four, being able to really control with pressure, getting some fine lines, big modelling branch, the filigree dashes that. So the reason I'm just calling it filigree is because with lettering pieces just the little, additional little decorations can be called filigree or flourishes. And there's some differences, but I just thought it'd be fun to call it filigree. And that's just a fun dash brush. This one is, they're next to each other. Circles and dots, small there. And then some staples. We'll use those later. And then there's just some fun brushes for doing some lettering. So you can explore. The rest of these are just some stamped brushes for doing some decorations on your lettering. And I'll show you some of the things that I've used them for. For these three at the bottom, like for this arrow. I have a split in that, in that so that you can move it. So if you select part of it and then put on magnetics, you can move it and keep it in line with the other side. And that's kinda nice. I like that. And yeah, just some some other offend stuff. And that's it. Banners. Banners are the same manners that I haven't my valentine class, but I made them with the monoline brush so they're nice and solid. In my valentine class, I'd made them more sketchy. So some stamps I use just as part of my sketch layer and then I trace over them to get a different look. So that's something that you can do at any point along the way with this lettering class as well. I just called it a lettering class. This is not a lettering class. We're not doing any hand lettering. So this is a topography class. Are right. Really quickly. I want to show you what I'm gonna do with these pulpy paper and smooth sponge. So if you just find a nice gray and this is something I want you to experiment with. There's a reason I didn't just provide a canvas that's already made for you. And that's so that you can start learning how to make canvases that offer texture on your art for yourself. So we're gonna play with blend modes and these two brushes here. They aren't pressure sensitive. You could add other textures, but these are pressure sensitive, so it's going to be harder to get a nice overall even texture when you add it. So, but just so you know how to do this, and then you can play around with more textures later. We'll, we'll use these two brushes. So I found a nice solid grazed straight across. And I'm going to my pulpy paper. And this doesn't matter what size the grain is staying the same. The brush size is getting bigger, so it's easier just to do one large brush. Make sure it's one stroke cannot lifting the pencil because if you go down again, it's adding another layer. And you can see added some really cool paper texture can have Malachi handmade looking paper. And what you're gonna do with that layer is turn it to colorbar. Now this is the other part that you can experiment with. Experiment with colors on these layers and experiment with different blend modes. And then you can also play around with the opacity right now you can't see anything. So what we need to do is add another layer and bring it down below that pulpy layer. And then let's just go to a monoline brash and pick a color. And once you start adding color, although read is actually kind of a hard color to see it, you can see the texture coming through there. That's going to be easier for you to see. Now, the reason you need to play and experiment is this can make, it really makes your colors look really different from what you have selected up here. So if you do too many layers on top, you're going to have a much different color palette than you think you are. And what you can do once you get some colors on the page is toggle this texture layer on and off and see how different it's made, the colors. It's not too bad. It's made this darker orange a little bit intense, but everything else is just made it a little bit darker and it's added that really cool paper texture. Now if you have this gray being a darker gray or you know, the opacity was different or you had more than one texture layer going on. These colors are all gonna be different. So let's try that and add a new layer above this texture layer. And let's go back to a gray. And this time we'll go to the smooth sponge brush. And I'm keeping it on the normal blend mode so I can see it. So you can see it barely. And then once you turn it to Color Burn, you can't see it on the white anymore. You'll only be able to see it with a color on the lower layers. So it's good to go ahead and kind of lock those things. If you don't want to accidentally draw on those layers, the drawing layers will be underneath. All right, so then you can play around with how that looks. Adding, you know, we've now added a second texture. It's kinda hard to see it. But I bet if you go toggle it on and off, you can see a difference. So it's very faint. You might wanna try a darker gray, but I like it kind of faint like that. So I'm going to leave mine just like that. And that just gives you the option to add some cool texture on your own to your projects. Have fun with that. 4. Finding Fonts: In this lesson, we're talking about finding free fonts. For class. I'm just doing free, free fonts. So if you want to buy fonts, that's totally up to you, but I don't want to have to suggest any purchasable fonts during class. So I use 1001 free fonts and font space. And I want to show you a little bit about each one. I did provide a little JPEG that shows several of the fonts that I found to use in this class. Most of them were found on font space. So up here are a bunch of categories. You can go ahead and select two. And you'll notice down here there's some things that you can search specifically, but right now there's a search option that's missing and it'll show up as soon as you start to kind of delve in here. So let's just, I'm tapping handwriting because right now for this particular class, I'm looking for some, some kind of hand-written fonts so that I don't have to letter and I can make it kind of looked like lettering. Right? So now you can see I have a license type option. So I'm going to go ahead and tap on that and tap the free and the public domain. And then you need to tap update. So now I have the handwriting category and it's updated to some free fonts. And you can see right here what their license is. Once you find fonts that you like, you can just tap download, and then download again, this is how it is for Safari. So if you're in a different browser, it might be a little different. And up here, this little blue down arrow bounce stun had a little progress bar and everything and now you can see it in a list. I have some other ones from before and just go through spending hours and hours. Just another hand is a good one. I have a whole bunch of these. You can sort them by hears most downloads. Here's newest, which is a nice way to hope and then update. That's a nice way to kind of see some fresh ones if you've already gone through a whole bunch of these in the past and you don't want to see the same ones over and over. And that's good. I really like this when this is very hand written looking. So let's grab that. Oh, you know what it says by commercial license. So it's free. But then what it's gonna do is it's going to tell you later that it's only for free for personal use. So I'm going to leave that alone. And the reason I am just going after commercial lens free for commercial use is I don't wanna have to keep track in my fonts in, within procreate of which ones are free for me to use on our 2L. So I'm gonna go ahead and go back to most downloads. And the reason for that is it tends to be the nicer whens. Sadly, this is kind of a neat when candidates spelled with a K also says buy commercial license. So I'm gonna loops, you know what, I didn't press update. So go to most downloads, press update, and it didn't hop back to page one. So it's kinda still keeping going where you left off. So it just kind of play around, go through, find a billion fonts that you like, and do the same thing for any other of your websites. It's kind of all similar. This one also does not have an option. Show up until you start searching. So maybe tight hand written. And now you have an option to tap commercial use. Again, a lot of these are just fine. They are actually commercial use. But some of them will then later say, oh wait, this is only free for personal use and you have to pay for it for commercial use. And then the other things you can do for sorting aren't popping up here. So that's interesting. And you can also just go up to styles right here and start searching hears trendy font styles, calligraphy, commercial use is still selected and now I have this trending popular newest or name. So search through Advice quotes. So that's kind of a neat one. And a download that line. And see me little download button going on up there. Acorn squash. I'm going to jump ahead because I've already looked through several of these. And then you can tap on the font itself and see more information. So here's where you can see, is it truly free? This font is a 100% free for commercial use. Perfect. I'm taking it. That's a great one. Free download link. And it'll also tell you, once you do download it, if you didn't check every single font, make sure it's free. They'll be some information in the folders and I'll show you that later. So that was fun. Taenia, I like it. It's very painterly looking. Look for a variety of fonts that have kind of a script look and fonts that have less script. So more just kindof blocky, I guess, maybe some bigger, thicker fonts. And in the next video, I'll show you what you do next to get them into procreate. 5. Installing & Deleting Fonts: Getting your fonts into procreate is really easy, but most of them are gonna be zipped and you need to unzip them first. So go to your folders. This is your files app. And you can either find them in recents or in downloads. If you already have a whole bunch of stuff in here, you'll need to weed through that and find the newer downloads. And then you can change the order of them here by date or alphabetizing whatever you wanna do. And then you just tap to MC. Some of them are going to end up to a folder, and some of them are just going to zip right to the font itself and just keep tapping them all and get them unzipped. There's multiple ways to get fonts into procreate. I'm just gonna show you the way that I normally do it, which is just right from here. And I like to go ahead and split screen with procreate so that it's just kind of bouncing over to procreate without exiting the file's app and then having to go back into the file's app. Alright, so the easiest ones are just when they pop open to the font itself. And I like the GTF funds, those are the more common ones. Sometimes there is an OTF option with a TT TF option and I always choose the T, T f. It was the first one that procreate allowed. It used to be the only file type that they allowed. Now they allow a few more, but I think they prefer T T F So you just tap on it and then it's importing over there. And we'll look at that in a minute. For the ones that have a folder, just open the folder. Sometimes there'll be another little page in here that has some information on the rights that that font hat gives you. So for this one, it looks like there's two t0 tf fonts in here. So it looks like there's going to be two versions. It's a little unclear based on their file names. So we'll just go ahead and tap both of them. And then this lesson. So this one's got some info. And it just says it's freeware, gives you website for finding them. And here's when it has a dot OTF lambda dot TTS. So we're just gonna get the TGF to find where you can now manage those firms you needed to go to on my iPad. So I'm gonna go ahead and close this, and so we're done with that. So on my iPad there's gonna be a procreate folder. Procreate puts that there. So go into that and they're just going to be a fonts folder. And that's only the fonts that you put in there. I mean, maybe the couple of fonts that come with procreate are also in here, but this is basically all the fonts that I have added to procreate. And if I decide against a font once I start using it and I just want to get it out of my, my list in procreate, I can come here and delete it. So you just tap select and then you can select as many as you want. And then tap delete. So that's how you manage the fonts that are imported by u. There's only a few that come with procreate. And then the rest that you see are all from your iOS. And I haven't found a way to delete, delete those. I wish I could because there's a whole bunch of them I wouldn't ever use and I'd like to just clear them out. But at this point I don't think we're able to. I'll keep researching. Alright, so go into procreate and then tap the rich tool, ad, ad text. So that's just how you get to the text. It's always gonna pop up with the word text. You can go ahead and change it right now. You can write something else. You do have to manually adjust the width of the box. The height will adjust itself. When you change the font size. You can tap here and open up this edit box. I actually like to edit down here, so I do a little double or triple tap and then that highlights the whole word. And then I could go into this a here and I have all my adjustments here. So here's your fonts. I don't remember the names of the fonts that we just downloaded. I know I already had Angelina. One was called fam Taenia. So we can go, it's an alphabetical order here it is. O. So that when in Fontaine's via, the file name was called spontaneous swish. This gonna select that. So that's interesting. So there's some, some different swishes in there. If you want them. I'm gonna probably delete that, that file, that font. So let me write happiness again in swish and double-tap, triple tap, tap that AAA. And I'm going to select the regular spontaneous app and bump up that size. So that's interesting. I like that. So I'm just tapped the arrow to get out of that. This still has a regular bounding box around it and you can adjust it. It is going to adjust the font size when you do that, because it's in a vector mode right now. So any adjustments you make are actually great right now while it's in vector mode. And so I tapped the arrow to get out of that. It had tapped the arrow again to kind of de-select it. And this little a is going to be there whenever you have a font that's still in vector mode and you haven't rasterized at yet. To rasterize, you can just tap it and tap rasterize right here. But we're gonna talk about that later. So you can see my texture coming through here from my texture layers. So that's kinda fen. And this font is interesting. I'm, if I'm surprised to see that the pi's go down below the line. The E has a little bit of a lacking little switch here. I'm not sure I'm fond of that, but it's kinda fun. And once we rasterize This, we can physically add to it to change it so well that we can talk about that later. So to get back into it, anytime you are still in your vector mode here, you can just tap on the layer, tap again, you could edit from this point you have a cursor, double tap or triple tap sometimes feels like it could be either to get to your editing options or just talk to this AAA. And you can switch to a different font. I'm going to leave it on this one. Change the size, get to all of these. We're gonna look at one of these over here later. And that is access, even your font area. Let's go back over to our files and we need to find that Fontaine's swish swash, it's called. So I'm gonna select it and select that one font, Aneas, wash, tap, delete, and go back in. Just to show you real quick. And now it's gone. So it's just the foam Taenia now and not that spontaneous wash. In the next video, we'll talk a little bit about when to rasterize and why to rasterize. So I'll see you then. 6. Should I Rasterize?: When you add text, it's a vector layer. And having this a right here is showing you that that's still in its vector mode. And it'll show you the word here. It'll show you part of the, if you have more, several words in that layer, it'll only show you part of it right here. And then to rasterize it, you can tap this right here. And then it'll show you what you have on the screen in here, just like anything else in procreate. So any other layer where you have something on the screen showing you that right here, right? So it's just treating it like art. Once you rasterize it, it's treating it like you hand wrote it on that layer. So the pros and cons to rasterize e1 versus keeping things in vector mode. I, I believe that if you really know that you've got your edits, like you don't have any thing misspelled and you have it in a good size and things like that, it's perfectly fine to rasterize. The downside to rasterize ing is no different than anything else in procreate. So you can't upscale and things like that. So as long as you have it in a decent size, you don't have the word really tiny. And then later you wanna make it really big, things like that. Then you can feel comfortable going ahead and raster arising. You lose here what name of font you use. So maybe you can name the layer. So maybe you name the layer after your font that was used. So that later you can remember what it was. The other upside to rising is you can make some changes. Like I didn't like how this E lived. So I can come in and find a brush that I might be able to duplicate that. Down here I have this certain Look I can kinda go after and fix that E a little bit. There's another font and this kind of shows where there's little bubbles that I like to fill in because I don't like them. This one I like this little streaks. And so rasterize e1 is just making it into a piece of art instead of keeping it as a vector and its Don't be afraid of it. And keeping something as a vector means that you can make edits to it. At this point, I can't make edits to the word itself. And I can start over and retype something if I find an error. And that's just something that I would have to do. The downside to keeping something as a vector, trying to keep it that way permanently is if you accidentally delete that font, you'll lose it. It'll, you'll come back into this folder or this canvas. And if there's a font that you used, and now that font is no longer in procreate, it will say, oh, you have a missing font and it will default to something entirely different. That is going to really mess with your work. If you have something that has a lot of art around that font, which is what we're doing. So I prefer to rasterize and you can play around with both options. Maybe you want to keep a vector font layer and turn it off and have a rasterized image that you work with. If you have plenty of Layers, That is a great option. And just kind of keep the vector layers out of the way. Maybe group them and pull them up to the top or down to the bottom and turn them off. So I went ahead and added another Happiness word and kept it as a vector because I want to make sure you also know that there are certain things that you can do that will automatically rasterize. So you need to be aware of those. And that is if you use things like the distort or work tool, so few tap distort. And actually then if you sometimes my pencil, it doesn't work. If you play around like this and do some fun distortions and warping, which is of course something that you're gonna wanna do. Then as soon as you deselect it, it tells you it's rasterized it. So there you go. So make sure you're aware of those things and you'll be all set. Just play around with those ideas and find what works best for your workflow. 7. Lesson A: Alphalock : Our first lesson is as super simple lesson. And we're just gonna get right into it. So go ahead and tap the wrench 2l plus sign, add text, increase your text box length, and write your word. I am picking SEM, inspirational were hurts because I'm filming this right at the very beginning of 2021. We've had a really rough year and we could use all the inspiration that we can get. So positive, inspirational, happy words. All right, so I'm increasing the size. I'm gonna go ahead and pick a font called sullied to I don't know if I'm saying that right now. I can increase the size even more and just kind of fill that space and tap done. If you want to change the color, this is a good time to change the color. And like a little bit more blue, less green. All right. If you're on that layer and you tap the screen, it's gonna go to select the font. So I'm gonna go ahead and rasterize it. And I know I'm not going to need it, needed to make this any bigger. And if I need to make it any smaller, that's okay because it will do fine, making it a little bit smaller without losing quality. So I'm going to rasterize. And now I'm all set for the most basic away too. Spruce up a font I guess would be a good way to say it. You can simply alpha lock the layer. This is a great option if you don't have a lot of layers on your iPad to work with, you can use alpha lock with a two-finger swipe to the right to turn it on and off as well. And just find a favorite brush. I'm gonna choose my milky chalky Lara Puna and find some colors that you want to add to your letter. Your words. Just gonna do a gradient here, having some lighter wins on top and fading down to the darker. Right. There's pros and cons to using alpha lock, but there's nothing wrong with it. Basically, the biggest con is if I really just didn't like this, I'm just going to have to fill in the whole word and start over. And that's as easy as just tapping, finding the color you want to fill it with and tapping fill layer with alpha luck turned on. So it's not that big of a deal. There's, there's, I'll talk about clipping masks later, but there are some great things you can do with clipping masks, but here's the most basic, easy fun way and then you can continue to add. So maybe go to the half tone dot adjustable brush and add right on top. So I'm gonna press hard down here, the base to make the dots bigger and have them smaller up at the top. Two-finger n-type to redo. I'm just going to make the size a little bit smaller. This brush you can pick up and put your pencil back down as long as you don't rotate your canvas or change your brush size. And it does pick up where it left off. That's kinda fun in its, in its texture. I like texture. So I made this as a texture IPO could out brush. So this is just, you can just go on and on. You can just do it all. I'm a one layer. Maybe go to the detailing brash and add some fun highlights. Make it look a little reflective. I don't think that's quite white though. So now I have to undo those because they weren't white. So this is a downside to using alpha luck. If this was on a different layer than I could have, just erase the layer and started over, right? I'm going to stop there and I'm gonna switch over to eraser with the same brush. And it's gonna give me the same luck because I have a white background. So it kind of looks like the same look going all the way cross, but I'm gonna show you how it's different. And that is if I change the background color, the change to when we can really see well here. And it's pretty good. And here where I added white, obviously, I still have white here where I erased and with a white background, it just looked the same as these. I have erased spots where the background shows through. So those are two different style options that you can decide between as well. Alright, so that's alpha luck. I am going to two-finger undo a whole bunch of this because I want to keep this word consistent. And so I'm just going to come in and add my white instead of doing the erased spots. And I'm also going to change the name of this two alpha lock. So if you're following along with me, I would suggest going ahead and renaming your layers as well so that you can refer back to them if you forget certain steps. So we'll do that along the way. Next step, we'll talk about clipping masks. 8. Lesson B: Clipping Masks: I'm just gonna duplicate this layer. Tap on the lower when and drag it down. This way. I'm keeping these in the same order as the page. That doesn't necessarily have to be the case, right? You can drag this above over here. It's still in order from this one to this one. So I like to just to keep things visually the same on the pages I do over here. For this type of work. I can do that, not for everything obviously. And I'm gonna go ahead and select light teal and alpha. Luck is already on and I can just fill that. It got rid of all the designing that we did on that. And I have a fresh start. You can make an entirely new word. I'm going to move this one up and out of the way. Bring descent up here. And I'm gonna change the name of this because now it is clipping masks that we're learning about. So add a layer above that. If you want to go ahead and turn this one off, if that helps, go ahead and do that. Tap on the layer that you added above this word and tap clipping mask. And what that means is anything that you add on to this layer that you're currently on is only going to show up when you're above this word. And there you have it right there. Alright, so I'm going to clear that zoom way in here. And this one, I'm gonna go ahead and just get some shades of gray. So some darker gray and may go back to me, Gnocchi, chalky, Lyapunov, and just get some dark gray on there. Go up to a lighter gray, even lighter. And what I'm doing is I'm just gonna show you one of the benefits to having a clipping mask is that you can play with blend modes. So I can do all the same things that we did with the alpha luck lesson on this. But I can also play with blend modes on these clipping mask layers. So if you watch this close up here and then watch me change the blend modes, you'll see all sorts of different things happening depending on the Blend Mode. That's kinda fun. And you'll get used to what each blend mode does and which ones you prefer. And you'll have some that you automatically go to your GPU to blend modes. You can add another layer and you can do all the things that we did before. Maybe you go to that half tone brush again and at that. But then think, you know what? I think I went to have that layer beyond a different blend mode. Or maybe I want to have that layer BY a different color. So you can alpha locket. And change the color entirely. And then change the blend modes, right? The cool part about land modes, and this is a great example right here, is the colours on some of the blend modes, the color, the single solitary colour that you have, like I just have gray on this polka dot layer. It will behave differently on top of other colors. So over here it's bright blue, but over here it's white. Down here it's a little bit darker blue, and so on. So you can see right here two really good examples of the polka dots being completely different colors because the colours underneath are so different. That's one of the funnest things about blend modes is getting a lot of variety. So that's clipping masks. You can also of course play with the opacity of all of these layers as well. And that's another thing we can't do with alpha lock. Can't really do any of this with alpha lock. So those are the two super simple, basic ways to change your font into a more artsy fund. I'm going to group those together and actually call that group clipping mask. I have one more really fun clipping mask thing to show you. I'm going to go to harmony in the color palette and set it to triadic. And I'm starting with this bright teal color. You can start with any color you want. And it's going to show you two other colors that look really good with that color. I'm choosing my soft laura Puna, and I'm on a blink layer and I am just going to get some color on here. Select this other color. And this other colors. I've got the triadic Of the three colors that procreates telling me work really well together. I mean, it is tap and hold this smudge brush to select that same brush for the smudge tool. And have fun smudging as much or as little as you want and get it, whatever kind of blobby look you want, as many colors as you want. And then I'm going to steal this alpha lucked layer here so I can tap on it and have coffee, or I can just duplicate it. So I have to now I'm going to bring one down below this rainbow layer. But I also need to select it and drag it physically down below that rainbow layer like that. And I'm hiding the whole word under that rainbow layer. I'm gonna turn my rainbow we layer off and just show you that I'm going to make this word into just a solid gray. So I'm gonna go back to my disk, go to a grey. It's already alpha locks. I can just tap fill layer and now I have a gray word here. And term a rainbow back on. And I can see it's pretty transparent because I can see the word through it, which is great, that works. It'll just give a different look. I'm going to make it a little bit less transparent does by duplicating that rainbow layer and merging them together with a pinch. And I can see that I have a pretty nice coverage here. I'm going to select and do free form and just pull it down a little, up a little, and really get a nice coverage of that word. Now I'm just gonna turn that rainbow layer into a clipping mask. And what's it going to do? It's going to only show up where you see the letters on that layer it's clipped to. So that's another fun way to use clipping masks. You can also on this net, turn clipping mask off so you can see it better. You can play around with liquefy if you haven't played around with all of these tools, these are so fun to play around with and get a really cool swirly lick. And now let's see what it looks like. Clipping mask. So I can see some of those swirls here, especially right here. So that's kind of fun. And the colors are very subtle, so it's not as obvious, but you could definitely have a lot more experimenting with that and get a really cool, swirly look. I'm trying to stop between airplanes, but they're literally every five minutes. I don't know what's going on. I am going to go ahead and group my rainbow with my word that it's cooked too. And I'm also going to call back lipid masks. Maybe it could be masked rainbow. No. And I can drag that into the group called clipping masks. Alright, see you in the next lesson. 9. Lesson C: Shadows: It's time to talk about shadows. Let's pick another word. So we're going to do at the plus sign, add text, increase our text box, change our word to hope fall. Get it selected. Good this AA, I can bump that size up, change that color. What's a good hopeful color? Maybe a salmon, pink. End. What font should we use? Spend some time figuring out what font you want. I am going to choose Angelina. This is the angelina from 1001 free fonts website. I think there's a different Angelina that's not free for commercial use. On the font space website. I can make that bigger. I have more room to make it bigger. Before a rasterize it. I need to do that. Alright, I'm going to rasterize it. I have a nice big size. It's not misspelled. And I feel comfortable doing that. Now we have shadows. So for these lessons, I am going to do a very quick equilibrium mask layer. You can also do a alpha lock directly on the word hopeful and just add some fun. Can still on my Lyapunov. This time I'm not going to do so much blending and disconnect. Let It Be Nice and textures. And don't want to cover up that cool base color too much in the middle. All right, so the only reason I'm doing the colorful part right now is because I want you to know that those are all the lessons we already had about adding color to the top of your font. I don't want to have to redo all of those for every single lesson. So just get, just leave it as a blink font if you want. Just like this, or go ahead and decorate it. And now what you're gonna do is you're going to take that base layer, that layer right there, and you're going to duplicate it. Okay, so it's under there, you can't see it, but it's directly under their Go down to that layer. So we still have the clipping mask attached to this initial layer that we did. Down here. We're going to alpha lock it and we're going to pick a nice medium to dark gray. And Phil. And I'm gonna go ahead and take alpha lock off as well, because if you want to blur, we're doing shadows now. And if you want to blur, you can't do it while alpha luck is on. So I'm going to zoom way in, my menu, go away and I'm selecting that gray layer. I'm on the grey layer. So when I tap that arrow, that's the one that's getting selected. And I'm just going to move it. Right, so you can see it here. Now. If you didn't change the color before you moved it, it might be harder to see. So I like to change the color first. Where to move it, where to move it? That's a good question. So moving it pretty far out is going to make your work look like it's floating off the page more. Keeping it really close is gonna make it look more like you have a block letter or just a thick letter with a little shadow. I like ten. Move it kinda significantly down into the right does just kind of my default direction to move things. And I also like to set the shadow layer to the blend mode multiply. And the reason for that is if I have some colours underneath this word, the grey shadow layer is just going to look gray everywhere. And if I have it on multiply, it is going to kind of blend with those colors underneath. So let me show you a quick example of that. I'm on Laura Puna. And I'm just going to come over to kind of a grayish blue here. And maybe get a little variety here. An even, a really pale variety and color options. So you can really see how it makes a difference to have that on multiply. So right now the shadow layer is on multiply. Compared to if it weren't on multiply is just looking grey. It's just kind of whatever color you selected, that's the color. It's going to look here. It's looking darker over here, it's looking a little lighter over here. You can see that even more if you turn the opacity down a little bit. And that's just personal preference of mine who can chooses very specific Shadow Color and not worry about whether it's on multiplier or not. Alright? So dropping the shadow, leaving it just like that and turning the opacity down, putting it on multiply. All of those are really awesome features that give very different looks depending on where you have the shadow, how darker shadow is, and what color your shadow is. Okay, so we're gonna go ahead and just group this together and duplicate the whole entire group. Grab the lower when so I can move that lower. And just to show you really quick what it would look like if you blurred that shadow layer. So I'm going to increase the opacity of the shadow layer really quick and go to caution, blurred. Oops, I need to actually be on the right layer. Gosh, a blur and blur it. So I'm only at 3.6%. So it's, it's kind of fun and just to experiment with. And once you select it though, it pops out of that mode. And you can move your shadow a little more, decrease the opacity. And now look at. How that really looks like. It's hopping off the page compared to that. So there's two really fun and easy shadow looks with the same exact thing going on except for the location of the shadow and the fact that it's blurred. I'm gonna do something really quick. I'm going to grab this background colorful Layer. And I'm just gonna grab them from both pieces here. And I'm going to duplicate one and move it down to fill the page a little bit more. And merge all three of those colorful layers and just drag it down below everything. So now I just have it on one layer. I can even smudge it a little bit more if I went is get rid of the replicating look that we have here. Okay, sorry, I just needed to simplify that. So that's now our background layer for all of what we're doing right now. So one more shadow thing to show you, and I'm going to duplicate this one right here. Bring it down below this one selected and also physically bring it down. And now I need to go into that shadow, going to bump the opacity backup, select the shadow layer and also move the shadow to hide behind the word again. Okay? And now I'm going to blur it. Let to too much, maybe 6% or so, five to 7%. And I'm going to select it. And I'm going to select warp. And I'm just going to mess with the top. I'm going to pull them up and over a little bit. And this is just kind of given a fun look for making that the whole world look like it's coming up off the page. I might reduce the opacity on that. And I think I will erase some of it is if you go to eraser and go to airbrushed and soft brush, I'm gonna erase with a big size Some of the upper parts. Since they're kind of farther away, it'll make him look farther away. It'll make the letters look farther away from their shadow. And shadows are always more concentrated as they get down closer to the object. So keep it darker down here, I might turn the opacity up a little bit more. Maybe I erased a little bit too much to erase a tiny bit more of the top. Alright, so playing with the warp tool with the shadow layer is another option. So we have three fun, easy shadow options here. One that's just simply shifted. When that's shifted and blurred and when that's worked. Both of them, all of them have multiply as their blend mode and the opacity I play with a little bit, but that's entirely personal preference. See you in the next video. 10. Lesson D: White Layers: Alright, we're going to do some fun stuff with some white layers. So let's go ahead and add a new layer. I'm gonna go to our little palette over here, and she's this purple pen going to bump it up to a fairly light purple and just drag and drop, fill a whole layer and go to another layer above that and add a word. Oh, let's select a color for our word. I'm going to choose this gold color here and add text. And I'm going to choose the word excited. I can't see that very well. And go into selected increase my text box, go in and pump up that size quite a bit. My font is rib eye. That wasn't on our list, but that is a free font. Hoof, that is really hard to see, but that's okay. I'm gonna go ahead and rasterize it. Alpha Lockett and duplicate it. I'm going to take the lower one and she's this creamy color and fill it. It's under there. If you turn the yellow layer off, you can see it. Select, I'm on that creamy color and I'm gonna select and just shift the cream layer down into the right. That's the look I like. You can shift it anywhere you like. I'm gonna go to this purple layer and go to hue saturation brightness and just make some adjustments here really quick. Desaturated a little bit, makes that yellow stand out a little bit more. Gold. Golden rod. Alright, that's step one. So having just a creamy or a White to layer underneath instead of a shadow, I'm going to group those two together and call it white layer. Creative. Right? I'm going to move it up here. And I'm going to duplicate the whole group, grab one of them, and move it down. Now I'm going to take that white layer and I'm going to duplicate that one. Going to choose a fairly dark gray, go to that lowest layer of the three and fill it. It's already alpha locked. Select it and shift that one down. So you can, you can see that already gives to significantly different licks. That shadow is quite dark. You can play around with the opacity on that. I like turning shadows to multiply and do all the things that we learned in our shadow lesson. So that's another option. I'm going to change that excited word to another color. Let's choose this kind of light brown here. I really like this pellet and fill alpha Lux already on. Okay, this one we're going to call white shadow layers. Now I went to duplicate that whole thing. Grabbed the lower one and bring that went down. For this group. I'm going to change my word excited before we do anything else. I'm gonna change it to this, this kind of reddish terracotta color. Whew pretty. You can really see our paper texture coming through. And for this one I'm going to go ahead ups. My shadow layer is not on multiply. We go for this one. I'm gonna go ahead and turn that went to multiply as well. I'm going to erase some of that shadow layer. And where I am erasing it is where the white layer currently is and the white layer will get turned off. So we can go ahead and turn the white layer off so we can see what's happening. Select the white layer. And now anything that's currently selected, which is the white layer, excited, I can go to any other layer, tap on the layer and tap clear. And that is going to get erased wherever the white layer currently is, is going to be erased from this gray layer. So let's see that happen. I'm going to zoom way in so you can see it happening. Watch this c right here. So the white layer stays off. And now we have this gap. So we can see our paper texture or paper layer color coming through the gap. And we have an entirely different shadow look. That's what our shadow currently looks like. I love this look. Play around with opacity, can do all sorts of things. I'm not sure I would blur it at this, but that's my personal preference. And for me it looks like somebody came in in hand, drew some special lines there and I don't know if blurring, which would work very well with this particular group. Alright, now remember that you can do anything to the tops of all of these words, like we did in some of the first lessons. Putting more colors and more patterns and all sorts of things. We're gonna talk about some more of those later. I have some really cool bubbly looks that I'll show you and stuff like that. We're going to call this group anything that will help you remember what it is. So how about erased shadow with white layer? Alright, I have an empty layer here and went to group together all three of these, and the purple group those together, call that group white layers. This is my favorite so far. See you in the next lesson. 11. Lesson E: Outline Letters: I'm going to choose a simple short word and we're gonna go with joy. Let's go ahead and bring that size up and do your regular Find a good font. For this one, I want you to choose a thick, blocky font. Alright, I'm gonna choose peace Sams. I'm gonna make it bigger. So you can make it bigger this way to make it really big for this particular lesson. Alright, I'm going to duplicate that. I have not rasterized at yet. On the top layer, I'm going to edit text. So you can either get to that, that way or you can tap on it. And that gets you into the edit options. Double-tap there. Let's change the color. We need a lighter color or any other color from what we had on the layer below it. And this time, we're gonna go into our options here and we're going to select the outline and then de-select, and then de-select the whole thing. So right now we have the whole base layer underneath and the outline above it. And I didn't rasterize yet because I wanted to make sure I really liked how it looked before I continued. So now I can rasterize both layers. Some fonts don't show a really great outline. And so maybe there's some skinny areas or some of them where they overlap. The outline will kind of be on the overlap. So you just need to play around with that. And once you like the two layers that you have with the outline on one and the solid down below, then you can rasterize. I'm going to show you really quick that the outline is almost always kind of overlapping. It isn't exactly fitting right on that letter. So I'll just reduce the opacity and you can see that. So that pink outline is a little bit bigger. So there's a couple of fun things we can do with this. And I'm gonna go ahead and move this up. And I can rasterize both layers. And I'm going to group those together. And I'm going to duplicate that group. Take the lower one and move it down here. Make sure I don't go off the edge of the page so it doesn't crop. I can see it over here even though this manys and my way, I can see the bounding box here. Okay, so let's turn went off and we're going to focus on this one. So there's a lot of fun things we can do with this. One thing is to erase from this base layer, erase in designs or speckles, whatever you want to do. So let's go to the eraser. And just to make things a little bit more simple, I'm going to select one of my lines. So these lines are horizontal. You can turn the canvas if you want them to be at an angle. This particular brushes with a pencil. So it's not erasing a solid, solid line. If you want it to erase a solid, solid line, I would recommend going over it a couple times, picking up your pencil and going over it a couple times, and it's erased quite a bit more. Alright, and if you don't want that black to be black, you can alpha lock. And change it to any color. You could just change it to the same color that the outline is. I'm gonna make it maybe a nice gold. That looks pretty fun. Now I want to shadow. So that's just one technique that you can do with the outline and the solid layers of one font. But I went to shadow on this. So I'm going to duplicate that whole group. And on the lower when I'm just gonna flatten it. So now I have a monitoring the, the group off that we did. And I have this on one layer. It's already alpha locked. And I pick a dark color and fill layer, take alpha lock off. Whoops. I turned my back on and I can slide this one down. Let's turn that shadow layer to multiply and reduce the opacity. Now if I slide it down in the same direction as all those lines, you can't really see the shadow in here. So that's something to play around with. Loops. Select it. If you slight it too much, you're going to completely block all of those gaps. So that's just something you need to find a good, happy medium there for your personal preference. And it went until you exactly how to do stuff. So if you look at that zoomed in, you can see the, the white spaces and the yellow lines and the shadow. And you can also of course, blur and the shadow. And that'll help you see through here a little bit. So I just blurred to 4.4. That makes it look like it's really popped up off the page. So that, that's when I'm gonna go ahead. And when you have a group that's flattened like this, it's not flattened. The group is closed. I don't know what it's called. And you want to drag a layer into it. It puts that layer in the bottom of the group. So that's exactly where I want it. Like that. Alright, so let's call that outline with Erase. I don't know. Call it what you want. And now we have this group down here. Let's come down to this group. So for this group, I am just adding to this. So you can treat this black inside. Just like anything else. I can add a clipping mask to it. I can find some here, I'll find some of the pink, maybe go a little darker. Find your favorite brash. And right, you can do anything you want to it and still have this outline. Who I like this on the black that is so pretty. This reminds me of my valentine class two. Okay, so adding anything, I want to add another clipping mask and I want to show you the stippled brush. I'm gonna go to a pretty big size and just have fun with some grace because I'm gonna do a blend mode. So stippling more at the bottom, just kinda sprinkles at the top and maybe go up to a lighter gray. Maybe you could do these graze on different layers if you want. But it's really not necessary. Did it just a few up at the top? I mean, this is all personal preference to whenever you wanna do. And go to an even lighter color because that's going to look really cool when we change the blend mode. So if you skipped any of the earlier lessons seal, you'll know that this is going to let cool with the Blend Modes once we start changing. Although up here with the black, I mean the turn that stippled layer off because the blend modes over black might not be as cool. So let's go back to that pink and maybe bring it up in color a little bit in brightness. And just get a little bit more, a little bit more color on this pink layer. Cover that black a little tiny bit and just barely covering it so it's not solid black. There we go. And turn my stippled layer back on. You can tell I really don't name layers very often. So if do you need to name your layers, definitely do that. So this triple layer is three shades of grey now on top of a couple different shades of red, which is on top of blacks of that black is shining through. I should say pink cannot read. And then let's play with one modes. Screen is really pretty Color, Dodge is nice and vibrant. Ad looks really great with the color of pink. That outline is well overlay, looks amazing. I hope that shows up on video. Look at that. Overlays on one of my favorites. Soft light is just a little bit more subtle. Hard light is also pretty. So it really depends on the look. You're going for a while. Those turned teal on that one. Wu divide is pretty. So you can get all sorts of different links. You can add different kinds of colors of staples too. And then the blend mode is going to be just totally wacky different. You can also alpha lock this outline layer and do all the things we did in our alpha luck lesson, right? So you can go to a color and make the outline layer a gradient as well, right? Just really quick example here. So it doesn't have to just be a super-duper, obvious outline. And of course, don't forget, you can do a shadow. And remember the outline is a tiny bit bigger than the interior part. So one of the things you could do is go ahead and turn off the layers again like we did getting the block letter outline and do three finger swipe, copy all that we can turn our layers back on again. Whoops, not that one. This one. And then we need a layer underneath three finger swipe paste. And that's really just exactly what we copied, right? It's the same thing. But if we Alpha lock that and fill it with a dark color. Okay, so the outline layer up here on, alright, so now this alpha locked when down hears is here. And then you can move that shadow around how ever you want that. Take alpha Lakoff and blur it and reduce the opacity. And there we go. It's great. All right, see you in the next lesson. 12. Lesson F: Block Letters: It's time for black letters. And I love doing block letters. And I'm doing it in an easy way for me to understand without worrying about a whole bunch of things to remember. Let's pick the word love. Pick whatever word you want. Wrench to all add, add text. And I'm going to do love, but I'm gonna change my font. Since we just use this fun font from the last lesson. On tell this is a great font. I can't remember if we used it already. Alright, let's use on tell. I'm on red, so that's kind of perfect for this word. Nice big size. I don't need to fill the whole page here. Alright, I'm going to rasterize it because I have it the size I want it. And now I am going to duplicate it. And I'm going to grab the lower one that we can't see. And I'm going to alpha lockup. Let's go ahead and pick a grey. Phil. And we're going to zoom in just like we're doing a shadow. I'm going to have this particular when come this way. And I'm just shifting it a little bit. Hey, and what I'm looking for is I'm going to zoom way in and show you what I'm looking for and looking for where the tops and the bottoms line up. I don't want it to be too crazy. So I'll show you an example here. If we select this, if this is up here and I have this jagged spot, it's fine. I just need to make sure I fill it in. So actually, let's go ahead and do it in a way that gives a jaggedy spots so I can show you what that means. So I had it in a spot where it was just kind of nicely flowing right here. It's just kind of flowing and we're just going to eventually fill in more and more. But I'm going to shift it that way a little bit more instead of down. And we're gonna go ahead and move it quite a bit. And now we just need to fill in a little bit. So I'm on the same gray and I'm on my monoline, and I'm going to tiny size. And I just need to fill in from corner to corner. Oops, I'm on alpha lock. So you need to take alpha lock off. Some going corner to corner here. Right? This is also a little tiny wave of, of a gap. So fill that in. And you're gonna go around on each little edge and each little valley that you have formed. Here's a little valley here. It's teeny tiny. Here's one here. Here's one here. Here's when here. There's a teeny one here. I'm not sure it's even worth filling in. And I'm just going through and trying to fill in all of these anyone here to fill in of course this point, but let's get this valley to fill in here. And this point, and I have airplane going over. So you only have to do that when time. So take your time. Get it looking really good. Maybe round off. Maybe you can loops little tiny jacket point there. So take your time making that look really nice for this very first one and you're going to be duplicating that. So that is the only time you really need to do that filling in K. So let's go ahead and alpha locket again, duplicate that, grab the bottom one selected, and we need to move it in that same direction, whatever direction you started in. So I'm watching where all those little weird edges meet. And you just move it so that it's still lined up nicely with the previous one. And you can do this as many times as he went. I mean, it's gonna look funny if you do it a lot because, you know, how tall can that litter really be? And there you have a block letter. So merge those layers together because this font is so thick, I only needed to do that three times. If you have a really thin font, you're shifts will be smaller and you'll just need to have more of them. You can also do some really fun stuff with doing all the layers in different colors. Just make sure you always move the lower, the lowest layer when you're moving a new layer. Alright, so I have this really cool raised block here, and I'm going to add a clipping mask to it because now I want to have some fun with that. So think about where your light is going to come from. Let's just say it's coming from over here. So just pretend like you're shining a light down on all of that gray. I'm gonna go to a really light grey and I'm on my model, I brush on a pretty big size. And I'm just thinking about what all the light areas would be and where all the dark areas would be. So all the tops of my letters would be light. Right? Even the top of this little part of the E, the top of that l would be kinda shadowed by the o, but let's give it some light. And inside it would be really kind of all shadowed. But let's go ahead and give that some light in here to maybe some light would be right in here, right in here. Don't be too fussy with this. Just have fun. Maybe there would be some late here. We're going to blur this. So we're being really imprecise. And some light in here. Good, I like that. And it really wasn't super bright white. I'm gonna go to a much darker color and I'm gonna do another clipping mask just so I have a little bit more flexibility with blend modes. And I'm going to do some shadows. Slowed to a dark grey, not black. So shadows would be up under, right? So anything that's kinda facing down. Anything that's facing down would be shadowed. Let's see. There would be little shadow under here. Down here on the bottom of everything down here, on the underside of the upper areas. And again, I being super imprecise and just having fun with this. Right? And then we have, we have the grey that we initially used. I'm gonna go a little bit darker and get some slightly dark areas in some other spots. Distinct about where it would look, shadowed teal. And you'll find once we blur it that none of this really matters to be super precise. Alright, so let's blur the current layer, the dark layer that we're on. I'm mad about 5-6 percent, 7%. That looks good. Let's go to the white layer and blur. Blurring this one a little bit more, 9%. And you have just created a really cool metallic block letter. Again, don't forget, you can design anything. You went on the red letters using a clipping mask on that red layer, or using alpha luck on that layer. Lots of different things you can do with that. I'm going to add a shadow layer. And this shadow layer is just shuttle layer to just barely show underneath. So I am going to just go ahead and take my big block. So that big gray block, take the lower one, darken it, fill it. Select it, and just tap maybe once down. Once over. Yep. Just barely, barely barely could just barely see a black outline here. You can take alpha lock off and blurred obtain t times EBIT. 1.5%, maybe too. I think that's pretty cool. It looks like a physical metal letter that you've set on the page and there's a little bit of a shadow underneath. And of course, adding a clipping mask. Having fun with anything you wanna do on top here. That's pretty busy looking. But just to make sure you remember that you can also play around with decorating the top. We're going to add one more shadow to the block letters. And this is optional. I don't think that it really needs it. But if you want to kind of have the light casting a shadow of the black letters onto the page. I like to grab a screenshot. Well, you copy all of the whole word. So I turn that back ground off and turn the textures off. So the only thing you are seeing is the word, you could turn that teeny tiny shadow layer off as well. And then three finger swipe down and copy all. So you've captured just that. It needs to have this red word on it too, because it's kind of a weird shape without it. And then you can turn the other things back on again. And we're gonna come up just above. It can be above or below this teeny tiny shadow layer we have. So just three finger swipe down and paste. And now we have that whole word. We're going to alpha lock that selected gray and fill it. So it's just a nice solid word here. Let's see if we can see it. Just like that. And now we need to turn alpha log off and we're going to blur it with motion blur. So since we moved our layers to make the block, we moved those layers that way. We're gonna motion blur that way. We've got the light coming up here in the shadow's going to be over here. So go to the little magic wand, good emotion Layer. And I'm just going to slide that direction and you'll see it. I'm going to zoom in so you can see it better. So what it's doing is it's actually stretching it in both directions from the, you know, this str, if I, if I move my pencil this way, this way, or this way it's going to stretch. Both. Hopefully that makes sense. So i'm just did about 23% and I just see a little bit of gray on both sides. I'm going to call that good. Select it and then I need to shift it over. So you can see I have gray on this side and since my light is coming from over here, I'm not going to have shadow over there. So I am just shifting the whole thing over so that this shadow is now underneath my block. And it's just shifted everything over nicely. And now you can just play with how you want that to look. I, of course I put shadow on multiply. So if you wanted to be a much more solid shadow, because this is very faded. You can do a couple of things. You can just keep duplicating this layer and pinching it together. And you can see it getting darker and darker. You can do this until it's quite solid. And the other thing you can do is tap it and selected and pick the color you want and go to like the big mom Elaine brush and kind of fill it in when I just filled it with the gray that I've selected, it was duplicating to a darker gray, but this is okay. And if it's not, you can just go ahead and change it right now. And it works better if you kind of pick your pencil app and go down each time it's kinda adding. It's kind of a weird way of doing this. And now actually I can see that I didn't move my shadow far enough. I can do that again. Alright, so now I want to hide that box, that shadow all the way underneath. So these top edges don't have any shadow. And then you can just really reduce that opacity. So that makes it a much crisper shadow. You can probably do it. I've played around with different directions to do the motion blur and we're gonna do another lesson with motion blur. So if you don't get the hang of this right now, don't worry about it. I actually prefer it without this shadow, so I'm going to turn it off. So there is your very basic block letter. Have fun. 13. Lesson: G: Curved Edges & Motion Blur: Okay, it started a new canvas because I ran out of layers. For this lesson. We're gonna do some letters that kind of have curved looking edges. So we're going to pick a big chunky font that's also kind of bubbly looking. So I am on this color palette choosing this nice middle till here. I'm gonna do all caps and I'm gonna do the word calm. Go back in and pick a font. I'm going to, I don't know how to say it, but it's Frank Zooter. Frank. Frank server. Fra N x, you are TER. It's one of the ones that's on the list I gave you. This is another great one for using with the outline, like we did in the last lesson. Alright, so we have calm and it's just super flat right now. And I want some shadows on one side and some highlights on the other side. So we're gonna do like the light is coming from here. So everything that's kinda of facing that way is lighter and this way is darker. I'm going to rasterize this. And I'm going to duplicate it. I'm going to take the, I'm gonna go ahead and label these just so you can kind of see what I'm doing. So I'm gonna take one and rename it light. And take when and rename it dark. And then this is just our base layer. For the sake of being able to see what you're doing. I'm just going to turn the opacity down. Right now. You can't see that I've done that because they're all lined up. So just turn the opacity down on light and dark hair. Let's go ahead and take the darks for the dark wins. I just want a little bit of the edge of my words remaining. So to do that, I'm going to move, you'll be able to see it because I've moved the opacity down. I moving this just slightly down into the left. Can you see that? Just like I'm making a shadow. And then just like our white layer trick, I'm going to erase everywhere where this main layer is. I'm going to erase off of this dark layer. So I'm gonna go down to my main layer, select. Go up to my dark layer, clear. You won't be able to see that unless we turn these two layers off. So that's that layer now. And I'm gonna do this same thing with the light layer, but it's going to be shifted up that way. So I'm going to leave that dark layer there, but I'm going to turn it off so it doesn't get complicated. Take the light layer and I'm going to shift it up that way. Whoops, I just rotated it. Alright. And I'm gonna take my base layer, select, tap my light layer, clear. There we go. So now we have those, how we need them to be. But we're going to go ahead and turn the opacity back up. We're just going to work on the light layer right now. And I need it to be white. So I'm going to alpha lock it and I'm gonna turn it white. It's now blending in with my background. So let me turn my background down a little bit. And now you can see that white layer. Now I need that white layer to be right on top of my, my base layer here, my teal layer. So I'm just moving it around and I'm looking around and getting it all lined up. So it's just kind of hanging out right on top. Alright, we're gonna do this same thing with the dark layers. So I'm gonna turn the opacity back up and alpha locket so I can change the color to black. Fill layer and move it right on top of I keep rotating it. Move it right on top here. So go ahead and turn alpha lock off. We're also turning them into clipping masks because we don't want those blurred areas to go outside of our base letter here. So let's turn it into a clipping mask. Let's turn that went into clipping mask. And let's blur them, starting with whatever when it doesn't matter. So it's the white one. I've blurred to about 4.6%. Go to the dark one. Probably about the same would be a good idea. And now you have a pretty cool, bubbly edged look. Now of course, I liked blend modes so that if you ever change the color of the base layer, these blend, these layers on top are going to kind of follow along. So you can turn the dark one just to multiply the light one maybe to overlay. That depends on kind of the color you have on this base layer. Blend modes will work differently. So just play around with those. And of course, if you ever want to decorate this layer, you would do it underneath the highlights and the shadows. So just add a layer on top as a clipping mask and have fun decorating that layer. So that's all fine and dandy. But now we have another step we can do. Let's leave this when like it is, so that you can come back later and see what that is. So let's say curved edge. How about that? And duplicate it. Bring the lower one lower. Alright, I told you we are going to look at motion blur again. So we're gonna take that base layer and duplicate it. And just go ahead and alpha lock the lowest one because it's going to basically be a shadow. So we're going to dark it in and then take alpha lock off or we can't blur it. Motion blur layer. Sometimes the percentage doesn't show up for me and I'm not sure why. I'm going to about 2930%. It looks like it kinda stopped working. Alright, and then select it. Now you can decide if you want to bring it down or up. Let me bring it down. But I won't really know exactly where to put it until I'm done with the next step. So that next step is either just duplicating it and pinching it together a whole bunch of times, which is the method that I prefer. Or you can select it and go to the big modelling brash and just draw over the top of it. Hopefully you can see, if you watch here, you'll fill in. But you can still see these lines in there, see if you can keep filling in. So that's another method is drawing a whole bunch of times on top of this. Or duplicate this a whole bunch of times. Alright, and get it nice and solid. And now you can see where that should go and really have it hidden underneath. So I can't see it at all up there. I can see it on the L a little bit because of the motion blur kind of went off that way a little bit. And you can change that to any color you want. So have fun finding a good color. And then you can add a clipping mask on top of that and do the shadowing that we did in the block letter lesson. I'm even going to add one more layer of this com layer, alpha locket, turn it super light and pull that one down as well. So all the techniques that we've learned up to now, you can just kind of mix them all together. I'm going to move my dark bubbly layer, shadow layer, display a little bit more. I think it'll look better. There we go. It just meets the edge a little bit better, agent, quite have it meeting the edge well enough. I think the blur made it look less like it was getting to the edge. There we go. 14. Lesson H: Bubble Letters: And there's another method that you can use to make things look more bubbly, anything, you do not have to have these two bubbly edge layers. So let's go ahead and duplicate this whole piece and just work on this bottom one. All right, just so we don't get too confused about these two bubbly edge layers. I'm gonna delete them. So now you have a bubbly font, but it's just a black letter without these curvy edges. So that's a whole different look. Looks great, I like it. One thing you can do to make the surface not look flat is highlight the center and darken the outer edges. So we're gonna go ahead and do that. And we're gonna do it right on top of this color layer here. This, you know, at, let's turn that off to so it's not so confusing. I'm gonna delete it. Alright, so now I have a clipping mask on top of this word column. I'm gonna go ahead and change the color of the word calm just to have something different. And I like the look of it with that orange and it dark in it. Alright. So highlighting the middle and darkening the edges. Clipping layer, clipping mask for each of those. So I'm going to just go to white and I am gonna go to my milky chalky la Pena. You could go to a lot of different brushes. I'm gonna go a fairly small size and just try to get the center. And this can have, is not CBER solid, but I think I like it like this. You'll get different looks if you go with a more solid white here. So even though I want it to be, I'm going to blur it sets can be imprecise. I still want it to be fairly consistent, so I don't went super heavy white in some letters but not in other letters. And I'm gonna go to a clipping mask above that or below it. And let's just choose black and see what that looks like with the Blend Mode on overlay. It it will most likely look darker, but for some colors, it doesn't necessarily. Yeah, I think that's good. It's a nice dark purple. Alright, so now I'm going to just go around the edges. Alright, now let's blurb both of those layer. So we're also changing the blend mode on the white layer. Let's go ahead and change it to add. Add is a very, very bright. You may need to turn that down. So while I blur the light layer, I'm going to turn the black layer off. And you can already see it gives quite a good bubbly look. The dark layers just going to add to that. You might need to turn the opacity down, but for now it looks okay. Let's go ahead and blur the black layer. Oh wow, that's just gorgeous. And so if you need more texture, you can do this more precisely and not use blur at all. And blurring, of course, is just wiping out the texture. So that's another option, is to just be very careful with it. And the next layer you can use as a clipping mask or not, we're going to be staying in the lines fairly easily. So I'm just going to grab the detailing pen here, or you can use monoline and just put a little glimmer. So we have our light coming from this side. So maybe the little glimmer is going to be from this side. Let's think about kind of where those who would be. You can look at references, surges, can put them on there. Any little glimmers we are going to make it look just super shiny. Just don't overthink it. Yay. Look at bad. So now this looks like bubbles on top of these blocks. So you don't want the block at all. You don't have to have it at all. You just have the bubble there. You can take that who already have an ace layer down here to have for a little shadow layer. Shadow is going to be this way because we've had all the light coming from this direction. And let's dark in that layer. Take alpha log off and give it a little blur. Just a little blur, and then move it back in. Just a little shadow so that the bubble looks like it's casting a shadow. And indeed turn that to multiply. It can already tell it's not a multiply. And there you go. So you can have that. If you have your block on underneath you, you wouldn't want your shadow layer on. We can call that one bubble. How about this one can be curved edge with motion blur. I'm gonna play around with these tools a little bit and still not happy with those steels. Maybe I'll just turn them all purple. 15. Lesson I: Warp & Distort: I'm going to show you another sort of blocky look. And let's just use the word love since we only used it once. Let's do all caps. So this is the font piece, sands. And I just made it nice and big. And I'm going to change that color a little bit. It's a little break for me. Okay, so let's rasterize that. And I'm going to warp it. So to select worship. And I'm just going to pull down and make it look curved like this just a little bit. Try to keep it somewhat even on both sides. Sometimes we pencil doesn't work on that line. And then I have to use my hand and then I can switch back to my pencil so I don't know what's going on with that. It's been that way for a long time. Alright? So once you have it, how you want it to duplicate it. And just so we can see the difference, let's go ahead and alpha luck this and dark hinted a little bit. And fill layer. Whoops, that's the, I was at MIT to do that to the one on the underside. So I'm going to drag that below the lighter one. And now I have this darker when that's underneath the lighter, when I have to go back to uniform or free form in order to move these. So I'm gonna go ahead and do that and then I'm just put it pushing it up, which is going to make it look like it's going farther away from me. And I'm going fairly significantly. It's going to be a big Vicki chunky letter here. And now I'm going to distort and I am going to bring the corners and mom and I bring this side's analytical. This part is just kind of play around. Imagine all of these little corners being connected later. So the look I'm going for is now I'm Brett bringing a corner, just a corner in. The look and going for is kind of it's getting smaller as it goes away. So it's just a smidge, but it does kind of give a cool effect. Alright, now I need to take alpha lock off. Procreate is having a bug right now where the color changes a little bit. When you have a color selected, you create a font with it. And then you start drawing in that same color and it's a slightly different color. So I've emailed them about it and hopefully that will be fixed soon. Would see if it did it this time. Now, but didn't do it this time. So now I'm on the layer back here, and I'm just gonna connect my corners carefully here. And that will complete the little block. And then up here, there, they're hard to see, but you're basically going to need to pull that back in the same kind of. Direction as this one up here. So this angled line on the outside, just use that same angle down here to finish that e, down there and down here. Although it depends on exactly how you move your letters. All right? And of course, you can decorate this front and any way you want with Clippy masks or alpha lock. Any design, any brush. I'm just students in simple stuff for class. So we will take up a lot of time. And we can take that back area and do some, a clipping mask on that, do some highlighting and some more shadowing. So to do that can go back to monoline. And let's do tops highlighted. So I'm just going to fill in the whole top. And the top of this l. Being careful where the edges are. And the top of this row, the top of the v corner to corner in the corner to corner top of the EE. I'm wanting to blur this one. So I am going to go ahead and go to Gaussian Blur, but do pencil. And you can choose what kind of brush you want to blur with. It's just blurring where I'm using my pencil, but, um, the, the amount of blur is at 60%. So you can add your pencil here and then you can actually also I think he's your finger. Yeah. To change where you just drew all your Blurred Lines. Design makes sense. Anywhere you drew with the pencil, you can now adjust how, how much it's blurring. So these are cornered edges, so I'm not going to blur those on this particular lesson. And another super simple way to use work just, I just grabbed cute Aurora display for my font. And I went to rasterize. Work. Play around with worship is Majid u1. Once you're done, duplicate so you have a shadow that's the same shape. And turn alpha lock on. And for this lens, so this is just a super fun, easy thing you can do for playing around with gradient map is get some light to dark grays or any grazie went and then blur. You can blur with alpha lock on and it just stays within the letter. Now you can take that and go to gradient map. Gradient map effects all the gray shades, basically anything, anything that it'll take anything and find its gray value and then apply colors to it, right? So I just chose a fun gradient map color and take my shadow layer and oops, I can't move it around unless it's like an uniform or something. Reduce the opacity. Shifted around a little bit. Anything you wanna do already had all the lessons on shadows, right? So there's some fun with this story. 16. Lesson J: Glitter: All right, let's add text and let's do the word glitter. I am on the font, Stella Wilson. Alright, I'll make it. One of the things I like to do with cool litter and chalk is to not have a clean, crisp edge. So I'll show you how I do that. We need to rasterize it. And then we're gonna go into liquefy and crystals. I don't have momenta bond. I have Crystal set to about 13%. You can play around with that. I always have pressure app. And then the size is going to be different down here in this little skinny area and bigger for the thicker areas. So let's start with a thicker areas and do 30% and see how that goes. And what this is gonna do is push out the edges. So I'll show you really quick in a dramatic way. So we're just going to push out the edges a little bit. So hopefully you can see that I'm just barely going through. Might even be able to get away with this one size. Pressing a little lighter in this skinnier areas and a little heavier in the sticker areas. And you're gonna go through and get the whole word a little jittery around the edges. That way when we copy the glitter layer, when you, if you added glue down onto paper and then sprinkle glitter on it, it would not have a clean, crisp edge. It would be all the bumpy glitter. Alright, exit that. Awesome. Now we need to import the glitter. So insert photo. Find your glitters. Sometimes I have to go to albums and then recent This one I did put into an album. And going to go ahead and just decrease the size of my glitter just to barely fit the word. And then we can turn that off. We need to tap on the glitter word Layer and tap select. Go to the glitter layer and tap, copy. And now go above all of it. Three finger swipe down and paste. And there's your glitter with your bumpy edges. Looks excellent. I like to hold onto that layering case. I goof, but I'm going to turn it off. I want a shadow layers. I am going to duplicate it and stem, pick wine as a shadow layer and turn it to multiply, maybe darken it. If I want. Lips selected and tap over here, just get a little shadow. It just makes it a little bulkier looking. If you wanted a really floaty shadow, you can also add a blurred shadow. Now you have fluting glitter. And that initial shadow that we did is I would probably dark in it actually. And it just looks like almost like a cutout of cardboard with glitter on it. Having that dark edge, this dark edge right here, maybe fade that glitter, that shadow layer. And then also change your glitter layer to any color you want. Hue, saturation, brightness. You can have a lot of fun with that. D saturate to make it silver. And there's glitter. Let's group it all together. We don't really need the glitter layer, that solid glitter layer anymore. So if you're low on layers, you can just get rid of it. All right, see you in the next lesson. 17. Lesson K: Chalk: For this next lesson, I am just going to do a bit of a chalkboard feel. So I'm just going to get Sam chalky, chalkboard. Backwardness. Slidy, Missy chalkboard. Alright, and then on a layer above that, we're gonna do the same, liquefy with crystals. Let's do the workshop. Since we did the word glitter, I am going to set the color to not super bright white and even go into weight. Weight. When you go to classic mode here. I am just going to bump it down, just a smidge towards gray and rasterize. And then let's fastforward our liquefy crystals. I'm going to keep it at the same thing we had before. So you can see how fast that was and now we need to give it a chalky look. I'm going to hold onto this as a master. And I'm going to turn it off. And now I am going to erase. So I would play around with some different texture. So the bold texture as the eraser is going to erase quite a bit. So there's, there's a ton of different chalk looks out there. You can kind of look at Pinterest for inspiration or just kind of Google chalkboard signs. And the soft texture adder as an eraser is just going to be a bit softer. I like to expose the chalkboard black through the white and then add a layer above it. Not necessarily a clipping mask because I might want to go out of the lines. If you're a clipping mask, you can't really go out of the lines. And then maybe with a white pencil stroke, play around with your favorite brushes and then add some you can do color, or you can just kind of add some solid. After you've done you're erasing. You can come through and do some kind of highlighting of some solid chalk. So that is one idea for some chalky look. And then finally, you can erase with this same wide pencil stroke. And there is definitely a very cool loops. I'm on the wrong layer. A very cool look where you have chalkboard signs that have an erased center on the maybe bigger, thicker areas. And then smudge I do. All with that same brush. And then just kinda smudge you don't want to smear it too, too much. So you can easily get some really cool chalkboards sign looks with erasing and erasing texture and erasing sections and adding more white to certain sections. Alright, I wanna show you something really cool with some of the, I'm going to turn the opacity down so you can see it on this dark layer back here. So we have our, I'm gonna give you a quick lesson on sort of what we did with the white layer lesson. So I have our master layer here. I'm just going to duplicate it, turn one of them on alpha, lock it and make it a dark color. And I need to move that out a little bit, kind of out down. Then duplicate that again, take the lower one and move that down even more. It's kinda making a block letter right now. But what I'm gonna do is use this layer to erase this layer selected. I can even turn it off and then go to the lower layer and clear it. So if you remember the layer, the lesson from the white layer, erase, that's just what we did. And we have a gap between the shadow and the chalk. So that's kinda cool. Ok. All right, I'm going to finish this up off camera. Enjoy. I thought I'd show you one more look that I just thought of actually, which is this dark shadow layer, turning it to the truck color. Whoops. So you can't have it on multiply if you do that. So if we did that, we also have to erase it a bit. So that's just another option. I don't know if I like that so much. I really like the dark. Maybe then selecting it and moving it a bit more. So there's tons you can do. And I didn't have to hand right hand letter any of it. 18. Lesson L: Hash Marks: All right, I'm going to show you one more fun thing with the word skill share. Let's do all caps. I'm in the font, cute Aurora display. And make it nice and big. And let's pick and these bright green color because I think that's in their logo. So that's kinda fun. And I'm going to rasterize it, duplicate it, grab the lower when alpha Lockett and turn it white. So fill it. And I'm gonna duplicate it again, take the lower one and turn it gray. So this one, I'm just going to use the white layer later and I'm going to use it in a way that we already did in a different lesson with the white layer lessons. For the gray layer. I'm just going to shift it down. And I'm thinking about and where I want any kind of hash marks, any, any little lines. We're going to do little lines. So I'm gonna move it quite a bit. And then like a black letter I am going to fill in. So take alpha lock off and get a nice small brush. And I'm just going to go ahead and fill in corner to corner. This doesn't need to be super precise because it's not going to show, this gray layer is not going to show in just a second, but it is going to be used for one more step. We're going to be clearing a layer with it. So just fill in all these little missing triangles here. C like that little triangle, triangle, triangle. So the AES has, have a little tiny Valley right here to fill in as well. And right here, look that I has a little spot to fill in. Just make sure the case tiny enough right here in here, it's not that big of a deal. But get these little sections of the S's, maybe that section of the H and the a. Okay. Oh, there's a little valley. When I say Valley, it's this little dip right here. Alright, now we're ready to go to a new layer. I'm just gonna choose black community go on top of the grey layer. And I'm going to the wide lines and I'm in a pretty SNL size to 6%. You can test and see. We're just making little lines coming out from under the green. I want them to be at an angle, so I need to turn my canvas and check that angle. Alright, that's good. And then just fill in, just make sure you have the whole gray word covered. Now I want to select the grey word, but then invert it so it actually lets make clear everything around it. So the gray word is on this layer, you probably can't see that. Select, go to the line bilayer. Oops, I need to reverse that because I forgot to invert. Invert, go to the line layer. And now you can just tap clear or you can erase manually. However you want to do it. If you need details, you can do it that way to clear. Alright, now I can turn my gray layer off. And all I have are those lines coming out from the green skill share word. And I can go ahead and use my, you can leave it like this. This is great. I'm, you can of course, decorate Beck skill Shareware it as much as you want from the other lessons. You can use this white layer. Let me, let me change the background layer a little bit so you can see that white layer and pull it down in that same direction that everything else was, that gray layer was pulled and then use that to clear some more of the black lines. So select, go to the black lines, clear and now turn that white layer off. So what that's done, and we choose a nice color where you can see that well. So I just cleared some space between the green word and the little hash marks is just another look. You can just leave the white layer there, but if your background layer isn't white, then the white there will be super noticeable, which is fine. It's just a different look. Alright. So that is when super easy way to get those little marks. That is when style that I see a lot. And then you don't have to draw them all by hand. So, alright, see you in the next lesson. 19. Lesson M1: Joining Words: I'm going to show you this full, complete illustration. We're going to learn two new techniques in this. One is outlines that you create, not easing the font outline. And when is just joining letters. So for this one we're just joining words. You can see where they're joined. And then we're gonna use what we used already with that bubble technique. And we'll just, it'll be nice to just see one complete illustration. So it's not super long and going to, since you already know how to bring in a font and everything like that, I am going to skip to the part where I'm done with that part. Alright, so I have on Intel as may font and I have them, all these words on separate layers. Live, laugh, love. I don't have them rasterized. And this is just in case I goof and I want to come back and start at the beginning. So I am going to duplicate this group. So what I've done for anything where I have a whole bunch of different letter styles, I just keep them all on separate layers like this. Okay, so it is a layer heavy activity if you have a lot of words. And I'm going to duplicate the group, turn the vector went off but rasterize each of these. And then I'm going to alpha lock those because I want to change the color. So they 2021 pallet be cool, warm is the one we've just kinda stuck with today. And these are the colors that I used in the first version of this that I did. And I thought it would be fun to use the cooler ones because this kind of looks kind of fall ish. So let's try some cooler ones. And I'm going to start with going ahead and changing the background color and deciding what I want the background color to be first. So I'll just do a blue. I might bump it up a little bit, little bit brighter. And now that I know that I can decide what color I want that bass letters to be, any of them to be light because I'm doing a little bit of a watercolor look. So I'll go ahead and grab this cream color from the warm side. And let's just start with those being cream. And now we just need to take alpha lock off. I'm not sure I can do that work tool with that on and now we just need to decide where we want them to be. So I'm gonna go ahead and turn two of them off and just take one of them. And to work, just kinda start playing around with a little bit of curve. Rotate. Laugh loops. I rotated that already work. So this is just personal preference for how you might want your words to look. One of the things I'm looking at is where I'm going to have them bumping up to touch each other in a cup belive spots. So looking at the H in the a here, just touching the up the word up there. Okay, that works. And then left. Maybe I went live to be a little bigger and you're not supposed to upscale, but if you need to just a little, that is OK. Make it really stand out nice and bubbly. So I've got it touching up there and I've got it touching down here. I'm not sure I like it touching in two letters at the same time, the O and the v. So I'm going to let it touch the V with the G. And then I'm gonna go back up here and work this a little bit more ticket it too gets spot. Then let's move the whole group up and see if we like that. I do think it's looking good. Maybe even rotate the whole thing. So that's just something you need to spend time on new disk kind of switching things around. And the more you do that, the more hand written it's going to look K might do it a little bit more with this one. And if you're super happy with it, you can merge those layers. If you decide later. I wish I had move something around. You might have to start over with these vector words. So if you don't want to risk that and you have plenty of layers to work with. You can just keep this group and duplicate it again, and then flatten that group. Turn the other one off. So it's just kind of in the side wings for you to come back to later. And now you have this all on one layer, since it's just like a drawing right now if you want to add any flourishes like I'm, you can select this color. If to select a color, you might want to turn the texture layer off. We know we selected this color right here though. So it should be fine. And then you can go down to the calligraphy section. Look around for a brush that might give you a nice similar look. Maybe you do something fun like that. I don't like that. Something like that. Like I said, I'm not a letter. So that part is not where I am going to be super helpful. But I did notice these l's might be fun to have a little. Ok, so once you get it finalized, I would go to a new layer and I would add flourishes and filigree. So using whatever you wanna do or stamps, maybe this one right here would be fun. Alright, so spend time discussing your little flourishes and filigree. I'm not sure this is lined up. I have those on some separate layers, but I am going to merge those now. You can merge them with your letter layer if you're really sure that you're done. I'm already really liking it with this pale blue in this cream. Alright, I think that's it for now. And I'm gonna go ahead and keep my little additions on a separate layer from my letters. And that's because I'm gonna get really sloppy with color and I don't want have to worry about that with all of those. So I might still merge them later. We just need to make sure that we're doing or all of our steps in a consistent way for each of those two layers. Alright, so now I have this layer and I'm going to, let's go ahead and turn off the other things for now and add a clipping mask. Go to any favorite brush. If you have a watercolor brush, I am going to my favorite brush, my milky jackie, Laura, Una. And I'm just going to stick with this palette. Now when you have a palette like this, you can, you can kind of veer from it so you didn't tap it and then find a lighter or darker color with him, this little colour family right here. And it'll still look really good together. So don't be contained just to these nine colors here. So you can do this in a couple of ways. You can just have it be very random. I like to focus on really showing that the color of this letter is merging into that, the color of that letter and disciplines merging down as well. So I like to have this be a different color than this where I have them merging. I don't know, it's just kind of a neat look. Some people have each letter b, a different color and then they merge into the new color on the letter. So this part you just need to play with and see what you like. So I'm going to fast forward my blobby NH here. Now I am going to select the same brush to blend with. And I'm not going to blend all of the texture out, but I am gonna make sure I have all the cream colored covered for the most part. And then this is also where I will kind of make the colors mix a little, make them look like they're flowing into the other letter. So the green is flowing up and the blues flowing down. Let's go ahead and add our texture layer. So just pick a nice green and grey to the right there, left and right. And I go to the pulpy paper. So this part we played around with earlier in class and you can do one or both of those brushes or some other brush entirely. No brush at all. And then go to colorbar. And let that. So to look at the difference right now, how much more vibrant Alex? Just to have a texture on, they're pretty nice. Okay, let's do that step on our additions here. So let's go to clipping mask. Go back to your brush. I'm gonna pick this terracotta color for the Hertz and just give them a little pop down here. You can also leave some of this cream color in your design. This part is all personal preference. He did not need to do it how I'm doing it right now. I'm mostly doing this just to show you a when complete illustration, as well as a new technique with outlines. All right, let's turn that base layer off again and that will get rid of that other clipping mask to, and we need another clipping mask. Alright, we'll finish this up in the next video. 20. Lesson M2: Joining Words & Outline: In the lesson on bubble letters, we hand drew our lights and darks. So the lesson we're about to do now, we're not handwriting are darks because we'd have to go around the outline of every single thing you see here. And of course that is possible but a little tedious. So this is where I'm going to just show you a little trick to create a nice outline. And I'm going to show it to you in two ways. Are very thin outline as well as a, a thicker when let me show you really quick on the thicker one. So this one is a thicker one. So if you if you see this hazy black outline, Let me turn those off. So the hazy black outline that you see there is one of the things I'll show you and then a much thinner as well. If you want to do an outline that gives this watercolor look, nice, crisp watercolor look around the edges. You are going to want to merge your clipping mask to your base layer before you start. Because you want it to grab all the colors and we're going to be using this base layer to do the outline. So I just got this already in one layer here. And to do the outline, like what you do is you select a layer. Make sure you're on freehand here. I think I'm not sure if that matters, but just make sure invert. And then you need to feather. So to get a large ticket, a small amount just go to like three or 4%. I'll just do. I'm gonna go to for keeps puppet and back down to three. And then you can exit that window and tap copy paste. And what that did, you'll see it says from selection, you can barely see anything here. Turn that selection off. If you turn this off, what you can see is an outline, it just feather, the feathered came over the edge of all of your letters in it and it copied that Taney skinny edge that the feather was, was touching. The if that makes sense. Now here it's only super light green because that's what color is on the letters here. So certain areas are going to show more than others. This is too faint, so we're going to duplicate it and merge them. And it's already nice and dark. And then turn the base layer back on and turn this layer to multiply and liquid, it's done. So I'm going to toggle it on and off so you can see the difference. So for a watercolor, that's awesome, that gives because watercolor can address with a little edge darker like that. The other thing you can do is alpha Locke. Actually, I don't think I even need to alpha Luckett, Can you just need to tap select And then go to a big monoline brush in the dark color or any color, white, whatever. And big size and go over it. So I'm, I'm now making the whole thing really dark. And if you pick up the pen and go over it again and again and again, he gets a little darker each time. And now you have a totally different luck has its black. And you can play around with blend modes and all of that. So this is another way to get outline look. We use the outline font option before, and I wanted to make sure you saw this as well. So we did this, but we also did it with the colorful version just a second ago. This is just the black version. And yeah, you can get all sorts of really fun looks. So this is an example of doing the outline with a very skinny outline because we only did 4% for the feather. So 3% would also be great. If you had a big thick font, you would want to do it a little bit more. That skill share example I just showed you was like 10%. So what that's gonna do is bring the feather in further and then do the copy paste. So that's what we're gonna do next. But for this one, because I don't have my color layer merged with my base. It's only going to, it's not going to copy all these colors. It's only going to copy this white color that I have down here. And I need it to be black anyways. So that's okay for me. I can turn it black just like I just showed you. So I'm tapping that selection there. I'm tapping that layer and happy and select invert feather. And I can see the Feather amount if you zoom in loops, let's assume in First. Let's see, hopefully you can see this one. You can see the Feather amount. So that's 4%. You don't wanna go too far in because of your skinny areas here, right? So that's, let's do, let's just do six. Whoops. And I need to tap copy paste. And there it is right there. Turn off the selection. Really can't see it at all. And I'm gonna duplicate it and merge it. I also want it to be up high above all my other Clippy masks. And now you can see it's kinda white here. And I'm going to select it and do the method that we just did to make it dark over and over and over. Right? Take the selection off. And we're gonna put that on overlay. And then we're also going to blur it. So if you remember our bubble lesson, we did, we hand drew the dark all the way around every single letter. This is just kind of a fast way to do that. We need a blurred a little band. That looks good. I met about 7%. So I have my dark layer and then I need a white layer. I'm gonna go ahead and do the white layer underneath is totally up to you and then repeated on add, go to white, codomain, Chucky or Akuna. And I'm only adding Lipset As a lot. I'm only adding to the bigger chunkier areas, maybe the medium chunky areas as well. So I'm going to fast-forward through this. So one of the things I paid attention to was the connecting points. And I just kinda made sure I had a little highlight going through those because they're a little bit thick. And now I need to blur it. I see some areas that are way to erase those. I'm also going to smooth out this one white bright spot here. Going to tone down some of this super bright spots and wasn't super consistent with that. All right, let's try that again. So again, I went to 7%. And that looks good. So I have my base layer, the colorful layer, and then my highlights in my shadows, well, the dark, bubbly to bubbly layers. And we should do this same thing for these. So let's go above. I'm just going to fast forward through this. We need to clipping masks when for darks and one for lights. So we're gonna select invert Feather. These are super tiny, so I'm just gonna feather till like three. Copy, paste, duplicate and merge that selected. Go to black. Go to monoline. Turned out on overlay and need to move it above my color layer as well. And I already had a layer up here that I had designated for this. But that's okay. I forgot it adds its own layer and I'm just gonna blurred a little bit. Almost makes it go away. So that's 3.5%. If it needs to be a little darker, you can try duplicating again. Ooh, that's quite dark. I like it. And then let's do an Add Layer. I did the light layer under the dark layer on this other one other you can test and see what it will look better. It's not that big of a difference either way. Okay. So let's keep the Add Layer under the dark layer, go to white. I am gonna just stand my detailing pen for this. There's only a few spots. Now. I really don't want very much here. Can unevenly brighten this heart. This heart. And everything else is really almost too small to worry about. Maybe some of these bigger dots. So depending on the flourishes that you chose for yours, you might not need to do much. And then blur rate. Alright, we're going to come back for finishing up. I know we said we are going to finish up in this one, but it's taken a little longer and I don't want to rush. All right. Come back to part three. 21. Lesson M3: Joining Words-Finish: So in my example I had a little pattern brush. I don't have, I do have like the half tone brash and the line brushes that I gave you in class. I have a love our brushes I gave away in other classes for this. And I also have classes on making pattern brushes. So find your favorite pattern brush, or for now just use one of these. I'm just gonna go to this swirly one, and this is from my vintage ornaments class. And I'm on a gray and I am on a layer on the letters. I'm on a layer that's above the colors. And I'm just going to cover the whole thing. Pretty cool, looks metallic. And then I'm going to turn it to Color Burn and turn the opacity down. And that's just a personal preference, however you want that to look. Any design you went under there or no design at all. In any blend mode you want. I'm going to be consistent. Actually, I'm not, I'm not gonna do anything to the little flourish layer, just the letter layer. Alright, finishing up, choose a shadow you like. I'm gonna do the white layer and the shadow layer. So I'm going to do it for, I'm going to take the base layer of the letters and duplicate it. Go to the lower one and Alpha luck it. Duplicate that one again and go to the lower when and make that when my shadow layer. So choose a really dark color and fill. Okay, so I'm gonna move the white layer first and I'm just gonna go ahead and move them this way just a little bit. And that's not white, it's that base cream color. So that's a good color. And then move the shadow when over just a little bit further than that. Of course, I'm going to turn that to multiply and turn the opacity way down. I'm gonna do the same thing for the base layer of all these guys. Take the lower one and alpha log it just so it's already alpha locked. Fill that dark one. Take the white man and tap, tap, tap trained to be consistent and moving it in the same direction, in the same distance as the letter white layer. Turn it to multiply and reduce the opacity. I can go back and check the opacity of the other one, but I'm just gonna eyeball it. Finally down below everything. And just going to add some watercolors swishing. You don't have to do this or you can add it to a pattern back there. Just don't make it super busy. In the procreate brushes in painting, there is a watercolor brush. People often use the watercolor brushes in the water section of procreates precious. So just play around with what color you might want to use. Whoo. That was kinda cool. If you do that and do it on multiply like that. Alright. So she's mushy. I'm not good at species fishy. You can do whatever you want for the background. There we go. And as I look at this, I think I might add some color to this cream here and here I think it's kinda standing out too much. I like it here, but I don't like it down here. So I might go back and tweak that. And that's just on that clipping mask color layer. Oh, we forgot a step. Okay. So the glimmer II layer, so on top of everything on your letter layer. And you can do when two this layer too, but I don't think it needs it with what I've got maybe a little on the hearts. I'm just gonna go to white and I'm gonna go to my detailing. Or you can pick a favorite brush of yours. And this is just something that's kinda optional for getting a little bit more of a shimmer, little bit more of a bubble, I guess. And there's a lot of different ways to do this little line, dot, line, dot, line, dot. And I'm kinda doing them all on and left. Since our light to sort of coming that way, since our shadow is over there. And they just kinda makes it pop. But it's a personal preference. You can do line not, you could do. I think on the other one I did much skinnier, long line like that. Started from the bottom and pressed harder as I went up. So it's a little thicker at the top. And then of course, you can play around with background color. Do you want it a little lighter? A little darker? That's really pretty. I'm thinking I like that darker blue. Wonder if it's too dark to do that one. So I just turned that watercolor background layer back to normal blend mode and turn the opacity down a little bit. Yeah, so obviously you can take a lot of time on these things to get them exactly how you want them and make sure you sign your work. So just like we did here with moving entire words around, you can take one word and separate the letters onto different layers and move those around and mix those up. Just like we have these blending together here, you can do the same thing with individual letters. So make the Word kind, separate the layers, separate the letters onto different layers, and then move them around, rotate them, scooch them together, and then do your technique of keeping them on separate layers here. Maybe even keeping them on separate layers here, and then duplicating that group, flattening it so you have them all on one and you can do this technique for a single word as well. All right, I hope you enjoyed that. 22. Layout Tips: So a few tips and tricks for layout. And I'm not an expert on layout, I'm not a letter. So this isn't a class on composition. It's just as you saw at a class on how to get these looks, so many various looks using procreate and fonts. So I did do some research. And it seems like there's a few tricks that you can keep in mind that will help you with layout. So I thought I would go ahead and share those. And one is to pick the important words in your quote and make those big. So that's what I've done here. And then another one is to have the words, some words that don't have the ascenders which go up high and the descenders like the GI down below. So kind of alternate. So goes kind of as a blocky word with no ascenders and descenders. And then more scripted word with those ascenders and descenders and alternate and doing that so that they, ascenders and descenders don't bump into each other. That's the only reason for that. And I think probably just kinda gives a nice look to not have everything be all one font. But I mean, obviously there's definitely things that look great having all the same font to, but as far as like piecing things together, that's one of the tips that I've seen. Adding flourishes and filigree. So the little lines and everything like that and keeping them somewhat symmetrical if you can. That was another tip. And finally, having a shape that you fill in with your words. So in this one you can actually defined the shape with the lines around it and the lighter area and the darker area. But you can see I have an oval here. It doesn't necessarily need to be squares and circles and things like that. Tips like heavy in the shape of a fish or a flame or a head, the profile of a face, things like that. Just find a shape and fill it in. So those were the four biggest tips that I read about. Alternating with some text that doesn't have a ascenders and descenders. Finding the, the important words and making them baeg and have them stand out. Adding flourishes in filigree, in symmetrical, if possible, and fill in your quote in to a defined shape. And I did not necessarily follow those tricks when I was adding some, some writing to some of the things I'm about to show you, but I'll go ahead and just show you some simple things that I've done to some previous artwork. So this one was finally, I definitely did do the alternating For this one with just those small words in there. I didn't add any filigree or flourishes. But I did of course have the important words standing out. This one didn't need any real rules to it, but I thought I'd zoom in and show you I did the little shadow where you have the white layer that erased the shadow. This one, I'm gonna come back to it. I'm going to change the font on this one and, and maybe even the, the illustration style on that font. But this one I used the curved edge technique and then also have the shadow under there. Listen, I did do a very large enjoy thinking that that was the most important. Little things is also key to that little quote. So this was a very simple one, really fun. I like this one. For this one, I simply used a font. I didn't do anything special to it. I may have played around with blend modes that can't quite remember. But I like how handwritten It looks just as it is on this particular piece. And I found a brush in the calligraphy section that sort of looks like the font. So I did those little flourishes on the side. This is a class I have as well. This one, I did the drop. I did a little shadow, but I pushed it up to the left, but I also made it a color. So the top is awake, but then the shadow, not the shadow, shadow but the sort of shadowy layer is a Color. And then I also have the shadow. This one I did entirely with that milky chalky Lara Puna. All of this really cool, of course, I have that paper texture on there, but this really cool fuzzy heart and amp the background. I don't know, whoops, I don't know if you can see that. It's also in the background. And then I did the font and I erased before. I erased when they need the shadow, I made it solid. And I haven't set to multiply a habit set on pink, so it's just a pink shadow. So it did the steeples on there and I erased from here. I may not have erased actually and may have selected and then gone to a new layer and added the staples and added the white lines that don't quite remember. For this one, just like the live laugh love lesson. I, I joined everything into one layer and then treated it like one layer. So I have all the vector versions down here and turned off just in case I need to make a change. And then I have a white layer that has all of the words all on one layer. And then you can mix and let colors spread into the other letters. And then this is just a brush I haven't on this certain blend mode so that the colors show up differently depending on what color is underneath them. And a shadow layer and the my paper texture and the liner brush underneath superfan, I really recommend that, that kinda look where they're all kind of combined in colors can mix together. This Timmy kind of looks almost Sika, melted CRAN. Alright, next step, we're just gonna talk about class project. 23. Class Project: Alright, your class project is simply to pick your favorite word or phrase. Use one of the illustration styles that we did today and illustrate it. Can't wait to see what you do. If you've never created a class project before. You just go to the class and goto part projects and resources in tap create project. The upload image is actually just for the cover photo. So just put whatever you want there. And it needs to be small, eight megabytes or, or less. And then of course title it and write about anything you went here and then the image button here is where you can add a full size image of your project and it'll go into the body of the project section. So you can add actually multiple images to that part. So this is the part that confuses people because it's just for the cover photo. So you get to add more. And then you can keep it public if you want all of us to be able to see it. 24. Thank you!: I hope you enjoyed class and learn some new things. I can't wait to see what you make. Please post to him that class project section so we can all see and leave a review. Let me know what you thought. If you have any questions, you can go to the Discussions tab. And I'd be more than happy to help. I tried to check skill share daily, sometimes it's every two days. Be sure to hop over to my skill share profile. You'll find links to a really awesome Facebook group for procreate artists of all skill levels in it's a very kind place to be. So come and join us. And my Instagram and spin flour and all that sort of stuff. And I can't wait to see you in the next class. 25. Bonus Lesson on the Skillshare block letters!: This is a little mini bonus lesson to show you how I did this. In the final complete walkthrough lesson of live, laugh, love. I show you how to do this. Really cool outline. So make sure you go do that. This is just a clipping mask. I have my shadow layers. Those are all in other lessons. But I want to show you how I did the blocks with these different colors. So I'm just going to copy this layer. Turn it off, and came up to a new group, three finger swipe down and paste. Then I can start from the very beginning. Alright? So once you take all of the lessons, I'm one of them is one of the block lessons. So block letter lessons. So this is a similar style. You can kind of go lots of different ways with this. I'm going to zoom way in and show you that with this thick font, I can shift it quite a bit. But I want kind of thin layer, so I'm just shifting it about how much I went one layers thickness to be. I just shifted the wrong way. I should have shifted the lower when some myths switch that down here. So this is the lower when that I've shifted and going to alpha luck that and change the color so that we know what that is here. I'm gonna go ahead and pick a light green and fill it. Take alpha Lakoff. And just like we did in some other lessons, I just need to fill in each of these little gaps. So I'm going to fast forward through that. So once you have one entire layer filled in, I would kind of clean it up a little bit. You can go ahead and alpha lack that again and duplicate it. Go down to the bottom layer each time. So I'm going to go to I'm just going to keep going back before back and forth between a light and a dark fill layer. And then I need to slide it along that same plane so that angle. And we don't have to fill in each time. But what I'm looking at is these edges and whether meeting that bright, you don't want it down or up. When it to line up. You can put some of them further out and some of them further in to get thin or thick, thicker little sections. Right. So I just went back to green and go out some more. And so that's just the quick version of how to do that. I would then merge all of those together. And probably if I didn't clean up the first time around, I probably can through and clean up now. So that's just a matter of preference. See this little bulge up here, things like that. So make it all nice and tidy. And then go back to the live laugh love lesson to see how to do the really cool edge on that. Alright, have fun.