Vintage Retro Metal Signs in Procreate | Jennifer Nichols | Skillshare

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Vintage Retro Metal Signs in Procreate

teacher avatar Jennifer Nichols, Leila & Po Studio

Watch this class and thousands more

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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

9 Lessons (1h 6m)
    • 1. What’s This Class About?

    • 2. Downloads & Pinterest

    • 3. Brushes

    • 4. Examples

    • 5. Rusty Foundation

    • 6. Main Design

    • 7. Adding Text

    • 8. Textures

    • 9. Final Thoughts

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About This Class

In this class you will learn how to make a vintage-retro, rusty, metal sign in Procreate! There are so many options and they are SO fun to make! You’ll get every brush you need for FREE! Brushes make all the difference so you can get authentic textures even in this digital process.

As long as you are familiar with the Procreate app, you should be able to follow along with ease. I’ll guide you through one complete sign and then you’ll have the skills you need to let your imagination run wild. Have I mentioned how fun these are to make?!  Join me!




Meet Your Teacher

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Jennifer Nichols

Leila & Po Studio




Come on over to my website for lots of freebies and other fun!
Leila & Po Studio

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1. What’s This Class About?: Hello, my name is Jennifer Nichols. I'm an artist, a teacher, and a fabric designer. In this class, I'm going to show you a fun, easy way to create recipe vintage, retro metal signs in Procreate. We'll take a look at some inspiration on Pinterest as well as some of my own examples. Then I'll review all of my free grunge brushes that will help you achieve the look you want for your science. I'll include a wood grain brush so you can make old wooden signs like this farm fresh eggs sign as well. I've also included 10 fonts and a pallet to get you started. We will go through one complete illustration from start to finish. And you'll be well on your way to creating any sign you can imagine. Head over to my Skillshare profile to find all of my links and sign up for my newsletter over on my website. Let's get started. 2. Downloads & Pinterest: If you go to Projects and Resources for the class, you'll see my resources here, but also notice that I have the Pinterest board link right here. And the description for our class project is simply ten. Make, assign. Pretty simple. So go ahead and tap on the Pinterest board link. And I've put 70 that I found really interesting. And if you tap on one that you like, there's usually some similar things directly underneath it, which will give you even more ideas. So there's plenty of ideas there. Or you can just Google vintage metal signs and things like that and find some other inspiration that way. Of course, don't copy other people's work. Some of those are actual science and some of those are art. And, but just find inspiration there and kind of piece together ideas for yourself. Tap the little c More option here to see the full list. And I forgot to mention that you need to be in a browser at least right now in halfway through 2021. When I'm filming this, the Skillshare app does not get you to the resources, the downloads. So you need to be in a browser on your iPad, and you also need to be in landscape mode. I've included 10 free fonts when Dots Swatches file, which is your palate, and to brush sets. So we will go over these very briefly to download a font, you can just tap on it, download. And then this little arrow here shows that downloaded just bounced. So when you tap on that, you can go straight to it from here and it goes to your files. So your files tab looks like that. Just bumps right into your files. You can go to recent, Syfy forgot the name of the font, and you can see it right there. But since it's a zip file, it's going to if you tap it, It's bringing me right back to the downloads where everything's going to be mixed up depending on how you have yours ordered, mine's in alphabetical order. So you'll have to find it there. Which one was that yellow tail. So you have to remember the name. Find it. For me. I've already done this font a few times, but what happens when you tap the zipped folder is it opens up a blue folder. It actually opens the app right before it. So this one's here. This one is from this one right here. So tapping on that will open up a blue folder. And then you can go into the folder. Some of these, we'll just have your font. Some of them will have a little information about how you're able to use the font. And all of the fonts that I've included were from a 1000 and when free, and they were under the free section. However, sometimes they don't get categorized very well. So you need to make sure that you're using the fonts in a way that is okay to be used, right. So I'm not a lawyer, so I can't tell you exactly where all this legal talk means. I read through this and it looks like it's more about actually trying to distribute the font, like trying to sell it or trying to make changes to it, not using the font in your work. So if you tap on this one, it'll go right into procreate. And then from there you'll find it in your fonts list when you add text. So you can go ahead and download all of these and check them out, see if you like him. The website that I got them from is called thousand when free So if you'd rather type in the name Yellow Tail and search and look at it this way to see if you like it. Before you download it. You can do it that way as well. But I just wanted to save you some time by throwing in a few that I thought worked really well for this project. For this swatches. Again, for all of these, you just tap on them, download them. This is for Safari. It might be different for your browser. Tap on the brushes, download, they're all just downloading up here. Tap on the other brushes and download all up here again. So I forget the name rates. If you forget the name, go to Recent. Oh, it's called Hawaii sketch. Okay. Well, that one's not zipped so you can just tap on it right from there. So when you download a category of brushes is going to be in the top of your list. And when you download a swatch, It's when you go to the palette here, It's going to be in the very bottom of your list. So the two brush sets for this class are the Hawaii stamp brushes and the gems vintage sign brushes. So let's talk about pressures in the next video. 3. Brushes: I've included the Hawaii sketch stamps so that you can just quickly assemble something like I did here. I just had them all on different layers, moved them around and then I did a little bit of erasing where they overlapped and it just was my sketch layer. I like making sketch stamps for that reason because then the art is your own and this is just the sketch layer. And from there I added all of my color. The vintage signs palette is a little bit more geared towards the citrus, kind of fruity drink signs. And then this little row of browns are sort of rusty colors. So, um, you'll definitely want to make more pellets depending on what type of sign you choose. I just want to briefly go over my brushes for the vintage signs. I included my monoline big brush because I used it a lot when I was making all of my science. The bumpy edge brushes and rough edge brushes. And those are going to be really great for just going around the edge to clear up in a rough way the kind of expose the rusty look. So we'll go over that. But there's three different looks you can get with those three brushes. And then there's three grunge brushes, which you can really just add as much or as little texture as you want. Here is a dry, streaky brush. If you press really lightly, you can get some nice vintage paint, can have scratched off paint. And again, we'll talk about this in class. And then there's five brushes that are assertive, scratchy textures in different ways. So you can do different opacities with fat or you can change the opacity of the layer itself that you use that brush on, are those pressures on? I have a wood grain texture, seamless repeat of course, some diamond texture, stripy texture. And then these I think, are going to be fun. So this background when I made it on a 12 by 12 Canvas, so you should be able to put it at max size and tap in the middle. And then you can change the color however you want. And we'll talk about that in class as well. If you have something that's not a square, you can always get it to be as big as you can and then put it on free form and drag it like this. So obviously this is a square canvas, but if you can picture having a canvas that isn't square and you need that to fit. It's okay to scale it that way because it's nice, straight lines. And then having that rounded things is such a pain in Procreate. So I made you a nice big rounded corners stamp. So we're going to be using that. And again, you can put it on free form if you need to make it a rectangle. And then I also made a border. So let's go to a new layer so that you can play around with orders like that. So those are the brushes that I've been easy in on my examples and I'm really happy with these brushes. A couple of them are not new. The wood green brush has been in a previous class. And of course, my monoline brush and the big dry streak is similar to a different brush that I have, but it made some changes to make it a little bit less harsh. Does ticket a nice texture without a big, solid streak? I can't wait to get started. 4. Examples: So I wanted to show you examples before we get started. So you can start visualizing in your head how you might want to proceed with an, a project. So on this one you can see that I have rounded corners and I have the wood grain. They have that starburst in the background. For this one, you can see I have this stripy brush. I just turned my canvas and an angle before I drew and fill the whole canvas. And that's one way to just get it to be at whatever angle you like. I also have the border and the solid rounded background there. For this one, I do have the stripy background brush. They're just really, really faded. So it's just a slightly different tone so it doesn't really scream at you. Here I have the wood grain, I have the diamond brush. Now this one is I, I made it filled the diamond brush on the whole page and then I did free form and I squashed it so that the diamonds are a little bit longer and they aren't perfect diamonds. On this one, I have this starburst and I have the stripe Senate know if you can see the stripes. Just down here. I have the big dry streaky brush coming in here with these dark streaks. This one I wanted to have more of a would look. So you have the wood grain a little bit more obvious dislike the fresh eggs when. So those are just some ideas for using those brushes. These brushes are really solid, but they don't have to stay that way. Just like you can see here, there, there All and texture iced. And we're going to make something similar to this in class today. Let's get started. 5. Rusty Foundation: I'm going to go ahead and start a 12 by 12 Canvas. You can do 10 by 10 by 10, any size you want. 300 DPI. I like to add a few layers. I'm going to turn that background to sort of a creamy color. That is just going to be the color that shows behind the little holes in the corners. If you decide to add holes. On the lowest layer, we're gonna go to the super dark, rusty color and drag and drop, fill the whole layer. Whoops, I wasn't on the lowest layer. On the next layer up. Let's go ahead and do the lighter brown. This isn't rocket science. You guys can make your rest decisions. I'm just going to show you the process. So for this, I'm actually going to go to my bumpy edge and rough edge brushes, the one that you prefer. And I'm going to erase a little bit at the edge. Now you could say, well, I could have just made my first layer this lighter color and then added the dark color to the edge. And that's something that you can decide the whole way through. I'm going to show you the way that I've come up with the I think looks more realistic. And that is sort of treating it in a way that it actually arrested sign actually gets to be a rusty sign where it started out new and then paint was removed, rest grew, dings and chips were added along the way. So we're going to be removing things for the most part. At the end, we do add some things to the top as well. So I'm removing things here, right? I'm also going to switch to this grunge number 1. Again, this is all just personal preference and I'm erasing even more of that edge that I just created. I mostly created those edge brushes just so we have a nice, easy way to eliminate the bulk of the edges without it being a straight line or a wavy line. But these other texture brushes are a nice way to get it a little bit more realistic looking. The amount of rusty edge that you want it for your piece is completely up to you. If you don't want to vary. Big rusty area showing, you're going to want to have this layer be closer to the edges and not remove as much of it. Maybe you'll want to have. So let's, let's do this scenario where you don't use the bumpy edge brush at all and you only use this that some of the grungy precious. So just like that. So that the other edge brush was just one option. So I'm just erasing some more, getting rid of those smoother lines all the way around. I'm going to add a new layer and this is where I'm going to start my clipping masks. Once you add one clipping mask, you can go down below it and just add multiple layers and they're all clipping masks. So we're going to need a lot of clipping masks. So go ahead and add a few. Another thing you can do to this dark brown layer, right on top of it is add a little bit of the middle, rest brown here, whips with any of the grunge brushes you like. So we don't just have a solid brown. So if I zoom in, you can see we have three shades of brown. Now. If you went holes in your corners, this is the layer that you do that on. You can choose the monoline brush. I might choose something like maybe Nikko rule that has a little texture to it. But that's the layer you want to do that on. Choose wet hole size you want. And just come in and make little holes. And you get some kind of setup with your base. So now everything is going to be clipped to this layer here. So if you think about, this is just the rest, right? So you think about what color you want your signed to be. The base color of that sign is what you'll do next. So we're going to do a citrus when I needed choose this cream color here, but I am going to bump it over towards golden little bit more. So it's not so lemony. Eminent drag and drop that right on. And because it's a clipping mask, it's only showing up right on top of that rest layer. Now we went some of that rest layer exposed. So from here, we're going to erase a little bit more. I just keep going to aggress grunge one for this. And that just exposes a little bit of that lighter rest color. However much you want, just like that. So in this, in this example, I want to show you as many brushes as I can. So now I'm going to add the rounded corner, rounded background, and I'm going to choose a blue. I'm choosing this kind of teal color. I'm gonna go a little bit more blue. Pretty big size. You just don't want it to go over the edges because it will crop. So once you stamp it, you can change the size. If you're on free form. You can fit it exactly onto whatever Canvas shape you have. If you have a rectangle, you can make it a rectangle. And I'm making it a little smaller because I'm also going to add the border. So if it's easier to add the border first, you can do the border first. I'm gonna go to a new layer and add the border. I can barely see it. Alright, so I'm on free form and I can move this around exactly how we want to there. Now, I'm going to select both of them and move them together and get him somewhat centered here. But for some reasons that come up later, I need a duplicate of this. First one here. So I'm going to duplicate that and just have it sitting there. It can be turned off. Alright, so I have the two duplicates of this shape right here. And I have one of them turned off. And for the other one, I'm going to use the rectangle selection. And I'm going to delete some of it up here. This part you can decide, I'm going to be adding the starburst for this top half. So I'm just removing that much of it so I can add the starburst. And it doesn't matter what layer, if you're above or below this little border layer. I'm going to choose a starburst color. I'm going to choose this pink, the light pink to again, just whatever color you want. And I'm on the largest size and I'm going to tap. Let's just tap in the middle there. We can move it around. Again. If you're on free form, you can changed the the shape of it, make it a rectangle, and fill in your Canvas. Now, although I really like that, I actually only want the starburst to be on the top half. And I don't want to simply move it underneath and leave it because I am going to be erasing some of this and I don't want that starburst to show through it. So I'm also going to remove the bottom half of the starburst, just like we removed the top half of this blue shape here. I don't wanna go too close to where those two meet because I'm going to do some I'm erasing to add some texture there. So I just removed the bottom part of the starburst. And the other thing you can see is the starburst extends past the edges of everything here because it's clipped to that creamy colored layer. And that's where this duplicate comes in handy. So I'm going to select it. It doesn't need to be turned on. I'm going to select it and tap Invert and then go to my starburst layer and tap that and have clear. And it just kept that shape. So now we haven't all that nice, perfectly rounded background shape. So I'm going to erase a little bit of the edge of my blue here with a grungy brush among the grungy 1. And trying to get rid of that sharp edge. And this is just a style choice that you can make. You can leave it as straight, clean edge. And this is why I had the starburst overlap a little bit. So I still have some of that starburst behind this blue here. All right, and I'm going to keep that border a separate layer still because I might want to change the color of fat to make it a nice accent to something else later on. And to do that, I can just go to the border layer alpha, lock it, choose a color and fill. So I might do something like that later. And then I don't want to merge anything or it's going to fill the whole thing. So we'll just keep it separate since I have enough layers to work with. If you don't have a ton of layers and you need to manage layers differently. You might want to try to make those decisions now so you can merge. Still going to hold on to this full rectangle that I have here, just in case I need it down the road. For example, if I want to add one of the stripy brushes or rectangle, something like that. And I own only want that applied to that space. I can do the same technique I just did with the starburst. Or I can select that rectangle, invert and then clear from the other layer. And since I'm not sure that I'm going to do any of that yet. I'll just hold onto it. All right. So that's kind of your background. I'll set up and next we'll get started on the little glass of lemonade and the lemons and then the lettering. So I know it's not very textured looking at and we're going to add all of that a little bit down the road. If you want to add it as you go, you definitely can. There's a couple of ways to add texture right now. You can see that this border has some texture on it. And that is all because everything is clipped to this light rest color. So any texture that this layer has is going to come through to everything. So if you erase, I should say, from this layer, everything else will look erased. So let me show you an example of that. So I've just erased from this layer right here. And it's exposed this layer underneath all of those spots that I erased because everything is a clipping mask on top of that. So if this doesn't have any pixels in those spots, then these are not going to show up either. So that is a great way to add texture to all of the layers really quickly. But there are certain times where you don't necessarily just one. Those are furred like deep scratches where it scratched through all the layers of paint and exposed the metal and then started to rest. There's times where you're just going to want to erase certain layers to. So you can go to the blue layer and expose some of the creamy color just like that. So where there's more superficial scratches. So those are decisions that we can make later. I'm just gonna go ahead and leave that. I like that. But I just wanted to make that statement before we keep going that I know there's not a lot of texture at the moment on this part. And we'll get to that later on. And we'll also add texture. We're not just erasing, we're going to also add a little at the end as well. 6. Main Design: So hopefully you have worked on your background, your base, and your background to a point where you're happy with them. And now I'm just going to keep going working my way up on layers and work on the cup. So I'm going to turn on Drawing Assist. So go ahead and go to the wrench tool, canvas, drawing guide, edit drawing guide, symmetry, and it'll default to the vertical symmetry. Tap Done. I think it turned on. So when you're in there, if you go into Options, you can turn on and off drawing assist rate there. But you can also turn it on and off right here. So just make sure it says assisted. And I'm going to go up to my monoline brush. Let's go to this blue right here and go really close to white. So I'm going to do nice straight side here. And then a little curve. I'm just thinking of cups that I grew up drinking out of. And that's about all I like doing with the symmetry for this part. So I'm gonna go to a new layer that doesn't have symmetry turned on. And I'm gonna make a little oval down here. If you have it squashed enough, that's a little too squashed. I'm gonna do a little bit wider of an oval. If it's not super close to a circle, you can let it snap and you can put your finger down and it'll snap up to 15 degree in 15 degree increments. And you can have it horizontal that way. And then just de-select it and then select it again. If you're on free form, you can move it into place pretty easily and adjust the size. It's okay to scale up a tiny bit here and there, especially with this monoline brush. And you're going to want a similar oval up here. I'm gonna go to a new layer so I can adjust it easily. Before I merge these layers. Put my finger down so it's horizontal. Move it into place, figure out if that's where I want it to be. Looks good. I am going to erase the background on this one. Whoops, I need to be on the modelling any race. I mean that not the background but the back part of this brush and the back part of this cup. And then if you want to add any details to your cup, do anything you went there. Once you're happy with your cup, go ahead and merge it. So this isn't necessarily a full illustration lesson, and it's more about the techniques that I've used. So i'm, I'm not doing too much talking about my process here for the illustration, I'm gonna go to a layer under this cup outline and figure out what color I want my lemonade to be. So the first thing I'm gonna do with my lemonade, I'm gonna go ahead and keep it bright. We can change it later. I'm going to draw a similar oval 10 that when that down here, let it snap. Make sure it's horizontal, approximately the right size. Free form lets you move that into place. And then as far as location goes, I just don't want this line and this line touching. So if you wanted a less filled cup, it can be down here. Filled up cup can be up here. That looks good. And then I'll fill that. I'm going to duplicate that because I'm just going to change the surface of the lemonade color later. So I'm just going to have that be on its own layer. So now I'm just going to go on the lower oval here. And there's plenty of ways you can decide to fill in your lemonade cup. I'm just going to simply do it this way and drag and drop. It's this yellow is not needing to be precise because it's hidden behind the cup. So that's simple enough for me. And now I'm going to lighten this. I could change the blend mode, I could change the color, whatever you wanna do. So that's the only reason I kept that oval separate. Now I just have kind of a cool way to, to show the surface of my lemonade. So I'm gonna go to this layer. I'm going to select that color as well and I'm actually going to go a little darker. Oh, is this one darker? That one's darker. So let's select that color right there, and that's going to be the rind color of the lemon. That's a little orange, but that's okay. It's vintage, It's rustic rate. We can do whatever we want. You already use all these three layers for the cap. So you can keep using these layers. Or you can just alpha lock this and keep working on the same layer for the entire lemon, which is what I'm gonna do, because that'll make it easier for me to duplicate later. So now I'm going to choose this color and I'm just going to bump it a little bit brighter. And I'm going to fill in most of my lemon here. Edit shape lets me move that around. So I'm just making the lemon all on one layer. Sorry if I'm repeating myself, I had to cut to a new video. My battery died, and I am keeping it all on one layer so that it'll be easier to cut and paste later. So I've just got my sort of raw skin here. And now the rind, the interior lighter color for the lemon. This isn't really illustration. Oops, an illustration lesson. So apologize for how rough this is. Let's just kind of make a simple lemon like this. Alright, so now we have that, we can duplicate it. Loops. I'm on rectangles, go to free hand and just select our lemon and three-finger swipe down and duplicate. And now we have another one. We can move up here that will come in handy later. We might want to move it to a different layer, maybe rotate it a little bit. And I think with this one what I'm gonna do is make it a slice, some disconnect, get rid of half of it here. Yeah, that works. I'm going to duplicate that too. And have one over here. One over here. Something like that. Yeah, maybe just one. Alright, let's come back up to this one and I'll just show you how I, that working with the layers gets a little bit tricky. So I need this to look like it is behind the rim of the cup. I could slide it to a layer behind the cup and then use the mask. I'm going to use a mask. I could use it on the cup rim layer self. Or I could put the lemon on in front of the cup, on a layer above the cup, and use a mask on the lemon layer itself. So let's go ahead and do it that way. So I need to make it look like the rim of the cup here is in front of this lemon. So I'm going to select the lemon and tap mask. And it usually automatically goes to black, but make sure it's black because that will make it look like you're erasing among the monoline brush. And I just want to select my cup layer, this light cup layer, I want to select it. And that's a nice way to just be able to draw where that is. So then I can just easily sort of erase. Again, it's not really erasing, just masking that layer there. And you can kinda decide how you want, the part where it kind of goes into that slice to look. If you want to go to white, you can add a little back. Yeah, that looks good. So we're not gonna go into a lot of details about making it look like it's in the lemonade and all of that, I think it's good enough just like this looking like is on the cup, like cut in, slit onto the couple little bit. Alright. So we have the lemon cup, all the lemon juice layers, all of that. I'm going to shrink this down a little bit and rotate that a little bit. And I can move this lemon slice little bit. Alright, so this is a good time to add maybe a half lemon or a whole lemon and some lemon plant leaves to get some green in there if you want. And anything else you want. If you want to go up to a new layer and have a bit of a sketch layer, choose a dark color and go to the Hawaiian brushes and stamps straw on there. Place the straw where you want it. You can go to another layer and stamp and ice cube on there. Maybe the umbrella. Decide how you like the ice cube to look, what size. Duplicate it. Once you have the sciencey have consistent ice cubes, get as many ice cubes as he went in there. And then merge those for that sketch layer and just turn the opacity way down. That's a nice way to add more to your illustration. So just really quickly. I'll show you how I would do this. For the straw. I would go back to my monoline brush. Where's my brushes? There we are. And get a nice size that I want my straw to be and pick a good color for that. You can change the color later to. And then I would erase just the edges aren't really quite how a straw would look. Those ends of the straw there. Now it looks good. And then on a new layer, I would do a pretty light color for an ice cube. And you really just need to draw one of them. You can make it white. You could try to draw some of these other lines. It's kinda hard to know what color to draw those at this point, just because we're going to be turning the opacity down. So maybe just wait a little bit on that. So once you have your ice cube, you like you can turn the opacity down a little bit and duplicate it, have however many ice cubes you need. It's kinda cool to have the opacity turned down because then the duplicating, you do see the overlapping there. And that's kind of more realistic. Ice look. Now to get the straw to look like it is a little bit more just a different color where it goes into the lemonade. First of all, I'm going to bring this straw layer down below my cup layer. Right here. Again. This is, you know, you could leave it where it was and do some erasing on the straw. So if it was back up here, you could erase the strong just right here. If it's down here, then you just need to erase the cup right here. See there one way or the other, it doesn't really matter. So right now I have it so that I need to erase the cup right here so I can go to the cup. I can actually erase if I want to save on layers. Or I can add a mask which does add a layer. So make sure your stroke is placed exactly where you want it, and then make sure you're on black. I'm going to select my, let's see. Yeah, I'm going to select my stroke. And then this is the only part that needs to be masked. So I'm on and not on erase, I'm on black. And it's going to look erased just by doing that. So that way if I move my straw to a new position, I haven't erased that cup line. And I can make changes to this mask layer, to wherever that new position of the straw is. So that's the benefit to using the mask. Now I want to make this straw look a little bit more transparent down here. Or I I guess yeah, I guess it works to just have it be more transparent. So to do that, I don't know, there might be a better way to do this. This is the way that I've found that works well. So I'm going to select if you picture where the straw goes into this top oval of the lemonade, I'm going to leave a little bit of a curve shape where it hits the surface. So I just did a little curve and then I'm going to select the rest of the straw down here. Tap the selection. Oops, I just tapped it twice. I don't know what that does. There we go. And then go to the layer itself and two-finger tap, which will give you the opacity slider. And then you can just slide down and you can see the opacity changing. So you change that to whatever you think works for you. I meant like 37 percent rate now, I like the look of that. And now your straw is still all on one layer, and that is pretty good. You can get more details. Again, this is not a super detailed type of illustration. So I want to get a little bit of shadowing down here. So let's just come down here to a layer below all of that. I'm going to pick a gray just straight across. I'm still on my monoline brush and I'm gonna make an oval down here. I know I'm completing the oval. I can kind of eyeball where I started. But if you if you want to make sure you can see it just start in a place where you can see that the selection is complete. You can drag and drop and fill it. And then I have my ovals, my shadows both go that way. So the sun is from over here maybe. Okay, and then let's just change the blend mode on that. You can do this however you like. And the gray is a really great color to start with. And you can change the opacity. So that's kind of a similar look to multiply. Depending on what your background color is, you're going to want to pick the best blend mode and color for you. All right, That all looks really great. I haven't left a lot of room for words. So I'm going to select all of these layers are, you can probably join those ice layers. All of these layers, I don't need my sketch layer anymore. So it's all of these interior layers and diminish, shrink that down a little bit. Make room for a big lemonade where down here. And a couple other smaller words up here. Oops, that's good. All right, so come back for the lettering. 7. Adding Text: I need to come up above everything else. I am going to go ahead and keep this on lettering on clipping masks. So I just added some more clipping masks. And I'm going to add text. I'm going to go ahead and make my text box pretty wide here. And type the word lemonade. Lemonade, you all caps. Double-tap it. Go to the a's, the little aa. And I think I liked chocolate box, one of the ones included in the downloads. And I'm going to choose a color. You choose whatever color you want and trying to get this word to be as big as I can and still have it contained within this interior rounded box here. Then I'm going to duplicate that. Go to the under, the one underneath and edit text. Whoops, and double tap on that and choose the premier color. And then slide that one a little bit. Do that, or you can choose a darker color. Anyway, you want to do that. I am also going to select both of them and do free form and make this a taller fund. There we go, right on a layer above those. And a word about rasterizing. So if you accidentally delete the font that you use from procreate, then you'll lose this. If you go ahead and rasterize it, it's almost as if you drew it on there yourself, so it'll always be there. So that's up to you. I kind of do both. Sometimes I rasterize and sometimes I don't sell. As long as you know you're not going to want to make it bigger, you can go ahead and rasterize it. Right on the next layer up, I'm going to add more text and just keeping this simple, let's do freshly squeezed double-tap or triple tap, whatever it is. And she's a new fund. There's a lot that you could choose for this. Choose a color. It's really hard to know what the color is going to look like. Well, that blue border is around it. Once you're happy, duplicate it. Take the lower one and a text. Triple tap and open, just, just change the color here. There we go, freshly squeezed lemonade. So this is where, I mean, you could really do all sorts of things. You can add a little Q price tag like twenty-five cents and all sorts of things. Maybe a little decal on the cob or some highlights. There's all sorts of things that you can do with the illustration side of things. But I'm just trying to show you the technique again. So we're going to move on and I'm going to show you how we finish making this look all vintage and roughed up. Also, I wanted to tell you that I have an entire class on dealing with the fonts and typography and importing and finding fonts and how to search for fonts. So that's my typography class, and it's a wealth of information about using fonts in Procreate. 8. Textures: So now we have all of these layers as clipping masks, and they're all clipped to this light rest color. So anywhere that's erased on this layer is going to be raised from the whole thing. So if there's any big scratches that you think you might want it to have, you can, you can always just hand draw those on with any brush that you have. But if you want this one, this scratchy stamp three has a big scratch on it. You can erase from that bottom layer, not the very bottom, the bottom when that all of those are clipped to, you can erase from that layer. And all of those scratches come through all of the layers, even the lettering. So I would recommend doing a little bit of that. Maybe at different sizes. So you can't tell you're using the same brush. I mean, some of them are just really close to the edges. And I would recommend erasing some from each of those layers as well. So, uh, we still have some self, some texture to add to the top too. But I would go ahead and erase some of the blue. I think it's safe to say I'm going to keep this border piece the same color as this blue. So I'm going to merge those two together. And now I can just erase directly from that layer. Play around with the different brushes. Get some scratches like that. Some from this starburst pink. Hopefully you can see this. And that's one way to add some texture, another way so you don't have to go through every single layer. I do like doing that on the base layers. So again, like this border piece, I would probably even use DIG grunge brush and erase some directly off the edges here. It's really just kind of playing it by ear each time I make one of these. So I'm erasing some directly from some layers. I'm erasing some directly from the layer everything is clipped to. If I want those to like deep scratches that have scratched through all those layers of paint. And then I can also add texture to the top. So if I go above everything, I have some extra layers in here I'm going to get rid of. If I go above everything, I can select. This color would be a good color to select. To add some texture to the top that will make it look like some of the paint is scraped off. Simon the brush, not the eraser. And I'm going to add some texture to the top, right. And that is since I selected that color, it just looks like it's scraped off. This is a personal decision of how much, how rough do you want this to look? You can also change the opacity on that. I wouldn't do too much with opacity on that just because if you're looking at trying to make paint looks scratched off and it's going to expose the next color underneath. You know, you want it to look like that color on, right? And I think I'm going to add another layer where I'm going to add some stripes. Now let's go with the wood grain. So again, let's just start out with gray. And I'm going to fill the whole thing with width green. Now here is something that you need to think about. This is on a clipping mask, which means it is not showing up over here. If you want it to show up over there, for example, if you're doing a piece that you want to look like it's on, would like my farm fresh eggs, peas, then you wouldn't necessarily use the rest colors to begin with. And then you could also just turn clipping mask off and then your width green is going all the way to the edges. So of course now I need to erase the wood grain from those holes, but that's easy enough. All right, that's pretty crazy with green. So I'm going to play around with some blend modes and opacity. Once I get it to a spot that I think I like it mostly, then I'm going to erase with texture, lots of texture. So now I'm going to this big dry streaky brush. And I'm going to just erase basically any layer that you add. If it doesn't have texture already added to the top of it, like our texture or creamy color stamp that we just added to the top. Then I would erase some of it. You can erase with any of the texture brushes really easily. Some of them are more noticeable than others. And sometimes you don't want it to be noticeable. You don't want it to look like you have any raced spot. So now I have a bit of a wood grain, a lot of texture, a lot of scratches exposing that creamy color underneath. And you can just keep going. You have to know when to stop. Of course, the stripes are really fun to add. I would go ahead and do it as a, as a clipping mask. Actually, you know what? We don't even need to do it as a clipping mask because we're going to have to do that technique we did on the starburst when so you can add your I'm just going to keep it on this gray. You can add your stripes. If you need them to be at an angle, just turn your Canvas first and then go way down and select, that's that rectangle that we have turned off. Select, invert. Backup to your stripe layer and clear. And now it's clear just to that area and play with blend modes. Now that's so fun. I like the stripes to be subtle. So far I haven't found a really bold use for those stripes yet. And I'm liking color burn and Linear Burn. I'm going to come back down to my base layer that everything is clipped to. I'm going to go to, let's try this grungy brush. I like to zoom out. I'm not sure I'm a fan of the stripe layer on this land, so I might just turn it off and think about that. It's so q and of course, there's a million ways you could do this. I'm feeling like my letters really need a little bit more scuffing up. I don't know if I want to add a whole bunch of texture to the whole piece. So what I could do is go ahead and rasterize. That means it's just like an image now on this green layer. And now on the creamy layer underneath that, I just rasterized those and I'm going to merge them and I'm going to erase directly from those. Let's do this might be a little too much. Maybe a little bit. Yeah, just be careful not to overdo it. So I can just directly erase from these heared exposed a little pink underneath, which is lovely. And now my font is a little bit more roughed up. And I'll probably do this same thing down here. Actually, I'm gonna go ahead really quickly and go to my starburst layer. Any race from that in a couple of spots to you around the edges. All right. I went in, took a break and had dinner and thought about this, and came back and made some changes. And I wanted to show you some of the changes that I made. And that was simply to add a little bit of the lightest of the brown rest colors to this very, very first layer down here. Just to mix it up. So it's not just contained to this area, spreads out a little bit a darkened around each of the holes and kind of generally in the corners as well. I made some big color changes. All I did was alpha lock. You can two-finger swipe to the right to alpha lock and an alpha lock. This is one of the great reasons to use a clipping mask for things like shadows. And I mean to use Clipping Mask and MD blend modes for shadows, I didn't have to do a single thing to the shadow layer. Even though I changed the color underneath, it still looks great because it's just it's reacting to whatever color is under that. So I changed the green, I changed the pink. I don't like pink so much. So that pink was really begging me. And I also added a little reflection on the glass and I changed those lemon slices. Those lemons, we're bugging me so much with just the kind of wagon wheel design on them. So I made them just all I did was go through and rounded those corners and rounded up up there a little bit. I think I erased a little bit from the lemons as well. And look, I added the stripes, I just did it skinnier stripe and did this stripe layer again. What else today change? I think that's all. So I just added the stripes and I changed the color of the star burst layer and the Green down here and change the lemons a little bit and then add a little rest. But I did do a big change to the lemon slice to make it look a little bit more like it's sinking into the drink. And it is another option you could do instead of what we did on the straw where we selected this area and reduced the opacity. Since I already have a mask on this layer right here, I did more masking. So we've talked a lot about black and white mask. So when you use black, it's like it's erasing it. When he use white, It's like you're adding it back. But when you use different shades of gray, it erases different opacities. So, for example, so black will completely erase. So darker grays will erase. Let's see. I hate using the word erase, but it's just in my mind, that's what it's doing. So darker grays will reduce the opacity more, and lighter grays will reduce the opacity less. So just as an example, just go to a big monoline. So I'm on a super light gray. In fact, I need to go a little bit darker. Probably. See you can even see what I'm doing. I'm not sure you can really even see if you so it's just barely erasing is just barely reducing the opacity. A little darker. You can see it a little bit more. Go a little darker. You can see it even more. Still there. It's still there. So what I've done down here is I've just chosen a darker gray and I applied that gray to this area on the mask layer. So you can see that gray right here. Now I have black right here and right here where we drew black on the mask to expose this glass. And I did accidentally draw the dark gray over onto the area where I had black so I can have redid that area with black when I was all done. All right. So that is That's it. So just to review, we did a super dark layer. The background layer is whatever color you want showing through the drilled holes. If you're going to have any. Then the very first layer we did as the darkest rest color, you can come up with your own method, the darkest rest color. And then we added a whole new layer of the lightest rest color and erased quite a bit around that. And that was the, the layer that we clipped everything too. So that is kind of an important layer to really spend time on getting your erased areas just right. And of course, coming back and changing it later is fine too. You don't have to get it right, right from the beginning. And then I did add, I added some of the light color of rest to that very bottom layer. Let's see if I turn that off. Everything goes off. Oh, the clipping mask, the stripe layer didn't turn off. It must not be a clipping mask. So I added I added a little of all three of the rest colors. Well, too. And I will actually, I I did add some more of the dark back on top to this area right here in the corner. But then I thought about what my my initial layer of paint was going to be and everything else is built on that. So it's all clipped to this recipe layer and everything else is built on that. Now it would be very different if you had a would look that you are going for instead of arrest look, then you would choose some darker wood colors and some lighter would colors and so on and make your, your wood grain a little bit more pronounced. And you can basically do a similar method ticket that weathered would sign look as well and I would probably end up using the big dry streak, a little bit more. Ticket. That kind of vintage paint scraping look from the top. So erasing from that base layer that everything's clipped to you makes the darkest layer show through all of those layers to those look like deeper scratches and dings. And then everything after that, you can either erase from each of the layers individually like we did on this border here. Or you can add texture on top. So when I added texture on top, I chose this base creamy color and added texture on top for this sort of making it look like the paint was scraped off down to that color, and so on. All right. Gosh, I'm really having fun with this and I'm excited to actually finish this class in start making some more ago. I really can't wait to see what you guys do. 9. Final Thoughts: So your class project is to make a sign, of course, any type of sign that you like, popcorn or garage, street sign, all sorts of signs that can be made and posted in the class projects for everybody to see. I would love to see them too. If you're in my Facebook group, please post it there. If you're on Instagram, post their tag me, let people know which class you learned it from. I appreciate the word of mouth very much and have fun. This is such an easy fun style. You don't have to really think too much about how things are illustrated because you're just going to scratch it all up anyways. If you head over to my Skillshare profile, you can find me all the places I am online. I have an amazing Facebook art group for iPad artists. I'm on Instagram and I actually also have a newsletter. So if you go to my website and go to newsletter, you can read all about it. I'm only doing one or two a month because we all have too many e-mails. I know I'm gonna be giving away free B's, so I'm pretty excited about it. I hope you sign up. Thanks again for watching. Leave a review. Let people know how you liked class. I love reading reviews. Unfortunately, I can't reply to those, but I do read them all and I do try to respond to your class projects. If you write to me in there, if you're not quite sure how to leave a class project, do you can just go to the Projects and Resources and tap class project right here. And make sure you add the first image is just for the cover image and then this image icon ad's images to the main part of the project. And you can add as many as you want here. And then tap Publish. Have fun. Thanks again.