70s Lettering

1. 70s Lettering: Hi everyone, I'm Liz Kohler Brown, I'm an artist, designer and teacher, and today I want to show you how to create 70's style hand lettering and decoration. We'll cover everything you need to know to add the kind of bold color, drastic variation and playful decorations that were so popular in the 70's and are now popping up all over the design world on stationary, clothing and home decor. I'll be demonstrating these lettering styles on my iPad and Procreate. But you could use any medium like canvas, paper or just a sketchbook. When you take this class, you'll get all of the Procreate brushes and letter style guides I use to create my 70's style lettering. The set includes seven texture brushes that will help you add a vintage field to your compositions, eight 70's style decoration stamps, and four letter style guides that will take you through every step of creating 70's style Serif and Script letters. First we'll create a bell-bottom inspired Serif to create a playful lettering composition. We'll talk about how to create a fluid 70's feel and I'll give you lots of ideas for quotes and 70's color palettes. Next I'll show you how to create a bouncy 70's inspired Script. I'll share with you some practice sheets I created that you can use to practice the letter style on your iPad or on paper. Last, we'll look at ways to add interesting decorative elements to your lettering, like illustrations, layered perspective and outlines. We'll also cover a few ways to add animation to your lettering to help it stand out online. You can use the lettering compositions you create in this class for social media, your website, print on-demand projects, or to create gifs. So let's get started. 2. Downloads and Resources: The first thing I want to do is show you how to get all of the downloads and resources that you'll need for this class. You can find a link to get to the resources page in the project section on skill share. Make sure you're on the Skill Share website, not the app. Once you click on that link, you'll see that you need a password to get into that page, and I'll show the password onscreen right now. Once you get into that page, you'll see a list of downloads and the first one is the procreate brush set. I'll click on that. I'm using Chrome as my browser so if you have trouble try a different browser. I'll get the download link down at the bottom here and then we'll get the option to open in a program and I'll choose procreate. Then I can open any document, tap on the brush menu, and there it is at the top '70s lettering set. Back on the downloads and resources page. You'll see the color palettes for this class. I created 10 different color pallets. You can download those in the exact same way. Then once you open your color menu and go to palettes, you'll see it there on the palettes' list. We'll dig into color and how to use those brushes later on but it might be helpful for you to go ahead and have those downloaded. If you head back to the downloads and resources page, you'll see the next item on the list is the '70s lettering Pinterest inspiration board. I'll click on that. Once that board opens, you'll see that there are two different lists, modern inspiration, and vintage inspiration. I'll click on vintage inspiration, these are posters and ads from the '70s. You can really get an idea of the kind of lettering that we were seeing in that era. You get a lot of fluidity and a lot of letters that are heavy on one side, it might be the top side or the bottom side. You'll also see a lot of letters that are crammed together so the spacing doesn't have to be consistent or perfect with this type of lettering, and in fact, you can get really close to the other letters, they're really emphasizing fluidity over readability. That's something to think about especially with this first project where we do some really fluid lettering. They will also combine detailed illustration with the lettering. The designers who are giving the same visual weight to the letters and the illustrations so they almost flow into each other, so that's another thing you can incorporate into your '70s lettering. You'll see a lot of letters that are heavy on the bottom and small on the top. You'll see that a lot in '70s fashion too like bell-bottoms, that kind of fluidity was really popular during that time. Here's another example of the small tops and large bottoms, so they might be circular, they might be rectangular, but they're just emphasizing the weight on the bottom of the letter. You may want to start by just scrolling through this list and seeing what kind of '70s lettering stands out to you. Of course, we don't want to copy any of these, these are so copyrighted but you can start getting an idea of what kind of lettering and what kind of colors you're drawn to. Same thing on the modern inspiration board. These are examples of modern designers and letters who have incorporated the '70s style into their work. You'll see a lot of bold colors. You'll see a lot of low contrast colors maybe monochrome palettes. I talk a lot more, about palettes in my limited palette illustration class. If you feel like you need a little bit of help with color, that might be a good place to go next. You'll also see a lot of creams and muted colors from the '70s era. You don't see a lot of bold white, almost everything has a little bit of color to it, even if it's just a faded cream. Here's a classic take on a '70s style, really small tops, really large fat bottoms on the letters. As you scroll through here, you can kind of see what fits your personal style, maybe you're more of a serif lettering person and you want to do some of these pieces that are small on the top, large on the bottom serif letters, that will be our first project. Or maybe you're more of a script person and you really want to play around with creating some fluid script. We'll work on both of those in the class today but it's always a good idea to get a feel for what you're drawn to. You can have an idea of some colors and composition styles that you might want to work with today. Let's go ahead and get started on our first project. 3. Planning Your Composition: For this first composition, we're going to use a bell bottom inspired '70s style serif. I recommend you choose a 3-4 word phrase. You can see that longer words look really nice paired with shorter words because the longer words get compressed. So they create some nice contrasts with the more spaced out letters. Let's start by gathering some inspiration for our phrases. So back on the Downloads and Resources page, you'll see the quotes, Pinterest board. If you go to that page, you'll see this is a group board I created with lots of contributors. You'll probably see a message that says, "Liz invites you to join this board." So you can feel free to join if you'd like to contribute or you can just look at it and get some ideas here. You'll see so many different types of quotes on this board. Anyone can contribute. You never know what you're going to find here. Sometimes I'll just scroll through and get maybe even a word or two from a quote and then change it to make it my own. If you're really having a hard time coming up with ideas for what to letter, this might be a good place to start. I've also pulled together some ideas in the class workbook. Let's go ahead and download that. It says download the class workbook. Again, I'll select Download, open and then choose Procreate. You'll notice on the Downloads and Resources page there was a smaller version of that. Some smaller iPads need the smaller version because of procreates maximum layers limit. So if this bigger file doesn't work for you go for the smaller one. So I'll go back to my gallery. To find this workbook, I have to get out of that stack and then it'll be in my main gallery. I'll tap on that. You'll see the workbook has a lot of layers if you open the Layers panel. The first is the '70s Aesthetic. So you'll see complimentary colors and analogous colors. Again, I talk more about that in my limited color class if you're not sure what that means, and you want to learn more about color. You'll also see dramatic thick to thins. You'll see thick bottoms, fluid letter shapes, and long drop shadows. So we'll be thinking about that throughout the class today and incorporating that into the compositions. If you go to the next item on the Layers Panel, you'll see verbs. So this is one way that I'll start making a quote for my lettering compositions. Let's just start with a verb and see where you can go for that. The word make, for example, we could say make some art, make more stuff, make your own destiny. You can go through this list and whatever your quote is that you want to create, you can use this or some other verb to help get you started. But of course, for this first composition, feel free to just copy me and use the quote that I'm going to use, which is, trust your curiosity. For my lettering, I did a series and it's a series of my creativity tips. So you might consider doing a series too. You could do your parenting tips, you could do something social, political, religious, you could do the months of the year. Whatever works for your personal style. If you wanted to do a series, that's a great way to practice a lettering style. To get started on this composition, I'm going to go back to my gallery. I'll create a new Canvas, use inches as my measurement, 10 by 10 inches at 300 DPI. That's the size I like to use. You can work in any size here. Just keep in mind, you can only have this document at 10 by 10 inches or smaller in terms of printing. I like to work at this size so that I can always print these out at a large size. You can see here I've printed some of these out and this is 10 by 10 inches. I couldn't go any larger than this with my prints if I use the size document. So that's one thing to think about as you're choosing your documents size. I'll tap create to open that document. I'll just choose black as my color. Then I want to add a margin to this document so that I don't go too close to the edge with my lettering. So if you open these 70s lettering brush side, you'll see two different brushes, a one inch bleed space and a quarter-inch bleed space. So these measurements only work if you're using the same document sizes being 10 by 10 inches at 300 DPI. I'm going to use the one inch bleed space brush. I can adjust the size of it over here and then I'll just tap with my finger to lay this down on the canvas. I'll tap the move tool and tap fit to screen. So that just fits it perfectly in these four corners. Obviously, this will only work well on the square canvas. On my layers panel, I'll tap that N symbol and reduce the opacity so I can see that, but it's not really distracting as I create my composition. Next I'll grab the sketching pencil in the brush set, making sure I'm on a new layer. I'm just going to sketch out the words that I want to create here. My quote is, trust your curiosity. I wanted to do a really fluid 70s style movement here. So I'm just going to create some wavy lines for the first word, and then the second word will go in here, and then another wavy section for the third word. Just creating some general spaces here. So I'm trying to fit the word trust. It might not be perfect on the first go. So you might have to do this a few times. I feel like I left a little bit too much room right here. So some of these could be thicker. I can grab my free hand selection tool, select all of that, tap the move tool, and just shift it over a little. You can also turn off uniform and go to free form if you want to be able to stretch like that. So I only suggest doing this on the sketch phase. I would never stretch a letter that I've already inked. But at this point we're just trying to get the spacing right. So I'm not so worried about this looking perfect as I work. I know that the next word is Your, and it's really a short word. So I need these to be thick, but not too thick. So I've ran out of space for my R. I'm going to do the same process, freehand selection. The last word is curiosity. I know these are going to need to be a little bit crunched together. I've already ran out of space for my last letter. A lot of times you'll wonder how will I fit this all in a composition, and really the only way to know is to try it and see what happens. You'll never think of it in your mind. You really have to see it visually. Now I'm just going over these, making sure I like how the spacing is. I can resize things easily at this point. 4. Sketching and Refining: So that's my first rough sketch layer. I'm going to reduce the opacity of that layer so I can barely see it. I'm going to do a more refined sketch on the next layer. I'd like to change colors every time I sketch, I find it a little bit easier to differentiate my sketch layers but of course do this, however, works for your personal style. I'm going with a turquoise here so you can really see this. At this point I'm just refining things. I'm just making sure my spacing looks good and all of my letters are nice and even. One thing I'm thinking about here is what my final letters will look like. I have a style in mind and I wanted to share a practice sheet with you in case you want to use that same style. Of course, feel free to use whatever works for your personal style. I'm going to grab that workbook here and open that. If you open the workbook, you'll see here on the fourth layer is the bell-bottom tapered lettering style and the bell-bottom rounded lettering style. Then we'll play with these other ones later on. I'm going with the bell-bottom rounded on this one. You may want to go back and forth here and see which one works better for your personal style. If you open that group of the bell-bottom rounded lettering, you can see that there are several layers that go with this. The first one is the inking, the second one is the thickener stroke, and the third one is the skeleton stroke and then we just have some guides. If you're having trouble forming these letters, this is a great place to start. Here's the first stroke that I create, here's the way I thicken it and then the final is inked. What I like to do is save this image where I can see the skeleton and the thickener stroke and then pull that up in my photos app and do split screen. Let's do that. I'll click the Actions menu, Share, JPEG, save image. Go back to my lettering composition. Scoot that image aside and then bring my photos app over here. If you don't see your photos app down there, just go open your photos app and then go back to that menu and you'll see it there. There is my image that I just saved. Now I can kind of scan around here, find a letter that I'm working on and start with that skeleton stroke and then move to the thickener stroke next. You can see these are kind of skinny and they have a really high x-height. Like the top part of the B is pretty small. I'm thinking about that on letters like S, I want a smaller top and a larger bottom. Same thing with the Y here. I'm doing a smaller top and a larger bottom. Your letters don't have to be exactly like you see on the practice sheet here of course. Go with your personal style, go with whatever works for you. This is just my style. Feel free to make some changes here and play around with various ways of creating these letters. I also have a book on hand lettering, if this all feels a little bit fast for you and you feel like you need a lot more help with forming letters, understanding letters. I have a whole book where I cover everything you need to know about lettering and Procreate. I put a link to that on the downloads and resources page in case you want to check that out. You might have trouble fitting some of these in and again, we can grab that freehand selection, circle around that and scoot it over. One common error that you see in lettering is sideways vertical bars. These are sort of looks like it's straight up and down, but I want to test it to be sure it's actually straight up and down. Grab a different color here, draw a line, hold, to get that straight line. Put down two fingers and you can see that my original blue was a little bit off. I'm just going to go through this composition on all my vertical bars and do the same thing because I just don't want this to be so wonky that it looks like a mistake. I want it to look fluid, but not just totally out of control. This is your personal style. Go with whatever works for you here, but this is just one tip for anyone who has trouble keeping their letters straight. It's especially hard when you're zooming in and out a lot and turning your screen, you're not really looking at the compositions straight on. You're always looking at it a little bit of an angle. That makes it especially hard to do straight lines. Okay, so I've just got those as a guide. Already see opacity of that layer and removed my sketch layer and it looks like I just forgot to do my little line here, so I'll add that in. Now I'm ready to start adding in my thickener. I'm going on a new layer. I always do each thing on a new layer to preserve that flexibility, to go back and fix things. I'm looking at my T and seeing how it was thickened here. These letters are perfectly symmetrical. Yours of course, don't have to be like that because this composition isn't symmetrical. I'm just going to eyeball it and go with a big fluid bottom. Trying to make those somewhat even, but they don't have to be perfect. I don't like that this one is outside my border, I'm just going to get my freehand selection, circle around that and just play with that a little bit to get it to fit better. I've got the free form, not the uniform movement on there. So I'm happy with that. I'm just trying to stay within those borders. One thing I'm really trying to do here is fill up this space. I want to have some really interesting negative spaces. I might thicken some of these more than necessary just so that it looks really full on the page. If that S looked a little bit too skinny, I'm just going to thicken it up. It doesn't look like the S on this page. That's totally fine. I'm just going with that idea of a thick bottom and a thin top. I'm probably going to do that same thing on this T, just really exaggerated. As long as you do that throughout your whole composition, it will look intentional. If you only do it on one or two letters, those might stand out and this will look a little weird. But if you do it on all your letters than the viewer reads that as intentional. I feel like I can thicken things up here. There's so much negative space here. I'm just going to bump up that R and T. That helps me fill up that space a little bit more. I'm going to repeat this same process going through every letter on my quote. I'm really running out of room with the letter I here. I'm going to reduce the size of these first three letters to make just a little bit of room for my I. One trick here, if you want to move both the thickener layer and the sketch layer, if you select one swipe on the other, tap the selection tool, you can actually select and move both of those layers at the same time. I'll tap the Move tool and you can see it's moving the sketch layer and the thickener layer at the same time. Now I'll go back to my thickener layer and now I have a little bit more room for that letter I. This is really just the process of adjusting while you work, you're not going to know the perfect way to fit these together until you see it. Just give it a try, see what fits if that doesn't work, make little adjustments. That's how we build a lettering composition. I'm really running out of room for my Y, so I'm going to do that same select two layers process to reduce the size of this word. The bigger words are always the most challenging. You always run out of space with those words. They take just a little bit more work than the others. Again, I'm going to go back through and thicken, some of these, I feel like there's a little bit too much negative space right here. I'm just going to play around with how I could adjust this Y to fill that in just a little bit. I also want to be sure my spacing is at least legible. Some of these letters are maybe a tiny bit too close to each other. I'm going to have to make some adjustments there. Squash them maybe just a little bit. I try to get everything just as I want it to be before I do any inking because it's just so much easier in the sketch process to make adjustments than it is in the final inking process. 5. Inking and Color: So I'm happy with how my sketch looks. So I'm ready to start inking. I can just remove the split screen by swiping over. I do that because it drains the battery, so I try to get rid of that as soon as possible. I'll double tap in the black section to get a pure black and I'm creating a new layer for the inking. I'll go to the 70's lettering brush set and get the fluid ink brush. I just need a medium size that's easy to control. I'm just testing that out, making sure I'm on that new layer and reducing the opacity of all those other layers so I can see them, but they're not distracting. Then I'll just start filling in those letters. I'm just doing long fluids, strokes, turning and zooming whenever it's necessary. Once I create that solid shape, I can just fill that in. The reason I always ink in black is just because it's so easy to see and it's especially easy to see mistakes. Regardless of what color you're going to use later, I do recommend inking in black. One thing to double-check is your color dropped threshold that something you might notice if you ink in black. If you see maybe some little outlines or white specks where its not totally filling in. If you do color drop and then hold, you'll see color dropped threshold, that should be pretty high like 96. You can slide it left and right to change it. I would go up to 95, 96 to make sure you're getting a full color drop and you don't have any little white specks on the outline. You can see this tiny little mistake on my U. I wouldn't see that if I was working in like a yellow or pink, so I always grab black. It's the trustee inking color that will help you avoid a lot of little mistakes. I'll just take my time here and ink each of these letters, making them as fluent as possible. Now, that I've inked all of those letters, I'm just going to check for consistency. I want to be sure that I'm keeping that bottom border pretty even. I can see that my T is way lower than my O. So I'm just going to grab that same brush with the eraser and just come through and shorten that T a little bit maybe lengthened the O a little. I'm just trying to keep some consistency in this composition. It's very fluent and playful but I still want to make everything look intentional. Another thing I'm noticing is my R has an oval here and an oval the opposite way here. I'm going to change that so that they're consistent. Once you're happy with your composition, you can make every thing else invisible except for that inking layer. Let's create a new layer below that inking layer. I'm just going to put a really bold 70's feel color down and do a bold color contrast here. You can grab some colors in the 70's palette that we talked about at the beginning. If you press default you can make one of those your default palette. One thing I like to do when I'm playing around with color is, let's say go to that pink letter layer. Tap the adjustments menu, tap recolor, put this little bull's eye on one of those letters. Then I can go through and just play around with various color combinations until I get one I like. I can do that same thing with the background layer, or I can use this layer. So play around with that, see what works for your style. We can tap to move tool to get out of that re-color tool. Another thing you can do when you're digging into color, if I go back to the gallery and open up the workbook, you'll see that there is a 70's palette section on the workbook. If you open up that group, you'll see that each of these colors and these are the same colors that are saved in the palettes that I shared with you. Each of these are on a different group and then each of these groups have individual circles. Every single thing is on a different layer. Let's say you see one of these color combos and you just want to change one of them, like for example, that green. This is color palette five and there's that green. I'm going to tap on that green layer. Tap the adjustments menu, use saturation brightness. I'm just going to play around with the color. On the hue section. You can play around with saturation, brightness. I like that blue maybe bring down the saturation a little bit to make it a little more vintage. You can use these color palettes as a starting place. If there's one color you don't like in they just change it out and then you can use those colors. Feel free to do that for any of the projects in this class. As you can see, you can repeat this same process on a series and create a really nice set of lettering illustrations to share on social media. We can apply the same process to a different composition style. Here's an example where I used a heart instead of a square. I just worked to get that sketch to fit nicely in the heart shape. Trying to get all my letters straight up and down and also to fit nicely, to give a cohesive feel to the composition. Then I just added in that thickener stroke and inked all my letters and then played around with color. Not all of your letters have to be the same color. You could do a different color on each letter and then maybe add something bold in the background. Here, I added the outline of the heart in the background. Then just put a little bit of texture on top, which we'll do in the next composition. If you're not sure how to do that. 6. Wiggle Animations: Next I want to show you a really quick way to add some animation to this composition. If you're not interested in animation at all, you can feel free to skip this section,but this is a really quick way to add an interesting wiggle to your lettering that makes it stand out online and helps people look at your work for a little bit longer than they would as still image.So I'm going to tap select on my gallery, and tap on that composition that I just finished.Tap duplicate. So now I have another version of that document that I can play around with for animation.I always do that for animation because you're going to be merging layers and changing layers and you really don't want to do that to your original because chances are you may want to use that original again for something else. So I'm just going to pinch together all the layers I don't need and delete those.So now I just have my background layer, and my text layer. To make animation easier, we can tap the actions menu, tap canvas and turn on animation assist.Then we get this nice little menu on the bottom that helps us with animation. So from my background layer, I'm going to tap on that, and turn on background because that is my background. Then this layer, I want to make each of the letters wiggle a little bit. So the first thing I'll do is just duplicate these, a bunch of times. It looks like I had these on alpha log, so if I just swipe right with two fingers on each of these, I can turn off the alpha log. This process won't work if you have any of your layers on alpha log. So you can check that by tapping on the layer and checking to see if the word alpha log is checked. If it is, you just want that to be unchecked. So next I want to start making these wiggle,so I'm going to go to my first layer and make every other layer invisible. So this will be the first frame of my animation. Now if I make the next layer above that visible, this is a layer I'm going to start playing with and making it wiggle.So if I go to settings, and I reduce the onion skin to one, it's going to make it a lot easier to see as I adjust this animation. So I'll show you what I mean here.On that second layer, I'm going to go to adjustments, liquefy,and I'm using push. You can play around with the size here. You can see what this does. It just literally pushes part of your drawing so, you may want to go with the big one and have something big like that. You may want to go with a small brush. I'm just going to do tiny adjustments because I really just wanted to wiggle. I'm leaving these other settings at the default setting for pressure, its max for distortion, it's about 30, for momentum, it's about 24. You can play around with those and see how they affect it. But what I'm going to do is just do really tiny little movements all over this composition and you can see if I zoom in, how small these movements are. Just that little bit is enough to make for an interesting composition. You don't have to go really crazy with animation to get people to be interested. What you'll notice, if I pull in here, you can see that previous layer under there, so that's the onion skin, that's what helps us know where was that other layer that I did previously in relation to the last one? I'm trying to keep that rounded fluid feel. I don't want to just chat out the o like that, I wanted to keep looking like an o,so I might do some little adjustments instead. Then if you want to check and see how that's going to work, we can go to our animation and press play,and you can see it's just a tiny little wiggle. If I go to settings and reduce the frames per second,you can see it a little slower so you can get an idea of what that's going to look like in the final animation. So then I would just repeat that same process moving up the layers panel. So I'm on the third one up from the bottom here. Again, adjustments, liquefy, same settings and I can see that previous layer that I had just done that liquefy process on. So I don't want to do exactly what was done on that last layer, rather I want to do something a little different, so the wiggle changes. So, as I move each of these little parts, I'm kind of looking at that previous section, and staying away from that. Again, I'll tap the move tool,to set that, and then tap play to see what my wiggle looks like. So you can see it's wiggling and different parts on each layer. So you get kind of some interesting movement. What I like to do is a bunch of these, because then you get a lot more movement and your animation runs for a longer time. So, I won't do this on camera because that would be so boring for you. I will just repeat the same process over and over on each layer, moving up the layers panel. Once you're happy with higher animation looks, it's really easy to share,just tap the Actions Menu, tap Share, choose animated GIF, if you want to share that on your skill share project, or choose animated mp 4, if you want to share that on something like Facebook or Instagram. So once you tap on that, you can still play with the frames per second. So, maybe make this go a little slower, or make it go really fast.That's a little bit intense, but go with whatever works for your composition here. You may also want to use the web ready, which just makes a smaller version. It makes it easier to upload the sites like Instagram. So if you have trouble with that Max resolution one, then you may want to go to the web ready version and then you can just tap export and share that wherever you'd like. 7. Sketching Your Script: Next we're going to create a seventies style script. I recommend using a three to four word phrase for this project especially if you're new to script lettering, It's helpful to start with shorter phrases. So you could pull a phrase from the quotes board or you can feel free to just copy the phrase that I'm doing. Let's start by taking a look at some options for the script lettering style. I created practice sheets for two different seventies script styles. This first one is thick and the second one is thinner, so you may want to go back and forth between these and see which one works better for your style. I'm going to go with the thinner version and so, again, I will just remove that inking layer and save this image with my guides, the skeleton sketch, and the thickener sketch all showing. So we'll tap share, save that as a JPEG, save image, and then I'll go open my new composition. I've got my lettering over here on the left, and I've got a sketching pencil with black as my color on a new layer. I'm just going to loosely sketch out this composition. I've got only two words in my quote, the first word is: your. If you're not comfortable with script or you feel like you need more practice with script, again, I cover that at length in my lettering book. So if you feel like you need some help with that before getting started, then check out the book. But you can see you don't have to have perfect script to do this. This is more of a drawing process than it is a calligraphy process. So you don't have to have perfect handwriting or be perfect at creating these letters shapes. We're going to build up from a rough sketch and work to a more refined letter. I'm just tapping the move tool, making this a little bit smaller so it fits nicely on the screen. You can pull in that border that we used in the last composition if you are having some trouble staying away from those edges. So now that I know how my letters are going to fit, I'll reduce the opacity of that sketch layer, create a new layer, and create some guides. So just using that sketching pencil and quick line, I just want to decide how steep I want these letters. So I'm going to go with something like that. You can do this straight across, you can do less of an incline, whatever works for your style here. Now I'm going to duplicate that line so that I have a guide for my lowercase letters, and then I'm just going to add one guide up here for my uppercase. Then I can merge all three of those by pinching them, and you can see that's all on one layer now. I'll duplicate that, tap the move tool and shift it down here. It's not quite long enough, so I'm going to duplicate it again and move it over here. So I'm always duplicating a line rather than redrawing it because I want every single line to be at the exact same incline. I don't want to try to just hand draw these perfectly because it's never going to be exact. Now I've got my guides, I can pinch those so they're all in the same layer. I'm going to tap the move tool and shift it down just a little bit because I feel like everything's too high on the page. This is just the period where we play around with sizing, play around with where we want things on the canvas. Each layer we're getting a little bit more refined, so don't worry about any one layer being perfect, just worry about it being a little bit better than the previous layer. So now that I'm ready to start thinking about my letters, I need to make sure that they are at the same angle. I've got my guides that help my baseline be at the same angle, but I need another guide for this part of the letter, the vertical bars. So I'm going to tap actions, canvas, turn on the drawing guide, edit drawing guide, and then I'm just going to reduce the grid size here. I'm going to grab this little green dot at the top and shift it just a little bit, so I've got just a little bit of a bend to the right. So you can do your letters straight up and down, or you can give them just a little bit of a tilt. I'm happy with that, I'll tap, done. Making sure I'm on a new layer, not my guide layer, I've got the sketching pencil with a new color and I'm just going to look at my practice sheet here while I work on these letters. So for this first letter, it's a Y and I'm just going to do a couple tries to get that shape right. You can see I'm using these vertical guides to help me keep things even. So for example, when I'm doing the U, my U doesn't go this way because that goes against my guides. The U needs to be right along the lines of those guides. So that's just something to think about as you're building these letters. Here's my O, that's just a simple circle. So right now I'm just doing that skeleton layer that you see on the practice sheets, it's just the pink skeleton layer. I'm not worrying about how I'm going to fill these in yet, I'm just thinking about that skeleton. I also draw one letter at a time. I see a lot of people trying to start with hand lettering and thinking they have to do everything connected like that. When it comes to hand lettering, it's really better to take your time and make every letter nice. Really take your time on each letter and focus on the shape and then worry about stringing them together later. I also like to zoom out a lot and just take a bird's eye view of the composition and make sure everything looks normal from a zoomed out view. I can see that my A is pretty sideways, so I'm just going to play around with the curves on that, try to make it a little more straight. Another reason these grids are nice is because they can help you make your letters the same size. I know that my letters are about two and a half blocks wide, so with each letter I create, I'm thinking about that as I work. Of course some letters are thicker than others, like the M is always a little bit thicker than the other letters. 8. Thickening and Inking: So I'm happy with how that looks. I'm going to make my original sketch invisible, so I'm working with that more refined sketch. And I can see that there's a part of the A, that I want to include. This little curve on the top that isn't going to fit right there. So I need to get a little more space on my canvas. I'm going to select both of these layers, tap the selection tool. First, I'm going to move this word 'your', just bump that up a little bit. And I'll do the same thing with the word 'Awesome'. Now I feel like I can fully draw that letter A here. It's just a matter of kind of refining, playing around. You may find that this layer that you created is not very refined and you'd like to do it again. Just reduce the opacity, get a new layer and start again using your reference sheet on the left to help you get that letter just right. When I first started lettering, I would do probably five or six layers of sketches like this before I would get my composition the way I wanted it. Don't feel bad if you're taking a lot of time on your sketches. That's really the best place to work out all the issues that you're having. And nobody ever sees your sketches, so it really doesn't matter how long you spend on sketching. Another thing I'm thinking about at this stage is spacing. I'm trying to make sure there's an equal amount of space in between the letters. I don't want to have a situation where my 'e' is right up against the 'r', or way too far away. So with each sketch layer, I'm really keeping an eye on the spacing and keeping the letters consistent. It's also just great practice to redraw these letters over and over. It never hurts to draw a letter again. You usually will notice something that you miss the first time. Maybe it's just a tiny bit off or a tiny bit slanted and redrawing it will really help you get to a better place. My issue is usually that my letters are too close together and I need to make them further apart. I think other people maybe have a different issue, so you kind of have to figure out what your personal issues are with lettering and just work on those each time you create something. Another thing we can do here is checker consistency. So I'm going to grab a different color and check the O shapes. So there's an O, I'm going to duplicate that layer by swiping left and tapping duplicate. And let's put it on top of this other O. Those are pretty similar. That looks good. Another shape that is like the O is the E. I'm going to put this O shape on top of my E's. So if you've got anything with an O shape, a P, a B, a D, those all have O shapes in them. So we need to just double-check that our script is consistent and all of the shapes are matching up. I'm going to make those semi-transparent too so I can see them, but not perfectly. Now I'm going to do my final sketch layer. Do as many sketch layers as you need, each one should be a little bit more smooth than the last. On my last sketch layer, I usually get really fluid because I feel confident with where my letters are on the page. And I can just go a little bit faster and get some of that fluidity in. This is where I am trying to connect the letters as I draw. I'm not trying to do that in the sketching phase, but I am trying to do that in this phase where I want to create a lot of fluidity. You can see I'm intentionally going kind of fast with these because that speed shows up on the Canvas. Your viewers can see that speed. If you're always going really super slow, that's going to show up. So use your slow strokes for your sketches and then go a little bit quicker and more fluid when it comes to this final stage. I'm happy with how this look, so I'm going to create a new layer and grab a new color and start adding in my thickening. Let's do that 'y' first. You can see that the thickening, first is on this part. Just kind of swoops down. Then we've got another one on this bottom part, we've got a little loop up here and we've got a little curve here. If there's something you don't like about these curves, feel free to change them. I feel in this composition that it might make a little more sense to thicken right here. And then just like we did that little loop up here, let's do another little loop on this end. I definitely don't stick to this a 100 percent. This is a starting place, it's a great place to get ideas but it's not necessarily where you have to end up. Again, just following what I'm seeing on this page, creating these little loops to tie everything together. One thing you may want to do if you're having some trouble getting your loops consistent, is go to your guides layer, create a new layer above that, let's do a totally different color. I'm going to grab that dark brown. Trace over one of your guide layers to get a line that's the exact same angle. Tap the move tool and shift it down. That's going to be your boundary for your thickening strokes. You can see that my thickening strokes weren't perfect. This one meets the boundary nicely, but this one does not. I'm just going to use that as a guide to help me keep things consistent. That's one of the main secrets of script, is consistency. Every script is different. You can't say there's a 100 percent rules for every single script, but one rule applies to every lettering style and that's consistency. So set your rules and then follow your rules, whatever those are. So that nice line there, I want to copy that down to my other guide. I'm just going to merge that with my guide layer. There are all guides are on the same layer. I'm going to duplicate that. I'm going to shift it down so it's matching right up with the guides on the bottom. Now we've got that same nice little guy down here and as we add our thickener strokes, we can keep that in mind. I'm going to repeat the same process here with the A, looking over here at my guide. So I'm just going to zoom out and make sure everything looks good. And as long as you're happy with that, we can move on to the inking stage. I'm ready to get rid of this practice sheet, so I'll just slide that out of the way to preserve battery. Now I'm just going to go to all the sketch layers and the guide layer and reduce the opacity, so it's not quite as intense. Or create a new layer. Black is my color in my fluid ink pen. Just like we did in the last project, I'm going to ink one letter at a time. The only thing I do differently with script like this is I start by setting my thinnest lines. For example, here we have this downward stroke of the 'y' right there. I want that to be the same thickness as this space right here and this space right here. Rather than doing that as I work and possibly getting an inconsistent thickness, I'm going to go through all of these areas and just give myself a little bit of consistency. I'm only going to do one word at a time because I'm going to copy some of these letters. For example, after I ink my O, I'm going to steal that O and put it down here, so it looks exactly like the O up here. You don't have to do that of course, some people like to hand letter every single letter and have it be unique. It's totally up to you, but I'm going to show you my process for copying some letters down into other words. I'm just going to go through and ink one little shape at a time. If you are happy with how those letters look, you can grab some of the ones that repeat in your second word, like this 'e'. Using the free hand selection tool, circling it, dragging three fingers down and tapping copy and paste. Then I can put this letter down here. I need another one of those 'e's right there. You're probably going to end up having to adjust these a little bit. But I do think it's helpful to start with that shape and then as you're inking, you can kind of make it fit into that word. Totally optional, just one idea for an easy way to get some consistency in your composition. And then I just pinch to merge all of those ink layers together. Now I'm going to repeat the same process, starting by setting my thinnest lines and then I'll move on to inking the bigger shapes. 9. Decoration and Texture Options: I'm happy with how this looks, so I'm going to remove everything except for the inking layer. I'm also going to Canvas and turn off the drawing guide. So all he can see as my ink. The only issue I'm seeing here is that the Y capital letter looks way bigger than A capital letter. So I want to adjust that. Let's bring back the horizontal guides. What I'll do is just make the Y a little bit smaller so get the free hand Selection Tool, circle around that, tap the Move tool and just shifted a little bit. So of course, we can make things smaller, that's okay. But it is not a good idea to make things bigger. I wouldn't want to just make that A bigger because that's going to add some blurriness to my A. So I would always work on the thing that's too big. If you're going to make a vaguer than you really would need to redraw it if you didn't want it to have any blurriness to it. So, I'm happy with how that looks. I'm just going to start playing around with color. I'll create a new layer below my inking layer. Again, I'll select that inking layer, tap adjustments, recolor and then I can start playing around with some various color options for the text. So I like this orange. I want to add a little bit of perspective because that's something you see a lot in 70's lettering. So I'm just going to duplicate that ink layer. Then move that duplicate below the original, tap the Move tool and just shift it down. Now I just have a duplicate of my original that I'm offsetting. So we did the recolor tool as a way to change color. Another easy way to change color is just a swipe two fingers right to put this layer in the alpha log state, choose a color, tap on the Layer and tap Fill. Then I want to turn off the Alpha lock so I can start adding the perspective lines. So making sure I'm on that perspective layer, I've got the fluid ink brush, and I've got that light pink color. I'm just going to connect each corresponding part of the letter. That's the top parts here and the bottom parts here. That's what I do first is I just go through and connect everything. So I'll take just a few minutes to do that. Also, one thing I like to do at this stage is change this to a black. So [inaudible] layer, select Black and tap the Fill Layer. So the reason I do that is the same reason I do it for inking, it's just way easier to see. Then we just need to turn off that Alpha Log. You can also make your orange layer semi-transparent. I find that it makes it a lot easier to see what you're doing, when your top layer is semi-transparent. Now I can just go through and really see exactly where each shape ends and begins. Little subtle curves like this or something that you see a lot of people miss when they're doing, perspective works. So that's just something to double-check that even these little curved areas, that just have that tiny bit of a connection, you want to make sure you incorporate that into your perspective. Once I have all of those letters connected, then it's a lot easier to just go through with the larger brush and fill everything in, that's in the middle. Still using that fluid ink brush and just swiping over all those areas that need a little bit of filling. Also, just double checking that I didn't mess anything. Here's something I missed; connecting these R shapes. You almost always miss something as you're doing this. So, take a few minutes, so just go through, double-check that everything is actually connected. It might be a good idea at this point to return the opacity to the top layer, so you can really see how this perspective is going to look in the end that can help with any tricky areas, if you're having trouble determining where the perspective should and shouldn't be filled in. So at this point, I'll always just take a step back and make sure everything is properly connected, zoom around and make sure all those connections look really smooth. Then we can alpha luck that layer, select a color, and then we have a nice bold perspective layer. You will always see these bold perspective layers in 70s Lettering and I love these. We'll look at some more perspective options in the next project. For now, let's just finish this off with some decoration. You'll see a lot of different decorations damp so you can play around with here. I'm going to grab these particles. One thing to know about these brushes is that if you tap with your finger you will get a consistent size, If you tap with your brush you'll get an inconsistent side. Depending on what you want, you can decide if you will tap with your finger or with the stylus. I'm just adding a few sparkles, let's create a new layer and with that fluid and brush, I'll just create some dots. You can really just do something simple like this, you don't have to go really far, but of course, play around with these other options and you can also incorporate some illustrated elements. I’ll show a lot of different ways to create illustrated elements in my limited color palette class, so check that out if you're not sure how to create those illustrated elements. Another thing we can add in at this point is some vintage textures. I created a lot of different textures that you can play with down here, so the first one here, for example, is water damage. I'm going to grab a bold color that's already in my composition, I'm going to grab that orange color, making sure I'm on a new layer without water damage brush. When you first put that down, it's not going to look great, but if you play around with blend modes by tapping the end symbol on that layer and then just sliding down this blend mode list, you can get some really interesting combinations. You can do this both by playing around with the blend modes, but you can also just reduce the opacity of that layer. See there's just a tiny bit of texture that isn't quite as intense. Let's try the same thing with some different textures. I'm just doing these textures one right on top of the other, feel free to layer these or just use one. Sometimes what I do is put a bunch of texture layers like this down and then play around with just removing one or two and seeing how that changes the composition. Texture is really something that just takes some time to play around with, and as you add it to your composition, it will become more clear what the best option is. I want to show you a few more options for decoration and composition styles. You can see with this composition, I did the exact same process. I started with those sketching layers, I added in that filler stroke and then inked each layer on a separate layer. Then I just played around with the placement and the color a little bit and made sure the perspective layers were nicely spaced. Then I just added in these little tear drop shapes, little bubbles and added in some reflection on each one, and played around with a lot of different color options. Here's another composition where I did that same process, but I incorporated some Sara fluttering and with my script. Again, if you're not sure how to do that, I do show every step of the process in my lettering book. But you can see it's really the same as how you do a script you use sketch out the shapes, use that skill in stroke and then come in with some thickening, and then ink each letter. Just like I do with my script, I'll steal some of my letters from the first word I create to keep that little bit of consistency and to my Sara fluttering. Then I just took some time to play around the placement and the color and adding a little bit of perspective to this. I also love to incorporate really simple illustrations, I think that adds a lot to the composition. Try drawing something on the Canvas and just see how that goes with your lettering composition. You can also get creative with your capital letters, you can really make them stand out and be very different from all the other letters. Capital letters can break all of the rules, so feel free to use those to go outside of the letter styles that I've provided to you and just make them more interesting composition by, for example, with the N, I went way above the cap height and just made a big swash. That gives this composition a lot of personality just by adding one little interesting change to the letter style. Again, adding in just a little bit of illustration, can really help a lot to make an interesting composition, and it also helps communicate the theme of the quote. If you feel like your quote just isn't really standing out, try throwing in some illustrated elements and just see what happens. They don't have to be perfectly drawn to be interesting on the Canvas. One last composition style I wanted to show you is using that radial stamp that you see in the brush set. Rather than using script on this one, I use the serif lettering that we did in the beginning and just created some curved spaces for that lettering to rest. Then I use that radial stamp to create a sun shape and added a lot of different colors to each of the sun rays and then threw in some textures just like we did in this last project. 10. Hand Drawn Animation: Before we move on to our next project, I just want to show you one last animation option. Again, if you're not interested in animation, feel free to skip this section, but this is a really quick way to animate your lettering. We've got a duplicated document, just like I created for the last animation. I've turned on my animation guide just like I did last time. I have my lettering and background all on one layer. Then I have my decoration on the layer above it. What I'm going to do is create a new layer above everything. Now I've got three squares down in my animation panel. My first layer here is the background, so I've got the background turned on. Then the next layers will just be normal layers. We've got one layer of simple decoration. The next layer, I'm going to create the exact same thing, but I'm just going to redraw it. This is another sort of like a wiggle, but more of like a hand drawn wiggle effect rather than this shifting. All I'm doing is just redrawing each of those little decorative elements that's in the background. I'm not trying to perfectly match it. In fact, I wanted to be a little bit different because then you get that nice wiggle effect. Now if I press play, you can see there's just a little bit of a sparkle that goes on and if I do three or four of these, it becomes even more interesting. I'll do another layer here. I'll speed up my video while I just quickly redraw each of these. Now if I press play, I have just a slightly more interesting sparkle because I've got three layers. So the more of those you create, the more variation you get. Then we can press settings down here and play around with the frames. Depending on how fast you want that animation to go. You can also play around with how it loops. Here it just goes from back to front, whereas ping-pong goes back and forth. So you can play around with each of these, see how they work with your composition, and then export, just like we did in the first animation section. Let's go ahead and move on to a few more interesting ways to decorate your lettering. 11. Shadow and Perspective: For this next project, we're going to start with a single word and play around with a lot of different ways to add decoration to the word and the background. We will be doing some outlines and some different levels of perspective so you can see a lot of different ways that you can play off of one single word. I do recommend using just one word for this because we're going to put so much time into the decoration and you can feel free to copy the word I'm using or come up with your own. You can see I made this composition in the exact same way that I did the last project, creating some simple guides in this sketch and then filling that in with ink. Then I just added a basic perspective layer to get started. If you want to follow along with me and do this exactly as I'm doing it, you can start with just one simple word. Could be anything at all. I recommend something short and then just start with that perspective layer. The first thing I'm going to do is go to my gallery, tap select, tap on the document, and then duplicate it so that I have some extras just so I can try something a little different with each one. So let's open the first one. I'm just going to add a beige background layer and I want to give a little bit more visual interest to this perspective layer. Right now it doesn't really stand out very well and I want it to be a little bit more bold. So I'm going to create a new layer in between my lettering and my perspective layer. I'm going to get a color that's slightly darker than my original perspective layer. This new layer, I'll be turning into a clipping mask and it's right above my perspective layer so what that means is when I draw, it's only going to show up on my perspective layer. Next, I'm going to turn on my drawing guide by tapping actions, Canvas, turn on the drawing guide, edit drawing guide and then you'll get this little green dot that you can adjust to wherever you want it to be. What I like to do is set it to be about the same angle as my perspective. If you zoom in and see my perspective line is right here. I'm doing my grid about at the same angle as that. Then I'll tap done to set that grid. On this clipping mask layer, I want to decide where I want my shadows to be. So I'm just going to go through with my fluid ink pen and think about a light shining down on my word. So if I had a light shining from right here, everything on this side of the word would get dark, and everything on this side of the word would get light. So I'm thinking about that as I'm filling these in. With a light shining right here, this part would all be dark, and this part would all be light because the light would be coming through here. This can be a little tricky but I think if you start by just putting these original lines to show where your shadow would be, it makes it a little bit easier. You may even want to draw a little line here in the corner if that helps you visualize it. Next thing, just want to do these faded lines that fade out. So basically I've got my solid shadow, I've got a medium shadow, and then a lighter version. If you zoom out, you get that nice fade away effect. You can play around with the thickness of these lines that can help a lot with determining how your shadow looks. This is a shading style that you'll see a lot in the '70s. Rather than a realistic shadow, they do more of these bold graphic shadows. Here's an area where the light shining down and their shadow here on the bottom and there's also a shadow created by this piece that's hanging off. That's one thing to think about is that other parts of the letter can kind of shade certain areas so you can incorporate those shadows into really show the shape of this word. I'm always using this grid to decide where to put my lines so that all my lines are going the exact same direction because they're following that grid the whole time. Of course then we can play around with color a little bit. Let's try some different shades on each part of it and then you can see how the shadows change as you adjust the colors. I'm happy with how that looks so I'm going to turn off my drawing guide in the canvas section, I'm going to create a new layer and put it above everything else. I feel like I need a little bit more decoration on this, so I'm just going to grab that star stamp, press and hold on that red to get that red color, and let's just put a few stars around the canvas. There is one fine option for adding a little bit of a '70s field here, lettering with that bold graphic shadow. Let's do another option here which is layered perspective. This one's really easy. I'm just going back to one of those duplicated documents. Let's start by adding in a cream background layer. We've got this first perspective layer. I'm going to change the color of that so I'm just going to play around here with the color of my lettering. I like that combo. I want to add more perspective and different layers of perspective. I'm just going to duplicate my perspective layer, drag that duplicate below the original, change the color. Lets get a color that's at a high contrast to that red color. So I got a brown and I just alpha log to that layer and tap filled, fill that color in. Then I can just adjust that perspective layer zooming in really closely to get it right in line, and I'm looking at a couple different areas here to make sure I'm not off by a little bit. That looks good. Let's do that one more time. Duplicate the red layer, not the brown layer, because we always want to duplicate originals, not duplicate duplicates. Again, pressing the move tool, moving that into place, zooming in to double-check that everything is lined up. Then let's change the color. Let's just do a different color on every single layer to get some really interesting contrasts going. You can just keep going with this, adding as many layers as you'd like just to get a lot of interesting layering on the canvas. Now, this whole piece looks like it's on the bottom right corner. So let's select the first one, swipe to select the others, tap the move tool and move that back into the center. Of course now we could add any kind of decoration around that. You can use one of these, you could grab the diamond and do something like that. You could grab the radial stamp. Let's make that smaller. Tap one time, tap the move tool and fit screen, then reduce the opacity of that, and just use that as a guide to make some interesting lines that come out from the center. I won't do this whole thing so you don't have to watch me, but that's just one idea for how we could finish this composition. 12. Outlines: Another common thing you see in 70's lettering is an outline. I'm going to go to one of these duplicates, and I'm just going to delete my perspective layer.I don't really need that in this case. Let's just set some colors here. You could work with any color. I'll go with the beige background and a pink interior. Now again, an outline of the shape, I'm going to first duplicate it. Let's change the color so it's really easy to see what we're doing. This is my duplicate on top. I'm going to drag my duplicate below the original, I accidentally put that in a group. I didn't mean to do that, so let's step back. Now I've got my pink layer on top and my red layer on bottom. I'm going to make sure that my red layer is not an Alpha Locks of that Alpha Lock is checked. I'm just going to tap it to make sure it's off, or you can just swipe two fingers right. Once Alpha Lock is off, I'm going to have adjustments, Gaussian Blur, and bump up the blur. I only like to go to five to 10 percent. Five percent, it doesn't look like much now but with the process we're going to do that's going to get pretty thick. I'm just going to start with five so you can see how thick that ends up being. I'm going to duplicate that red layer twice. I've got three of those. Merge those together. Repeat that process, duplicate merge. I'm going to do that many times, watching that outline gets thicker and thicker. You'll get to a certain point where it can't get any thicker. If you zoom in, it really looks terrible. It's got all these different colors. It's got a jagged edge. We are going to have to do some work to fix this up. The first thing I do is Alpha Lockage tap at one time, tab fill, so that takes away all those weird extra colors. The next thing I'm going to do is create a layer above it. Get black as my color and the fluid ink as my brush. Then with a pretty small brush, I'm just going to go around the entire outline of this word and get rid of all those jagged edges. Otherwise, you're going to have this jagged shape in your composition and it just looks terrible. The reason we do that outline this way is because it's just a really easy way to get a nice even outline all the way around your letter. But then we just have to do a little bit of work because procreate just doesn't have an outline tool. This is worth the extra step because it just creates really nice, crisp, clean lines. You can really see the difference between these two. We've got a nice solid line and we've got a pretty ugly jagged line. I'm not going to do this whole word because I don't want to make you watch me do this. But what I would do after I complete that outline is Alpha Lock that layer, choose that red color that I'm already using and tap fill. Then we've got that red smooth line in contrast with the jagged line. You can see what it looks like if I don't do that extra outlining process, there's a big difference there. That's a great way to just get a simple outline of your word. Then all you really need combined with that is some little decorative element. You can see how adding just those few beds of decoration and an outline helps a lot to make this an interesting composition. Let's do another type of interesting outline. I'm just going to duplicate that document we just created by tapping, select and tap duplicate. Now I just have a duplicate of this composition. I'm just going to delete these decoration layers because I don't need those. I'm going to create a duplicate of my outline layer. I'll just swipe and tap duplicate. Then I'll tap the Move tool, and just pull that layer down to create a perspective layer. You can go as far as you want with that. It's good to keep in mind little tiny spaces though. I try not to create any really small little triangles or any little spaces like that might look weird, later on. I've got that perspective layer. I'm going to swipe two fingers right if that's an Alpha Lock. Again at this point, I would have gone around an outline to this entire shape. We wouldn't have these jagged edges, we'd have this nice smooth shape. I'm just making a perspective layer just like we did for the previous compositions. I'm just attaching those perspective lines. If this gets a little confusing, you can always make some layers semi-transparent. Sometimes that will help a lot with making it easier to see what areas need to be connected to each other. We can leave this as it is, or we could play around with color. We could just do a single color composition and maybe even combine two of the different decoration shapes. For example, what if I combine these diamonds with the sparkles? Then you get some interesting variation in terms of the decoration shapes. I'm going to duplicate that document that we just created. 13. Inner Shapes: Let's see one last type of decoration on the lettering. Rather than an outline, I'm going to do an interior shape. Let's start by changing the color of that inner shape to something light. I know I want an inner shape that mimics what this word looks like. I'm going to duplicate the word first, and let's just turn that black, so it's really easy to see what we're doing. I'm going to swipe two fingers right, to remove the alpha lock state. Tap on that layer, and tap select. So now I'm selecting all of that black. Next I'm going to tap invert. I'm selecting everything that isn't black. Everything around the black area. Now if I create a new layer, tap on that layer, and tap fill. Everything should be black unless of course, there's something above that. Now I can remove the inner black portion, or just make it invisible. Now, I just have this black outline. Making sure that it's not on alpha lock. I'm going to tap the adjustments menu, tap Gaussian blur. Again, I'm just going to do 5 percent, or let's go to 6 percent, but you could go even higher. The higher you go, the smaller this area's going to be. You may want to try a few different levels, and see which one works best for your composition. Again, duplicating, just like we did for the outline, duplicate it twice merge them together. You can duplicate it four times, five times. It really doesn't matter. I just chose three randomly. We're watching those inner shapes, and seeing how small they get. I think that's small enough. You can imagine what that's going to look like over your letters if you make your letters visible. I've made my letters shapes visible, and I made my black outlines semi-transparent. You can see what that's going to look like. We've got these nice little inner shapes. If you don't like that, or they're too small, or too big, then you can go back and do that same process with a different Gaussian blur level. I'm happy with how that looks. I'm going to tap on this layer, tap select, invert. I'm selecting everything except for the black. Just these little inner areas. Create a new layer, and tap fill. Again, everything should turn black. Then when you make that background layer invisible, all you should see is the black. Now that we have this nice black layer, we can go through, and refine it a little bit. I'll get that fluid ink brush, go through and just clean up all those little edges. You may find that there's a shape you don't like. I don't think we really need that sharp point. I'm just going to remove that. You can feel free to play with the shapes. You don't have to stick with whatever you get on the first run. Feel free to change things to fit your style. Again, I'm not going to complete that whole refining process, so you don't have to watch me do that, but I think you understand the concept at this point. I'm going to get a color that's slightly darker than that pink. Tap fill. Now, I've got this nice inner, darker pink that fills my original word. Let's bring back the decorations, and now we have a nicely decorated word. You can see all the different variations that we can do with the single word. There are so many different ways to play around with outlines and perspective. Of course, then you could add a layer of texture over these, and different decoration shapes in the background. Once you get that base word created, there so many different ways to play around with it, and really create some interesting variation and decoration on the canvas. I hope you enjoyed watching this class, and that you feel inspired to create some 70 style hand lettering. If you like this class you may like some of my other classes, where a cover a lot more ways to design and paint on your iPad. Like how to use hatching, crosshatching, and stippling to create ink illustrations. How to create and use limited color palettes in your illustrations, and how to draw an animate insects and procreate. Check those out on my profile if you want to see more. Also, I share a lot of free downloads, and resources for iPad artists and designers on my website. If you'd like to get more like you got for this class, check out my site. I would absolutely love to see your finished lettering projects, so please share what you make. You can do that here on the project section on Skillshare, or you could tag me on Instagram or Facebook. You could also join the Facebook group I created for iPad artists, designers, letterers, and digital planners. It's a place to get opinions and advice on iPad, drawing, painting, and digital planning, and get inspired by digital creations from around the world. If you love creating things on your iPad, and want to join other people around the world and conversations, sharing ideas and seeing each other's work, check out the group through the link on my website. If you have any questions about the processes you learned in this class, feel free to reach out to me. You can reply to my discussion here on Skillshare, or you can contact me through my website. Thanks so much for watching and I'll see you again next time. Bye bye.