Digital Calligraphy in Procreate: Stunning Script from Page to Pixel | Kimberly Shrack | Skillshare

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Digital Calligraphy in Procreate: Stunning Script from Page to Pixel

teacher avatar Kimberly Shrack, Modern Calligraphy & Illustration

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

    • 1.

      Class Preview


    • 2.

      Intro & Materials


    • 3.

      Document Set-Up


    • 4.

      Calligraphy Brushes


    • 5.

      Create Your Own Brush, Part I


    • 6.

      Create Your Own Brush, Part II


    • 7.

      Calligraphy Basics, Part I


    • 8.

      Calligraphy Basics, Part II


    • 9.

      10 Basic Calligraphy Strokes


    • 10.

      Lowercase Alphabet


    • 11.

      Connecting Letters


    • 12.

      Color, Part I


    • 13.

      Color, Part II


    • 14.

      EFFECT: Shadow


    • 15.

      EFFECT: Dimension


    • 16.

      EFFECT: Tie Dye


    • 17.

      EFFECT: Celestial


    • 18.

      Save & Share Your Work


    • 19.

      Class Project


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About This Class

In this course*, professional calligrapher Kimberly Shrack of Hoopla! Letters will teach you how to create beautiful digital calligraphy using Procreate for iPad Pro. Throughout the course you'll learn:

  • how to set up a document, including resolution, color profiles, importing files and more Procreate basics;
  • how to tweak and create your own calligraphy brushes;
  • calligraphy basics, including the 10 basic strokes, lowercase alphabet, joins and more;
  • how to add color and effects to your artwork;
  • how to export and share your finished work;
  • and so much more!

This class is designed for beginners through intermediate. This class is perfect for...

  • calligraphers who want to try a new way of working;
  • illustrators and designers who would like to incorporate calligraphy into their digital artwork;
  • and total calligraphy AND Procreate newbies who would like to learn a new, fun art form.

If this sounds like you and you're ready to take your calligraphy from page to pixel, I hope you'll join me in class. See you soon!

*Please note, you will need an iPad Pro with Procreate and an Apple Pencil to complete this course. 

Meet Your Teacher

Teacher Profile Image

Kimberly Shrack

Modern Calligraphy & Illustration

Top Teacher

Oh, hello there! I'm Kimberly Shrack, the calligrapher and illustrator behind Hoopla! Letters, formerly Manayunk Calligraphy. I specialize in modern brush and pointed pen calligraphy, and have had the opportunity to do some pretty cool things for some very cool folks, like Anthropologie, Crane & Co., Bachelorette Desiree Hartsock, Pure Barre and oh-so many more. But one of my favorite things to do is help other busy ladies rediscover and cultivate their own creativity through calligraphy and lettering.

My own calligraphy journey started in 2012 when I bought a broad pen kit and a book called Calligraphy for Dummies – yes, really. I wanted to address my wedding invitations and thought it would be a fun project. And it was. But (and I’m about to get woo woo here... See full profile

Level: Beginner

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1. Class Preview: Hello and welcome to digital Calligraphy in Procreate. My name is Kimberly Shrack and I'm the calligrapher and illustrator behind hooplaletters. And today I'm super excited to share with you my personal favorite program for creating Digital Art and Calligraphy Procreate. In this class, you'll learn absolutely everything you need to know to get started. Digital Calligraphy, from customizing your workspace and Procreate, to creating your own brushes, to add color and how to share your beautiful artwork with the world. Total calligraphy movie, No problem. We'll cover all that to from the ten basic strokes to the lowercase alphabet and also how to connect your letters to form words. So whether you're a calligrapher hoping to learn a new way of working. An illustrator or designer hoping to incorporate digital calligraphy into your current work. Or just someone who wants to learn a new and superfan ART form. This class is for you. Now, one note before we get started, you will need an Apple iPad Pro and an Apple Pencil to complete this class. So go ahead and grab those, and I'll see you soon. 2. Intro & Materials: Hello and welcome to class. I'm so excited that you decided to join me today to learn all about digital calligraphy in Procreate, I promise you will not be disappointed. It is a lot of fun to do. So just as a little refresh, my name is Kimberly track and I'm the calligrapher illustrator behind hoopla letters. So I'm going to tell you before we dive into class, tell you a little bit about my experience with procreate and my journey to get there. Getting in the way back machine, going back to when I first started licensing my illustrations for greeting cards and stationery and Walmart back when I first started that. And also create an art prints. I would script out the phrase or the design that I was going to do, scan it, cleaned it up in photoshop. Think this needs to be changed a little bit. Do it again, scan it again, clean it up again, you see where this is going? Over and over until I finally got it right and it was taking forever. And I realized if I was going to make this a big part of my business, I needed a much better way of working. So I began testing out different drawing pads and different stylus. Stylus will say stylus, it sounds right? Well, so it tested about outer bunch of stylists and I was really disappointed. Nothing looked natural. It didn't look like my calligraphy and looked digitized. It looks wonky, it didn't look smooth. I was really frustrated until, until I was introduced to the Apple iPad Pro Procreate and the Apple pencil. And I tell you that this changed my life. I mean, I really read it. It mimicked my hand perfectly. And by that I mean, it looks like my calligraphy. It looked like actual scripted calligraphy, not, not digital. It was wonderful and there really wasn't much of a learning curve. There was, of course, a little learning curve, but I can say, well are really get in there right away. Now, of course, there was a lot of trial and error that I'm hoping to help you avoid with this class. But it was a really, really smooth transition. So if you're a calligrapher, you're coming to class today to learn a better way of working or a different way of working, I should say, to digitizing your artwork, then you are in luck. You're all set. Now, if you're coming here as a current graphic designer or an illustrator and you're like, I already know procreate, I need to learn calligraphy. Dude, what are you doing here? Don't worry. You're going to get that too. There's a whole section of class today did this all about teaching you how to do modern brush calligraphy, but digitally instead of on a pen and paper, we're going to learn everything from the ten basic strokes to the lower-case alphabet. Even how to connect your letters to form, to form words, which is something you might not think you need to learn how to do, but there's a trick to it. So you're going to learn that as well. Now if you're coming to me today and you're like, I'm not a calligrapher, I'm not a designer or illustrator, should I be here? Yes, absolutely, totally shed. So this is a super fun art form, doesn't need to be for work. It can be totally for learning how to create things just for yourself. So personally, I use Procreate for a lot of personal projects, like creating holiday cards or announcements, or birthday invitations or signage or social media graphics. They use a lot of different ways. This does it mean to be for calligraphy and doesn't need to be for your graphic design business. That can be just for you too. A new art form, a new way to express your creativity. Now I'm going to show you a few things they've made in Procreate. Like I said, I license my artwork. So here are a few cards that I've created using Procreate. You can see very calligraphy heavy. And if you've taken any of my other calligraphy classes, you know that this matches my style, right? This looks like this looks like my handwriting because it is, am I telling you that the Apple pencil and the iPad and Procreate our dream team. I really mean it. Here's one from everyone's favorite grocery store. And another. These were a lot of fun to create. And because I created them digitally, there was no Scanning, there was no cleaning up little brush spots or anything like that. It's great. It makes your work go really much, much faster. Here are also some art prints that I created and I sell these on my website and on Etsy. So some are just straight up quotes like this that I created. While others are illustrations that are calligraphy base. This is what I'm known for, so this is my all-time best seller. It is a cat. And it's made up of a quote from Mark Twain. And I actually had a version of this that was just done in pen and ink that I digitized To make an art print. And when I tell you that took forever, that one was probably the reason that one of the impetus for being gotta find a better way to do this, because I remember that That one took a very long time to perfect. Now, I still have that version saved, but this procreate version, I like it better. This is the one that I have in South. Now, there's lots of different ways you can use it. Here's actually a mug that I created that I solemnly website and on essay. This is also created in Procreate calligraphy and some illustration elements. So there's lots and lots of ways that you can use this. It's another art of few things you're going to need for this class. Obviously, you're going to need an iPad or an iPad Pro with Procreate on it. The reason we need the pro is because you also need the Apple pencil. The Pro works with that Apple pencil. Now, I'm gonna be using procreate version number five. This is, we're filming this in 2023. If you have an older version of this, maybe you have an older iPad that doesn't support version five. That's okay. Some of the things may look a little different on yours, but for the most part, most of it should be the same. Regardless. Everything I'm going to teach you about calligraphy is going to be the same if you're coming to me from the future. It might also look a little different, but again, pretty good at keeping the basics in the same spot with the same name so it's easy to follow. Another thing you're going to see me use that you might get a little weird, but I promise. Maybe it's still weird but less worry when you hear what it's for. It's like wildfire Angola. Very cold spiral glands. So you don't need this. But I'm going to wear it during class, so I figured I might as well tell you what it is. So I use this for two reasons. One, in Procreate, you can have it set up so that when you touch the screen, it reacts to your finger touch to your, to your to your hand touching. One of the reasons I where this is so that I don't accidentally create marks on the screen when I put my hand down it. Another reason I wear this is specific to calligraphy. If you're not familiar with calligraphy and we'll talk more about this later. The movement for calligraphy doesn't really come from your wrist, comes more from your elbow and your shoulder. Now on paper that's a little bit easier on the screen and your hand gets a little sweaty, it can be hard to move your hand across the screen. So this is helpful in helping it glide. Does it look a little goofy? Yes. Do I care not in a sinus because it's really helpful and I'm going to include a link to this in the resources section. Now another thing I find in the resources section or a couple of downloads that I've made just for this class. First we have the guidelines. You go ahead and download those. And I know video. I'm going to show you how to upload those so that you can use them to practice your calligraphy. There's also going to be an alphabet practice sheet as well for you to download and script over to practice. Another thing that I've included as a brush that I made specifically for this class. And it's going to fit those guidelines really well so that it kinda just plug and play. There's also instructions in there on how to upload that. How to add that to your brush holds. So go ahead and get those downloaded. Grab your iPad, grab your pencil, or your Apple pencil rather, if you have a super cool blog like me grab that too. And I will see you in the next lesson. 3. Document Set-Up: Once you've logged into Procreate, it'll take you to a gallery where you can create a new document. To create your new document, you're going to press the plus sign. And then next to new canvas There's another little black folder with another plus sign. Go ahead and tap that. We're going to start with our dimensions. So I'm gonna go ahead and switch the measurements here from pixels to inches. I'm gonna make my document a letter size which is eight-and-a-half by 11 ". Now the DPI has to do with the resolution of your image. So how, how it's going to appear on screen or in a printout. Hi resolution is at 300 DPI or above. That will also affect some maximum layers you can have. So in a 300 DPI, we can have 75 layers that is more than enough that we're going to need for our calligraphy practice. If you were illustrating, you would probably need more. Some of you might, if you follow me on social media, you know what else to do, children's book illustrations and surface pattern illustrations. And so often I need a lot more than 75 layers. But for us, for our purposes, this is going to be totally fine. The next category, you want to look at its color profile. The two big options here are RGB or CMYK. Again, you're not familiar with any kind of artwork, digital artwork. Rgb is usually the color profile you'll select for Digital Art. So if it's going to be on a website or on social media, that's only going to be seen on a screen. Rgb is what you're going to use. And traditionally CMYK is for printing. Now I say traditionally because Procreate does a lot of things really well, except, except for it's CMYK colors. In my opinion there CMYK colors are a little dull. So when I'm working, I always work in RGB, even if I'm going to be printing it, if you are going to be printing this later, what I do is I create an RGB, then I send it over to Photoshop. And from there I am able to adjust the color mode to CMYK. Again, it's just because the color profile here and Procreate tends to be a little dull and CMYK RGB is so much brighter. I usually just select the second option here. Srgb, IEC, time-lapse settings. You don't really need to mess with this unless you're planning on creating a really high-end video of your time-lapse. Otherwise you can leave it as is Canvas properties. Again, leave this as is its background color. And whether or not the background is hidden. You can always change the background color later, but most of the time white's gonna be just fine. And again, like I said, you can change that easily within the document, so might as well leave it as white and then create. Okay, Now we are going to bring in our guidelines file. So in the resources section, there's a file called Procreate Calligraphy guidelines. If you haven't, go ahead and download that onto your iPad. And then to add that into our document here, we're going to click the little wrench, which is actions. Then the plus sign which is add. And I'm going to say Insert a file. Then I'm gonna go to on my iPad because that's where I saved it. Procreate Calligraphy guidelines there. Now if you saved it as onto your camera roll, you would do the same process except for instead of insert photo or insert file, rather, you would go Insert a photo. So now we want to lock this, which means that we can't accidentally move it around. So if I don't lock it, I could accidentally grab it and move it around. That's a bummer. So one thing you just saw me do is I did a double-tap with two fingers. Just tap and it undid what I just did. So spin it around, tap, it goes right back. So if you do a lot of digital artwork, you will know the plight of when you go back to do traditional and you make a mistake, you tap the paper and nothing happens. To make sure this doesn't move around. We're going to click layers, which is the double square appear on the right. You're going to find your layer with the guidelines on it. So we only have one layer, so it's not hard to find. Then you're going to swipe to the left. When you swipe to the left, you'll see a few options here. You're going to click Lock, and that's going to lock that layer. So it see, I even tried to move it and it already tells me you can't move this. So we got either unlock it or open the layer. So I open the layer and you see I can't do anything to it. Okay. So from there, we can go ahead and get started with our calligraphy. So that's how you set up your file. And I will see you in the next video. 4. Calligraphy Brushes: Now you have your document Set-Up, you have your guidelines all ready to go. You have created a new layer to script on. And now we're going to take a look at all of the cool brushes that we have. But before we do that, we're actually going to go ahead and hide these guidelines. So to hide it, you just click the layer. You'll see there's a little check mark here. Just tap it to uncheck it and those guidelines are gone. Now I'm going to turn I'm going to turn the paper so that it's landscapes that I have more room to work. So to turn it, you just use two fingers to pinch. You can zoom in, you can zoom out, or you can twist and turn like I just did there. Now let's take a look at the brushes. We're going to tap a little Brush icon up here. You can see there are so many brushes in Procreate for lots of different things. There's sketching, drawing, painting, spray paints, vintage textures, luminance, so many things. And then of course, there's Calligraphy. Now calligraphy is where we're mostly going to stick to for obvious, obvious reasons. If you look at this, you'll see that I have a lot more Brushes, then you do literally just open Procreate. So anytime you see this little swirly symbol, that means it is a custom brush. So that's either a brush that I have created or it's a brush that I have purchased. In the resources section, I'm going to share a few places that I like to get. I'd like to get my brushes from. But even if you don't have any of these new brushes, the native brushes, the default calligraphy brushes in here are actually pretty good. Let's give it a try. I'm gonna go ahead. Let's try chalk here. So over on this toggle, you can adjust the size of your brush. You can also adjust the opacity. The opacity is the bottom part here. So if I were to lower that, you see, I have a nice opaque script there. We'll go ahead and undo that. So to undo, you just tap with two fingers and that undoes whatever you just did. This actually, this Brushes actually pretty cool. It's super texture. We have a nice calligraphy look with a thin and the thick line. If you are new to Calligraphy in your thinking. And then thick line. How did she get that? How does she do that? Is it magic? I don't know. Well, I'm happy to report. It is not magic happy in a little side because would be cool if it was, what it is, is all about pressure. So in calligraphy, we wanna make sure that we have a variation in pressure, in line thickness depending on the amount of pressure that we're applying. We'll talk a lot more about this in the calligraphy section. But all you need to know for right now is that anytime you're applying a very light amount of pressure, you get a thin line. Anytime you're applying a heavy amount of pressure, you get a thick line. That is really what makes calligraphy, calligraphy. And so it makes it different than Lettering and other types of fancy writing. Now, most of the brushes in the calligraphy section are going to be pressure sensitive again because they want to mimic real calligraphy. So let's try a couple more. Let's try Blache. That's definitely pressure-sensitive. Very cool, has a really FUN texture there. Undo. Let's try streaks. This is another default. Brush, lives up to its name. Very streaky, lots of PFK-1. Now some of the brushes in here aren't pressure sensitive. So for example, this first Brush and calligraphy. You can see you don't know how hard I'm pushing, but I'm telling you I'm adjusting my pressure and it's not changing at all. That's because this brush is based on a different type of calligraphy and more italic calligraphy where you work with a square brush. We're going to be focused on pressure calligraphy today. So because of that, you always want to test out the brush, makes sure it adjusts to pressure. Mono line, that's another one that's not going to adjust to pressure. I'm not sure where they put it in the calligraphy section and not the inking section, but it's not my, not my software water pen. Let's give that a try. Very sensitive to pressure, lots of PFK-1. But my all-time favorite default calligraphy brush in Procreate is called the brush pen. The brush pen has really nice thin lines, really nice thick lines. It's really smooth and it mimics actual Brush Calligraphy with the flow of ink. You can see that when we're using light pressure, the ink is flowing less than so we have a little bit of transparency there, which is nice. We'll go ahead and try scripting out a word here. We'll just script out Brush. Now again, in the calligraphy lessons, we're going to get into all the nitty-gritty of creating actual calligraphy. But for now I just want to show you how that writes. It's very, very nice. I like in a lot. Now, not only do I like this brush to use, but I also like this brush as a jumping off point for creating new calligraphy brushes. And in the next video, I'm going to show you how to tweak this brush to create your new one. But before we do that, we don't want to damage this brush at all. So we want to duplicate it. You can see I've duplicated it a lot because I like to tweak this pen. To duplicate it. You're going to make sure that the pen you want is selected the brush you want to select it. Swipe to the left, hit Duplicate. Now it'll create a new file. Yours will probably say Brush Pen one mine says Brush Pen for because I've done it a lot. Then you're going to tap that and it will take you to the brush studio. So go ahead and tap that and I'll meet you in the Brush Studio and the next video. 5. Create Your Own Brush, Part I: Okay, Now we are in the Brush Studio. So the Brush Studio is aware, we are going to totally customize our Brushes, are brushes to get exactly the kind of brush that we want, exactly the kind of style. And look, if you're anything like me when you first arrive at the Brush Studio, the first thing you may be feeling is extreme overwhelmed. Because there are so many different things here that you can tweak and customize and it's hard to know where to start. First of all, take a deep breath. I promise you, that even though they're in a lot of stuff here, there aren't really only a few things that I ever mess with, and I'm going to show you that today. So this is actually one of the reasons that instead of starting from scratch, I usually like to start with a current Brush. In this case, we've started with the brush pen, native Brush in the calligraphy section here on, on Procreate, we have duplicated that Brush. And now we're going to use that as a jumping off point to create our new one. I'm going to walk you through how to do that, how I liked to do it. Now, yes. You could technically go in and change all these things, but again, I don't do that. I'm going to show you the ways that I tweak it. So we're first going to start out with stabilization. That's the second category here. So stabilization really has to do with how smooth the line is. How has stabilized it's going to be. So this is by far and away the thing that I tweak most as I'm working. So let's say I have a brush that I'm using. I've already saved it. I have it exactly how I want it. Streamline is one thing I will go and tweak as I'm working without starting over and creating a totally new brush. Because sometimes your needs change depend, depending on what you're working on. So the streamline section in particular is mostly what I focus on. Streamline. This is a good way to think about. This is kind of like a filter. Like if we're talking Instagram or TikTok. It smooths out any imperfections. So the lower streamline, the closer to reality, and the higher the streamline, the more smoothed and perfected the line is going to be. So let me show you what. We're gonna go over to drawing pad here. Go ahead and tap that, click Clear drawing pad. Then this gives you the opportunity to script the brush as it currently is. As we make changes, this will change, but right now it's just the native Brush pens. So this is what it looks like naturally. Normally, the way that it's already set up, you can see the streamline is pretty high. It's at 94. But if I were to lower that, take that filter away, it starts to show me what was more closer to reality, what's closer to the truth? The truth is if I had scripted this as fast as I did without any of the streamline on, it would look pretty wonky. So if I clear that drawing pad again, we'll do it again without the streamline. Now of course it's easier when you can view it. See if you can see there's some walk there didn't smooth all those edges out. It kinda left them in. Lowering it again, takes that filter away. So most calligraphy brushes you'll notice have a pretty high amount of streamline, usually at or above. That's because, why not? Right, with Calligraphy, we want nice smooth lines, rounded curves, non shaky, non shaky Strokes. And this helps get rid of any of that shakiness, any of that funkiness that we might have. And I usually keep mine up pretty high when I'm doing Calligraphy. Now, you might not want it all way up to 100 and to the max because that can prevent you from making certain shapes. It's gonna be hard to see on here because you don't know what's in my head, what I'm trying to do. But sometimes over corrects. So I usually keep it somewhere in the '80s and up when I'm doing Calligraphy. Now when I'm illustrating, I actually move it in much lower because I want a loose quality to my line. I don't want it to look too perfect. So maybe depending on the style of calligraphy, the style of your brush, you might want to have that a little lower as well. But for now, I'm going to leave it pretty high for this new Brush recreating. I want that streamline to be pretty high and all remember that I can always adjust that later. The next thing I will tweak to create our brand new Brush here is the shape. The shape refers to the shape of your brush. If you were to tap the brush on the drawing pad here you can see it gives us the same shape, just in little oval shape. It'll be larger and darker. If we apply a lot of pressure, it will be smaller and more transparent if we apply less pressure. So most calligraphy brushes have some type of round shape. Maybe it's a perfect circle Maybe it's a little inky blog. Maybe it's an oval like this. Most of them around, not always, but most of the time. So let's see what happens when we change our shape. We're gonna go up to Edit next to shape source. This brings us to the shape editor. Now, maybe you have a shape that you'd like to use. Maybe you have made adopt your actual calligraphy pen and you want to use that as your shape. Or maybe you've created a shape here and Procreate that you'd like to use. You would tap Import. And then if you've created it in Procreate, you can just paste the shape right here, or you can import the photo or import a save file. One thing I like to do, especially if I'm not totally sure what kind of Brush and what is I go to the Source Library. It'll source library has a ton of different shapes that we can choose from like so many different shapes. Some of these are awesome for calligraphy like this, inkblot, mess Blache, those would be really cool for Calligraphy. Others, not so much like leaf, maybe not the best for Calligraphy. Cool for illustrating and patterns. Flower lightening, again, cool for illustrating and patterns. Maybe not so great for calligraphy. So kinda go through here and see what might work for you. Let's take a look here at try this water Blache, one. That's very cool. So that's, that's an example of something maybe you could even create on your own if you'd like this, but it's not exactly exactly what you want. Can always scan your own texture and let's go ahead and try this. Done. I'm going to clear the drawing pad and I'm going to test it out. So how does my brush looked change with the shape? Changes quite a bit. So it looks much brushes as I figured because it's much different shape. Softer looking. This would be a very cool, kinda soft light brush. Let's go ahead and change it again. See what else we can do. Go to Import Source Library. Let's try, let's try flat ink. That's a very cool shape. Let's test it out. Hit done drawing pad, clear drawing pad. And give it this ago. Very nice. Very brushy. I really liked that end there. This looks really realistic. This looks like like you were using actual inks. I actually, I really like that, but let's try one more import source library. I would like something that's maybe kind of watercolor R3. So let's take a look, see what we can find. How about this one? Oval. But if you look, it has a very cool watercolor texture. Hit Done. I'm going to try that, clear the drawing pad. Give it a try. Very nice. Now this is kinda what I'm looking for, for this brush. I was thinking something kinda softer, more watercolor look. And you can see that it's very streaky because of the texture inside here. I like it. I'm going to stick with this one. Now you can see here there's lots of different sliders. So feel free to play around with these scatter changes, how the shape kinda presents rotation, obviously how the shape rotates as you move. I wouldn't mess with that one to too much. Because again, this is giving us the nice calligraphy luck. If we bump that up, we get wonky tops there. We don't necessarily want that, but you can play around with it. For right now. I'm gonna leave it as is. I'm not going to mess with these sliders. Right onto the next thing. So the next thing I like to tweak is the grain. So the shape, again is just the actual shape of the brush. The grain is the pattern inside of it. So right now our shape has a pattern, right? It's sort of textured on the inside. Are grain source is just a flat color. So all we're seeing is that watercolor texture, but we can also change what this grain sources as well. So let's, let's give it a try. We'll go to edit gradient editor. Now you can import here. If you have your own texture that you'd like to use, maybe you have a watercolor texture you've created. And I'm an ink texture. Or whenever you have, can import it again as a photo from a file or paste it directly from Procreate. Or you can go to Source Library just like was a library foreign shapes. There's also a library for the grain as well. So right now we have just blank solid. So let's test it out. Let's see what we can find. How about let's try it. Let's try these warm dots. So that's kinda cool. Let's see what that looks like. Okay, clear the drawing pad. I like it. Maybe not what I want for this brush, but it is very cool. I can see how that would. That would be very cool Brush to have. Go back to import source library. Let's try. How about how cardboard that's interesting. So that looks like they literally just scan a piece of cardboard. Very cool. Let's try it out. Clear drawing pad. Very nice. You can see a who have a nice little cardboard texture there. Now, you can also adjust here these sliders. You can adjust the scale so how large that grain is. So it'd be really, really cardboard look, we could bump that way, way up. Very cool. Could also adjust the movement. How does it, how does the movement affect the shape? So the lower this is, the more more blurred your grain is. You have it all the way up. It's almost like a stamp. Alright? Okay. I like it. Don't love it for what I want. Gonna go to Source Library. I would like something that kinda is mimicking the watercolor watercolor shape. So let's see if we can find a nice watercolor texture here. So there's dry cool like okay, Here we go. Wash, wash. That's funded. Let's give that a try. Okay. Clear drawing pad. Very nice. I like that. Kinda soft and subtle. Nice. You know what, like it, don't love it. Let's try one more. Unlike planning on doing three. But man, I want something a little bit more opaque. Let's try. Let's try dry acrylic wash, drawing pad. That's better. That's more what I was looking for. Okay. So that is very cool. It's a nice water. We get the nice watercolor texture from the actual shape of the brush, and then we add in that grain and we get even more of that again, you can adjust this here, the movement, the scale down just a bit. This is one of those things. I don't really go in with a plan. I just mess with the sliders until I find something I like. I like it. Onto the next one are brushes. Look at pretty cool guys. 6. Create Your Own Brush, Part II: The next thing that I change is Apple Pencil. So Apple Pencil in this you can control how the pressure, an angle of your actual Pencil to the tablet, how that affects the Brush. Know, again, like a lot of things that sounds really complicated. But again, there's only a few things that I really tweak here. The one thing I tweak the most is the size. So when it comes to the pressure, so all the way to the max means that the pressure is very affected, or excuse me, the size is very affected by the pressure. If we reduce that, you can see it. It reduces the difference between light pressure thickness and heavy pressure thickness. So if we go all the way to zero, there's no difference at all. It's all the same thickness regardless of the pressure. If we were to go below zero, it does inverse or heavy strokes or a thinner. We don't want that because we do want it to still look like calligraphy. So I'm going to bump this up. I actually like there to be a lot of line variation are a lot of weight variation in my lines. So I'm gonna keep that pretty high, which is where it was. You can also adjust the opacity, how pressure effects that. Right now it doesn't really affect it at all. Can also adjust the flow. Now, the flow is, is impacted here. So the standard Brush Pen in Procreate. If you are applying a very light pressure, it tries to mimic the actual flow of ink in a real pen by reducing the amount of flow. So if we were to get that all the way to zero, you would see there's no change in the amount of flow. The amount of ink flowing, depending on pressure, there's no change at all. If we go below its inverse, we're heavy pressure means a low, a lower amount of flow. But again, that doesn't mimic real life. We want to keep it at zero or above. So I Wasn't it in the 40s, which is pretty solid difference. I want to make it, I wonder to be a difference, but I want it to be on the more subtle. I'm going to put it around 23. Okay. Now the last the last thing that I changed, I will say too, I don't mess with the tilt. Right now you can see in this particular Brush, everything's at zero anyway. Feel free to mess with that. I've never found a need to. Again, part of the reason for that is because we're starting out with a calligraphy brush. Feel free to adjust it if you'd like. Not something I usually do. Okay. So the last category I tweak when I'm creating a new brush pen is properties, Brush properties. There are few different things that you can change here and Brush behavior, mostly what I do is the sizes. So this refers to the absolute maximum size of the brush. So if we, right now it's in the 70s, if we pump it all the way up, you can see we get a really be feeling their minimum size is again, how small it can be. So I don't want it that large actually. I I think I want it more like I wanted to mimic a round watercolor brush, but like a thinner brush, I'm gonna bring it down to about 36. Let's give that a try. Okay. You know what, actually maybe want a little bit more than that. Pump it up just a bit clearer it this way. It's nice to have this drawing pad here so you can practice. Nice. Actually going to reduce the minimum size just a bit. It doesn't make that big of an impact. But it does make sense. You can see that it's definitely, that is definitely thinner. I'm actually gonna bump it up just a little bit more. Here we go. Yeah, I think that's good. About where we add it. Actually, we were up in the '70s a little bit. So this is a little smaller, maximum opacity. I would like mine too. I don't really mess with the opacity here because you can adjust the opacity in the actual in actual studio area when you're drawing. And that's a better, a better place to adjust it because there'll be times you want to reduce it. But if you adjust it here, if you make it anything below max, it's just not going to serve you very well, so I don't usually mess with that. Okay, so now we have our brand new brush, so we're going to hit Done and then test it out. Now that we've finished up our custom brush pen, Let's see how it compares to the original. This is the original Brush Pen, would it look like? And now I have my new brush pen that we just created selected. So let's go ahead and script it out and see how it compares. Much different. It's a much different pen. I like it. I like both from so now. I've got two very cool pens for two very cool different purposes. So it just is just to show you what a massive difference you can make. Just by adjusting those few things. 7. Calligraphy Basics, Part I: Alright, now that we've learned all about the brushes, we're going to start learning about calligraphy. So in this lesson, I'm going to talk to you about some of the definitions that we're going to be using, some of the vocab we're going to be using. But also about how we use pressure in calligraphy. So as we've already mentioned with the brush, you know that anytime you use light pressure, you get a thin line. Anytime you use heavy pressure, you get a thick line. So you know that but do you know when to do each when do we make it thin? When do we make it thick? What do you take a look at this here. You'll see, you'll start to see a pattern emerge. You'll notice that anytime you bring up, let me get a thicker brush there so that we can see to a monoline brush, anytime you bring that pen up, you're going to get a thin line so you can see or anytime you move it sideways, you're going to use light amount of pressure to get a nice thin line. So I'll go ahead and highlight those here so you can see all those red areas. Those are all thin lines and those also happen to be spots where you're moving the pen up, okay? Now conversely, you'll notice that all the thick lines are happening on downstrokes. So anytime you move the pen down, we're going to apply a lot of pressure and get a thick line. Okay, So let me show you that here. You can see in red, these are all areas where we're moving the pen down and so we're getting a thick line. So if you ever get lost as your scripting and you're like, I don't know, it should be thinner, thick. Just remember, you're moving up. It's a thin line. Moving up, thin line or moving sideways, then line that's called an upstroke, moving down, lots of pressure, thick line, that's called a downstroke. So that's a trick for if you ever get confused about where you should be. Now, you also have your guideline sheet here. And I'm gonna show you how we're going to use that guideline. So you'll see that there are two dotted lines and then two solid lines and each row. So the first dotted line, the bottom dotted line, a little bit, that is called the baseline. You'll notice that is where all of your letters sit. All of your lowercase letters are sitting on that line. Now there is a thing called bounce lettering. You might have heard this with bounce lettering. Your letters don't all sit on that line. They bounce around back-and-forth, back-and-forth, bounce lettering or staggered baseline Lettering is I call it super trendy and super-duper FUN. But when we're learning calligraphy, it's best to learn it on this flatline. Once you get comfortable with that and keeping your letters all the same size, then you can move on to the bounce lettering. Then that brings me to the second dotted line. This is where the tops of your lowercase letters hit. This is called the midline. So they sit on the baseline, they hit the midline. Now, again, the reason we start with that, we don't do bounce lettering in the beginning is we want to work on keeping our letters the same size. That's trickier when we're doing bounce lettering, right? Because we don't have the exact guideline to go on. For now. We're going to stick with it this way. Now you might notice there are some letters that aren't exactly fitting in to these. Between the baseline and mid-line, we have our ascender letters like L, H, K. All those Letters extend above the midline. Those are called ascenders and they all hated the same line. This line is called the ascender line. Then all these guys that dip below the baseline like G, P, Y, we also have like letters and J and Z. Those are all called descenders. They hit at the same point called the descender line. Okay. So just to go over that again, letters sit on the baseline. They hit at the midline. The ascenders headed the ascender line, and the descenders hit at the descender line. 8. Calligraphy Basics, Part II: Now when I'm teaching calligraphy and when I'm teaching traditional classes, there are four keys that I focus on to getting the brush pen or the calligraphy pen to do what you want it to do. The first one we've already talked about and that is pressure, heavy pressure, a thick line, light pressure, thin line. Now I'm going to talk about the other threes, some of which are still very important for digital calligraphy and others. Not so much. So the first one is the angle. In calligraphy. You want your pen to touch the paper at a 45 degree angle. So that means that It's not straight up and down. It's not horizontal. It's right in the middle, 45 degrees. Now connected to that is your grip where you grip the pen. So to get at that 45-degree angle, you have to grip the pen higher up than you normally would. We usually hold our pens down toward the bottom when we're handwriting. If you do that, your angles too high, you can't get it low enough for 45 degrees. So for that reason, we hold our Brush an inch and a half to 2 " up, that helps us stay at 45 degrees. So if I'm holding an inch and and after 2 " up, I'm able to get both the thin line and the thick line without adjusting my grip there. Now, this is less important for digital calligraphy. You still want to aim for 45 degrees. You still want to try to grip it an inch and a half to 2 " up, in my opinion, but I'm also a purist, right? So let's see what happens if you're holding it lower, like you normally would. Therefore not at 45 degrees, we're going to try to do this again. Can you tell the difference? Not really. Now, if this was traditional calligraphy, you are doing this with a brush or a nib. You'd be able to tell the difference. This will look like hot garbage, but Digital smooth things out a little bit. It makes it less important. But I'd be remiss if I didn't tell you traditional calligraphy, it needs to be the grip needs to be an inch and a half to 2 " up so you can get that angle. So I would try it this way so that when you move on to doing calligraphy with your brush pen, you'll be ready for it. But if you don't wanna do it and it's working for you just fine that way. Go for it as much as it pains me to say that. Now the last key is movement. So now this one is still important to digital Calligraphy. A lot of folks think that the movement for calligraphy comes from your wrist. And of course some of it does, but the big movements come from your elbow and shoulder. Part of the reason for that is range of motion. With your wrist. You can only go so far, whereas with your shoulder and elbow, you can go all the way across the page, which is awesome. Another thing has to do again with that angle. While Digital does make up for that a lot, it's can only go so far. If I were to draw a really long line and only use my wrist, not lift my pen off the paper. Eventually it starts to thin out at the bottom, no matter how hard they push, you do want to make sure the bulk of that movement is coming from your shoulders and your elbow. In the next video, we will discuss the ten basic strokes 9. 10 Basic Calligraphy Strokes: This video, I'm going to cover the ten Basic Calligraphy Strokes that you'll need to create Your lowercase alphabet. Now, I am using a brush that I created for this class. All I did was tweak the Brush Pen default brush. And I've made that available to you in the resources section. So go ahead and get that downloaded to, upload that to your library. You're going to click Brush Library plus sign to add. And then just go straight to import. And then from there you can find your brush and add it in. I've already got mine in here since I designed it here. So I will go ahead and find that. Then before we start doing anything, you want to make sure the sizing is correct. You can adjust the size here on the left side. So I'm making sure that it's going to work for these guidelines and it is you can adjust your size as needed. Also want to make sure that again, if you're on that second layer, you're not on top of your guidelines. If you've locked on, you won't be able to draw on them. But just double-check. Now before we get started, I want to point out that I will probably be adjusting the angle of my paper. Not probably, definitely. So to do that, you use two fingers to pinch. You can squeezed together to zoom in or zoom out, squeeze apart to zoom in, and then to tell you just tilt it the way you want it. Now, deciding how much to tilt your paper is really up to you. What I like to do is I like to script for a minute and then see how it feels and then adjust as needed. So good trick for that is to put your Ipad perpendicular to you and close your eyes. Which is important but weird. I know, but go with me. Close your eyes, but your pen on the paper and pull toward you. Just draw a nice thick downstroke and then take a look at that angle. My iPad is already tilted slightly, so my script is already going at an angle. The reason I have you close your eyes is because this allows you to see where you would write. Naturally. When we are eyes are open, we tend to try to move our arm to adjust. So looking at this, I think. Yeah. Okay. That's that's tilted pretty good, but I like my Letters and my script to be a little bit stronger angle. So I'm going to tilt my paper a little. I'm going to try and get them up. Close my eyes again. I'm going to pull us toward me. You can see it made a more of an angle. I want to point out this little glitchy thing here. This is not an air with the program, believe it or not, On Air with, then this has to do with a nasty little thing called Greece. I cleaned my iPad very well before this class. I want to look, want it to look nice. But one of the problems with that is once you've cleaned it, anytime you touch it and your fingers like a little bit of oil, a little bit Greece. And that makes a little spot on your computer. And then when you run over it, it it can kinda get jagged like that. Now after you've cleaned it, it'll do that for a little bit and then that will stop. Eventually when you're holding covered in the same amount of oil. I know that's gross. But that's what it is. If you noticed that happening and then I just undo it. It's not a glitch with the program. It's not a glitch with my pencil is all about because I cleaned my screen too much. I did too good of a job. Okay. So that was a good angles. I'm going to keep my page tilted about like this. But what you do is up to you. Okay? So now we've got our brush, we're ready to go. I'm going to start with the upstroke because as our first of our ten basic strokes, so we're going to start at the midline here and push up in a thin hairline. Push. Now you can go all the way the ascender line like I did, or you can stick to just going to the midline here. It doesn't matter. These are just strokes, this is just for practice. But the guidelines are helpful to get you to keep you going in the same the right direction. Now, if you are a traditional calligrapher and you try this and you're like, Oh my goodness, my upstroke is so smooth. You are welcome. Because I made this streamline on this brush pretty high. Normally when we're just starting out, we're doing upstrokes are very shaky. But Digital man, that allows us to fix some of those, some of those little human errors. Okay, the next basic stroke is a thick downstroke. So for the thick downstroke, you're going to apply as much pressure as you can pull down at the baseline. Now, you don't want to linger at the baseline too long because then it creates a line. So you might have just seen that thing pop up. It creates a perfectly straight line. There's not necessarily a bad thing, but we are still wanting this to look like calligraphy and not like a font. So I don't really like to make lines as I'm doing perfect lines, rather as I'm doing my calligraphy. Okay, so we can apply all the pressure you can pull down, pause at the baseline. You up next is our horse shoe. For the horse shoe, I'm going to do these a little bit smaller. So I zoomed in a little bit I'm going to start with a thin hairline up gradually add pressure, gradually release it. Gradually, add, gradually released so that gradual out-of pressure is important. So we get that nice, rounded top. Gradual release. I think before I said gradual add, gradual release, that's gradual add and then just stop before shu. Okay, up next is the U-shape. So for the U-shape, you're going to start with that midline. Do a thick downstroke, gradually released that pressure and push up. Then hairline gradually release, push-up, that gradual release is important, so we get that nice rounded bottom. Now if you're right-handed, this might come a little bit harder. Last one. So if your left knee and you're like whew, this is easy. That's usually how it goes in my classes. The left is usually think this one is easier. The righties are like What? What are you doing? That is our U-shape. Up next we have our V-shape. And this is my favorite stroke because it's like a little roller coaster. So for the V-shape, we're going to start with a thin hairline. Gradually add, gradually release. Then hairline up, gradual add Gradual Release. Little roller coaster. Now this is a stroke. We're going to use a lot in our lowercase alphabet. So this is definitely a good one to practice. Up next is our S shape. So for the S shape, we're going to start with a thin hairline, gradually add, gradually released. You can see I have the ink dots there, so even Digital, I can't get away from the ink dots. Okay, so thin hairline gradually, gradually released. So it looks kinda like a fortissimo if you're a musician. Now for the 0 shape, we are going to start on the right-hand side, do a thin hairline up, gradually, add pressure, gradually released it, sweep up. Then hairline up, gradually add gradually released. Overlapped it a little bit there but you get the idea. Thin hairline up, gradually add gradually release, sweep up. Don't worry you I getting it perfect. This one has a little tricky. You can see it this every day and I still don't get it totally perfect there. This is one that I find to be easier and regular Calligraphy rather than digital. But that's like the only one. Next we're going to do our upward loop. So the upward loop is you're going to start at the midline actually. And you're going to sweep up gradually add pressure, gradually released it up, gradually add, gradually released. Looks like an L based. I mean, it isn't now doesn't look like an L it is. And whether you made your first up, you just did your first letter way to go. So now if that was basically an L, Our next stroke is basically a J. This is the downward loop. So we're going to start at the mid-line again, but instead of going up, we're gonna go down. We're going to do a thick downstroke, gradually released pressures sweep up, thick down stroke gradually release. We've this one's a lot of PFK-1 to. Our last basic stroke is the dot and whisker, or the loop and whisker, which is an adorable name, but it's a very tiny little strokes. So let me show you first how we'll use it. We'll use it in certain letters like ours. So there's the dot and that's the whisker. Or if you wanted to make it a loop, where you go a little loop and whisker. We also use it when we are connecting certain letters. So for example, W to I. There's that dot and whisker, or like C 02. I wait. Here we go. Loop and whisker. That's how we're going to use it. So to practice it, you're just going to apply pressure and then sweep to the right as you let go of that pressure. So kinda like a little Nike swoosh. And to practice the loop, you're going to start with a thin hairline up, a little pressure as you sweep to the left and then swoop out with no pressure. For light pressure rather, up a little pressure and then sweep out up a little pressure, sweep out. Those are the ten basic strokes. So let's go ahead and recap those. First, we have our thin hairline, thick downstroke. Our horse shoe. U-shape, V-shape, S-shape, 0 shape, upward loop, down or loop. And whisker, or loop and whisker. Those basic strokes make up the entire lowercase alphabet. So now that you know these, we are going to go ahead and dive into that alphabet in the next video. So give this a little bit of practice. Maybe fill up a few of these rows, trying this out. They don't need to be perfect. We're not going for perfection here, but getting your hand warmed up, getting to know these Strokes, it's gonna be super helpful as we navigate the lowercase Alphabet. See in the next video 10. Lowercase Alphabet: In this video, I'm going to show you how to use the ten basic strokes you just learned to create the lowercase alphabet. So I'm going to break down each letter by stroke so you can follow along, create your very own lowercase alphabet. Now I also have in the resource section, I will have a one cheater, or you can see all the letters laid out at once. But this is where you'll learn how to break them all down. Alright, let's start with a 0 shape, U-shape, 0 shape. U-shape. Again, I'm using the brush that I created for this class available in the resource section. If you have not yet downloaded it. Be upward loop, square the bottom. Horse shoe. Sweep it in. For loops. Square the bottom. Horseshoe. Swing it in letter C, 0 shape. But don't meet those hair lines. Shape. Don't meet the hairline. D 0 shape, upward loop, 0 shape, upward loop. You'll notice I start that upward loop right at the loops, right at the point where the hair lines meet on that 0 shape right there. Upwardly. For the letter E, we're gonna do another 0 shape. But instead of starting it on the right side, we're going to start on the left side and in-between the baseline and the mid-line. So we'll start with a thin hairline to the right and then go right into our 0 shape without connecting the hair lines. 0 shape. Oh, shape. Now for the letter F, this is a big one. This is a big letter. This is going to extend from the ascender line all the way down to the descender line. We're gonna do an upward loop. All the way down to a downward loop. What we're going to sweep to the right instead of the left. And then a dot and whisker up to the midline. Upward loop, downward loop to the right dot, and whisker to the midline. H. I'm sorry. G. My goodness. Thank can spell. Can't do the own, but my kindergartener could teach me anything or do. Okay, So for G, we're going to do an 0 shape. And then a downward loop shape. Downward loop. H. Upper loops square the bottom V-shape. Upward loop, square the bottom. V-shape. I. Thin hairline, U-shape. Then hairline, U-shape, dot J. Then hairline, downward loop, dot, thin hairline, downward loop, K, upward groups. So you'll see I accidentally selected the eraser that there's a gesture on here that sometimes accidentally selects that, that happens just click back over to Brush. It'll automatically be what you were using. So for for K, I had to do the ABCs in my head. I'll do an upward loops square the bottom thin hairline, and then a backward S-shape. Upward loop, square the bottom thin hairline. Backward S. So that backward asked to see it separately. It looks like this So it's actually easier if you're right-handed than the regular S-shape, which of course looks like this. L as you've already done, Let's just the upward loop. For loop. Upward loop. M or shoo, shoo, V-shape or shoo, shoo V-shape. N, horseshoe, V-shaped. Whoops. Must have a fingerprint. There are Shou V-shape. There we go. Horseshoe shape, 0 0 shape. But instead of meeting that hairline, we're gonna do a loop and whisker shape. Lupin whisker that one more time because so much FUN. 0 shape, lip and whisker. Letter P. Then hairline, long downstroke all the way to the descender line. Or shoe, sweep it in. Hairline. Long, downstroke to the descender line, or shoe, sweep it in Cu 0 shape. Then we're going to do a downward loop that's going to move to the right dot and whisker 0 shape down or loop. Dot and whisker. Downward loop to the right, I should say, for the letter R, then hairline, dot and whisker, U-shape. Thin hair line up to the midline, dot and whisker, U-shaped. You want to try a loop and whisker here. You do your thin hair line up to the midline and then go right into that loop and whisker a lot of PFK-1. This is how I usually make my ours for the letter S in hairline up. And then our S-shape in hairline up. S-shape. Then to connect to the letter S for another love letter, you will do a thin hairline out. For the letter T. We're going to do a really long upstroke all the way to the ascender line. And then a really long U-shape all the way back down to the midline. And then a thin hairline across. Really tall upstroke, really long U-shaped, thin hairline across. For the letter U, V shape, U-shape, V-shape, U-shape. You can also skip that little, this area. If you want to skip that. Like let's say you're starting your word with a you and just go right into that U-shape and then another U-shape, letter V, you have a V-shape. And then dot and whisker. V-shape. Dot and whisker, just like the you, if this is the first letter, you can cut that out. You'll still do this kind of shape, but you just won't start at the baseline of the startup here. Okay? W, V-shape, U-shape, dot and whisker. V-shape, U-shape. Gotten whisker. Just like with the V in the EU, you can always skip this part fits the beginning of the work. X. We're going to do a really wide V-shape. Then a thin hairline up, wide V, then hairline up for the Y. V-shape, downward loop, V-shape downward loop. And again, this is the first letter of the word. Skip that V part and just do a U shape downward loop. Lastly, we have our letters Z, which is a horse shoe. And a smaller horse shoe, go right into a downward loop. Now that's a little weird. Let me show you again. Horseshoe, smaller horseshoe right into a downward loop. Let's just do it one more time since this is our last letter and it's a tricky one. There you have it a to Z. So go ahead and give that a practice on your guideline. Let's go ahead to will hide that, create a new layer. I'm just gonna go through this one more time, one letter at a time altogether 11. Connecting Letters: Now that we've learned are ten basic strokes and our lowercase alphabet, we're going to learn how to connect our letters to create words. And we're going to do that with something called joins. Now I'm calligraphy. We used two main joins, diagonal and horizontal. Diagonal join is when you connect letters using a thin hairline that goes from the baseline to the midline. So you've already done this and you're ten basic strokes. So how do you know when that's the line? That's the kind of join to use. Well, it has to do with the letters you're connecting. If your letter ends with an upstroke or it ends around the baseline, then that's when you're going to use a diagonal join. So for example, letter a. It ends with that upstroke. From the baseline. The letter I ends on an upstroke from the baseline. Same thing, you get the idea. All of those letters are going to have diagonal joins. So let's try one. Now, let's connect the letters a and I. You'll notice that this one ends on the upstroke and the I has the upstrokes. So how do we combine those? Well, we just split the difference and use just one upstroke. So we're going to do a and then add our U-shape. We're gonna go all the way up to the midline. Then instead of drawing another hairline up with like we did with our I like this right here. We're just going to skip that. And we're going to start with our U-shape. Hey, to try another one. Let's do I to end. So again, this is what it would normally look like. We don't want to have both of those there. So we're going to do I hairline up and then go right into our N. Now, what if the letter we're going to doesn't have a thin hairline ahead of it. So for example, what if we're going to the letter a that doesn't have in hairline in front of it, right? That starts as a circle or for going to the letter G or D, or any of these letters that start with an 0 shape that don't have that thin hairline the beginning. How do we connect to those? Well, it's not too hard. So let's do I to G. So we're going to make our I and we're gonna go up to around the mid line. I usually stop a little bit before I get there. Then we're going to do our 0 shape of our next letter and just make sure it overlaps that upstroke and then finish your letter. Let's do Let's do E to a. Again, I'm going to pause just a little bit below the midline and then do my 0 shape for the a. There we go. Now another way you can do it if you don't want to pick up your pen, as you can, always kinda curve it over. So let me show you what I mean. Let's do a to D. So when you do your diagonal here, you just come up, make it a little curve, and then start your letter. Now that's not usually how I do it, but I just want to show you that that is a possibility. Also. Those are diagonal joins. So let's try word that just uses diagonal joins. Let's see how about we'll start with mine, like this is mine. So we'll do our M up to that midline just a little bit below the midline rather. And then go into that. I just gonna go straight into the end. Stop at just a little below the midline and then start that E. Mine. There we go. Okay. Now how about made like M a, D, E. Try that one. Then we're gonna go into that round letter a. Go up to just below that midline. They're starter. Same thing. We're gonna go into another another rounded ones. I stopped just a little bit below the midline. And then I'm gonna show you a couple of different ways to do the ISA. Last time I showed you this method where you stop and then you start your E If you wanted to do it in one continuous motion, a little trickier, but you definitely can do it. You just go straight from that stroke, right in to the E. Those are diagonal joins. Now a horizontal join. You're going to use that when instead of ending with a thin hairline, that going from the baseline to the midline. If your letter ends strictly at the midline, there's no upstroke to connect. Then you're going to use a horizontal join. So letters that use a horizontal join, R, 0, V, and W. You'll notice that these, all, these all use the loop and whisker dot and whisker. That's how you are going to connect it to the next letter. Okay, so let's try a couple of examples. Let's do oh to way. So we'll do our OH, loop and whisker, stop at that midline and then go into our I try W to a. So how do we do it when it's surrounded? One, same as we did on the diagonal. You're going to do your horizontal join your dot and whisker loop and whisker. And then you are going to go right into your next letter, just making sure that they touch. So that can be a little take a little bit of getting used to getting the spacing correct. Let's try V E. So now this is not one, you're not going to be able to go right into the E because see you in your E would be super high up. So you're going to go right into, go up to your midline and then you'll create your E. Let's try a couple words using horizontal and diagonal joins. Let's try round, round. So we'll do our and then that is a diagonal join because that ends with that thin hairline. Then we're going to go into oh, that is a horizontal join because the line ends at the midline. Now for you. So you know, normally we do or you like this. But again, we're going to skip all this up BBB and we're just going to start at that downstroke. Then for you to go right into that letter N with a diagonal join. And then a diagonal join to D. Round. Okay, Now how about, alright, now how a mouse or another word? How about? We'll do ran so obvious. It's a word I like, it's my daughter's name. So we'll do W. And then we're gonna do a horizontal joints, so dot and whisker. And then we're going to go straight into the ER. So now normally the R is like this. Remember, we're going to cut out this part. So we're just going to start on that dot and whisker. So it's gonna be a double-dot and whisker. Then we're going to do to E right into the cell. You'll notice when I connected the E, R to the E, I just paused it a little bit lower, just so I could start the E and the same spot, but you can go all the way up as well as I want it to and could have gone all the way up and then started the E. You'll, you'll learn as you go your personal, your own personal preference. So those are joins, horizontal or excuse me, diagonal and then horizontal. Those are the only joins that we're going to use. But there is a little, I want to go over connecting descenders and ascenders because it's the same kind of join, but it's done just a little differently. For ascenders. The way that you're going to connect those is you're just going to start right at the ascender part. So like ascenders like D doesn't matter because you're connecting to the 0 shape, not the upward loop, but if you're connecting to an upward loop, let me just kinda show you how that will go. So let's, let's do the word slack. For Slack, we would do there S. Come up to the midline here. Then we start our upward loop. So you script, you do your diagonal join up to them in line And then do your upward loop. Diagonal join, diagonal join. So now this is again, we're diagonal to the midline. Start that upward loop, and then go on the rest of your, rest of your letters. Now what if we're joining it? Oops, what if we're joining it from a horizontal line? We'll do the words horizontal join rather will do the word spooky. Diagonal, diagonal, Horizontal, Horizontal. Now I'm gonna do the same. I'm going to end it right there, the midline, and then I'm to start my upward loop. It's pretty much the same as the other, the other joins. You're going to do them the same way. The only difference is then you're gonna go into an ascender. And then connecting, if connecting to ascenders is a little different than connecting from descenders is a little different, but it's usually still just a diagonal. So for example, let's try the word jazz. Will do our J. And then we'll go up right to that midline. And then do our connection. Same with a to Z and Z to Z. Now, some folks choose not to connect their descenders. That's okay too. So for that we could just do J and then dark with a to Z. And if you didn't want to connect it, you would just start the next one, the same distance away. So keeping that space and consistent takes time, takes practice. But you just want to try to keep that consistent throughout. For this next one, we will do the word. I believe it's pronounced who, God, but correct me if I'm wrong, I was see it and I want to think I think hygiene, I'm pretty sure to go. Okay. So we're going to do our H and then a diagonal join into the why. Now we're going to connect our Y. So we're gonna do a diagonal join. I'll close to that midline, go to our G, we're going to connect it. So again, bring that into the midline. Do our next G. Then I'm going to stop that just a little bit below or lower because we're connecting to the E. There we go. Now if you didn't want to connect those letters, that would be fine to just have to, again, watch the spacing. Personally. I like it connected better, but it's just, it's just a choice. Now that you know how to create words, I'm going to show you how to take all of your Digital Calligraphy up a notch with a little bit of color 12. Color, Part I: In this video, we're going to talk all about color. So you might notice our views a little different. We've got, we're kind zoomed in here because I want you to get a good look at everything. We're going to be taking a look at here. So to get started with color, you have a circle up in your top right corner of your screen. Depending on the color you have selected, that color will be different. But by tapping that, that brings up all of your color options. So I'm gonna show you a few different ways that you can select your color. And the first option is, so in this disk, you would drag around the outside of the circle to select your hue. And then within the circle, the smaller circle to do the brightness and saturation so you can get the exact color you want. You'll notice that as I hover over these colors, I see them here and here. We can see exactly what, exactly what color we are choosing. Classic, this is the one I use a lot. You can use this slider here to adjust the hue. And then you can go within here to find, to adjust the saturation and the brightness. You can also do that down here as well with these sliders. Next is a really FUN one. So this is harmony. With harmony. You can pick a color harmony here, and it will tell you the exact colors to choose for a perfect harmony. So let's go triadic here. You can see this slider adjusts the brightness of the colors. I want my colors to be really bright. I'm going to pump that up. Then let's just swing this around and see what we come up with. So let's say I want, I'm doing a piece where I want some green in there. So I've got the green and then it shows me the other two colors that will form a triadic, Triadic rather triadic color combination. So let's go ahead now and just save those. I'll make little marks here on my page. I'm on green. Then to get to blue, I just tap the blue. Go back here and then tap that pink. That's fine. We have a nice little bright color palette there. And we know that they're going to go well together because this has shown us that they work, that they complement one another, which is great. The next one is value. The value, the value section is really good. If you have a very specific color you want to use. So let's say you're working with a brand or you're creating something for your own brand and you have a very specific color in RGB, you can adjust it here. Just the red, the green, the blue. Or if you have the hexadecimal code, you can put that in here as well. So this is where you want to go. If you have an exact color you need to use, then the last way to choose colors is palettes. And this is when I use a lot, as you can see, a lot of different color palettes. For those of you to follow me on social media, you'll know that in addition to calligraphy, I also do Illustration, especially for kids books. So you can see I had different characters here. There, color palettes that I always have them handy. So I have a lot more than maybe the average person. But if you're in here, you will have some default ones. But I'm gonna show you how to create your own create your own color palette. Click the plus sign right up here. You'll see there's a lot of different options to choose from. There's choosing from the camera. So let's say you, you're taking a photo of a beautiful floral, floral arrangement and you want to pull the colors from there, could do that, or from a file of a photo or previous thing that you worked on, you liked the colors. Those are all options. What I usually do is I start from scratch, so I would click create a new palette. Then we're going to use these colors that we just pulled from the harmony section to create our own palette. I'm going to hold onto the color of my finger or your pen. And then it will change the circle up here. That means that green is selected. So any color that you see up here is what's going to draw out there. Then I'm going to tap it into my color palette. So now that color isn't my palette and I'll do the same for the other colors. There. I have my very own color palette that I can go back to. And I will have to find those colors every time. This is a great way. You're using colors a lot. You want to make sure that they go together. You want to make sure you have them on hand. You can create a color palette 13. Color, Part II: So now we have our color palettes selected. We'll go ahead and start with this blue color. I'm gonna clear this layer. So to clear the layer, you're going to swipe to the left. And then this red here is clear. There It's clear. Now I'm going to script a word here that we can, so we can test out how to change colors. But before I do that, I would like some guidelines here and I'm not that doesn't mean I need to insert the guidelines that I just sent you. Instead, I have a handy little trick. Go over to the Actions tab, which is the little wrench there. The second button is Canvas. Then 1234 down is drawing guide. So go ahead and click that. That swipes over and you can see that I have a nice grid here is perfect for me to draw on. Now there are other types of drawing guides you can do as well. So let's go to Edit Drawing Guide. Let's say we want us to make this much larger. The squares. We could go blow them up, we could shrink them. We can change their color, the thickness, their opacity. There's also isometric. So two different triangles, this is, can be really helpful if you're scripting and angles. Perspective, which is a lot of FUN, you see you put a select an area and then it shows you exactly how you should draw on perspective. Not so useful for calligraphy, but for illustrating extremely useful. Then the last tier is symmetry. So symmetry, whatever you draw on one side will appear on the other. So long as you have Assisted Drawing selected, you can make it vertical symmetry, horizontal, quadrant, radial, and then you can even have it rotational as well. That's great for if you want to make like a mandala or something like that. But for our purposes today, we're going to go back to 2D grid. Bump it up just a little bit and hit Done. Now the great thing about this grid, let's say you forget to turn it off and you save it as a photo or you go to print it, this grid won't show up. They want save in the photo. It won't print off. It's just there for you to use as guidelines. I've selected the brush pen that I created for this class. I'm going to pump the size way up. And then I'm going to script a word. So I've got the blue selected. So you'll see that I've got a nice shade of blue here. Oh my goodness. Will just script the word color apropos for this class. Oops, you ever do that? Because you know, the double-tap on does. So sometimes I do that unintentionally. Right here in the bottom, you can see there's undo and redo just hit Redo. I'm going to move this to the center of my table of my paper. So I've grabbed the arrow there that allows me to move this around. Okay. I could also make this larger or smaller. Just remember that if you make it much larger than what you've scripted, it'll be pixelated and you don't want to do that. So I'm just gonna leave it as is. Okay. Now that's great. We've got a beautiful blue for our script here. But what if we wanted to change the color after we have scripted and how do we do that? There's a few different ways. The first way I'm going to show you is alpha lock. So to do alpha lock, you're going to select the layers panel here. Find your layer that your text is written on. Tap it, and you'll see the menu right here with options. There, you're going to select Alpha Lock. Now, what Alpha Lock does, actually select it. What Alpha Lock does is it makes it so that whenever you draw on the layer, nothing outside of the outside of what you have drawn will appear. So let me makes more sense when I show it. Rather than try to explain it like that. I have my pink Brush here. I'm going to just run it across the page. You can see the only time it shows up is when it's over what we already have on the page. So it locks everything outside of what you've drawn. So to color and alpha lock, you can just get your pen and color over it. You can also do a color fill. So to do color fill its undo all that. You grab your color here and drop it. Color fill. So that's Alpha Lock. Alpha lock is also cool to for making patterns. So let's grab our green here. Let's do a little bit of a texture. Let's see, here. Will go to artistic. Let's try old bleach. That's sounds, that sounds FUN. You can add a little bit of a texture or some stripes, whatever you wanted to do. And you can see nothing appears outside. Nothing appears outside of the alpha lock So that's alpha lock. It's very cool. The only thing with alpha lock that's not the best is, let's say I've done all this and I think, you know what? That would look really great if it was blue, if that green was blue instead. Like can't really just change that green because right now I only have one layer of color. So even if I grab that blue and brought it in, it would kinda change everything. But in a weird way, right? It just basically overlays the blue on top of it. So it's not, it's worked great for changing it to one solid color. But not necessarily if you want to turn it, if you want to do a bunch of different colors on it. Okay, so let's go ahead and do all that. But boop, boop, boop, boop. Get it back to that solid pink color. Great. I'm going to turn off the Alpha Lock to turn it off. You tap. You see there's a checkmark next to alpha lock. So I'm just going to tap that again, that turns off the alpha lock. So if I were to draw on that layer again, it would go all around. Okay, another way to change the color is by using something called a clipping mask. So to do that, we're going to create a new layer and make sure that this layer is above the layer that we want to color. Then I'm going to tap it. Again, this menu comes up. I'm going to select clipping mask. Now, everything that we paint or draw in here is going to show up on top of our work. So we've got this old bleach makes a cool texture here. You might be thinking, well, this is just like, this is just like Alpha Lock. Why go to all this trouble? Why do this? Well, because let's say I want to add another texture onto it, not just that blue. I'll do another layer and I'll select clipping mask again. Try the green now. Now I can add the green to that. But it's not all on one layer, which means it can easily be changed. Let's say I'm looking at that and I'm thinking that's cool. But that blue, that blue is a little much, I can't see any of the pink. I want to reduce the opacity a little bit. So I'll go to that blue layer. The little N there, I will select that. It's on normal. We'll talk a little bit about these in a bit, but for now, leave it there. But you can see that you have an opacity slider. So I'm just going to slide that down a little and we can see that blue can thins out. Now if I had done this on alpha lock, that would not have been an option. Wouldn't been able to do that. I can even just totally get rid of it. Delete, add a new clipping layer and there are new clipping mask. Rather, add some of that blue bar. I guess I'm in like a Barbie mood, Barbie movies about to come out and I'm aging this a little bit, but I'm very excited. So we have a Barbie at is look here. '90s, '80s. Very cool. I love it. I love the way that looks. That's clipping mask. So it gives you a lot more freedom to be able to change things up if you change your mind. And I changed my mind a lot. So it's good to have. Okay. Now another, one thing that we can try is adding an effect to the whole, to the whole layer. There. We go ahead and get rid of these. Goodbye, goodbye. To add a color effect. You're going to go over here to adjustments. So it's the little magic wand. There's a couple of different ways we can adjust the color. First, select Hue, Saturation and Brightness. If you select that, you can use the slider down here to change that color. Now this isn't going to be as specific as what we just did. But this is good. If you're thinking, I I know the coloring is to be different, but I'm not totally sure what I want. You can use something like this to guide you along. You can adjust the saturation. You can adjust the brightness. Let's make this maybe like a, that's a pretty green. We'll leave it there. Well, maybe not. We'll do orange. That's a little bit easier to see on-screen. Okay, so that's one way that you can change it through the adjustments. You can also change it with color balance. In color balance, it allows you to adjust the cyan levels to the red, magenta, to the green. Yellow to the blue, doesn't make much of the difference here. That one I don't use very often, honestly, that's more for photos, but it is something that you can use. I'm going to show you one other way that we can change the color. And that is by messing with the brush itself, which I know is a little scary because it's like, I don't know. What are we, how do we messed the Brushes? I'm going to change things. So we'll do what I like to do, which Duplicate that brush before we make any changes. So this was the Brush I was using. I'm going to duplicate it. 11, tap it. And I'm going to go into my brush studio over to Color dynamics. This is one that we didn't use. We didn't use when we were making our brush because this is one of those things that I don't want my brushes to automatically do this, but sometimes I like to just it while I'm working so that it will do this. We can change the way that. We can change the way that our pen works with color or Brush works with color rather, by doing this. So what I like to do is go over to color pressure. This means, is it means that our colors will change as we apply pressure. Depending on the pressure apply, our colors will change. So I'm going to bump this up like 68 or so. It's hard because you can't really tell on the drawing pad because it does just black and white. This is one of those things you might want to play with a little bit. So I've just bumped the color pressure hue up to around 68%. Go ahead and clear this layer. Alright, now let's write the word color again. See what happens. Rainbow. So it's very cool. Sometimes it's hard to tell exactly what it's going to do because I have blue selected, but it still showed up as green. So let's go ahead and make that small move you over here, buddy will start a new layer. And we'll adjust that brush a little bit more. So let's maybe knock it down just a little bit, make it lower like on 22. Let's see what that does. This is pretty so the higher up, the higher-up that we move that slider, the more colors is going to, we're going to get, the lower we keep this flyer, the closer to the original we're going to get. So our original was blue there. That is very cool. So this is another way that you can play. You can play around with your color. This was adjusted by pressure. You could also, let's see, let's go back into here, see what happens if we, instead of the hue, we do the saturation. Let's see how that changes it. This one's not as much, this is not much of a difference. It does change the saturation when you're going light. But honestly it just, it looks more like a flow, a flow change. So let's skip that. Let's go back. Let's mark that back down. Let's go back to our hue. Let's go crazy. Let's see what happens if we take it to the max. Oh my goodness, what's gonna happen now? It looks like at max, the most pressure we apply is going to get the exact color that we're using. So you can see that's where the most pressure is. And then as we release that pressure, that's when we get our little rainbow colors. That's very funny. I love it. That's just another way that you can play with color and your calligraphy 14. EFFECT: Shadow: Now that we have learned all the basics of our digital calligraphy and Procreate. I'm excited to show you a few cool effects that you can add to your calligraphy to like, really take it up a notch. So the first thing I'm going to show you is Shadow. How to create a shadow. So I have a new layer set up here. My brush selected, I'm gonna do the color green. So let's just go ahead and do the word Shadow to keep things easy. Just size of my brush there. I go ahead and grab that and just move it into the center here. You don't have to do that. That's just a sticking point for me. Now, how do we create a shadow? So the first thing we're going to do is duplicate this layer. So again, to duplicate, you're going to swipe, select the layer, swipe to the left, hit Duplicate. Now we're going to make sure that the layer underneath is selected. Hit the arrow so that I can grab it and move it around. I'm just going to move it just slightly down and to the right. Now I want to change the color. I'm gonna go ahead and just do an alpha lock color change here. I'm going to click the layer, select Alpha Lock, I'm going to pick another layer, another color from this. We'll do this dark blue here. I'm going to tap the layer and select Fill Layer. Then I'm going to unselect Alpha lock. So you see there we have a pretty cool Shadow. Now, we can adjust this a little bit by, we can adjust the opacity by selecting on our Shadow layer, the end there, and adjusting the opacity. Now looks like we don't want to do that too much because it starts to blend in. But another way to make it look even more like a shadow. I'm excited to show you. So we can keep that Shadow very close like this. We can make it further away like this. Pick the distance you want. So I want my letters look like they're floating. Pretty, pretty solid distance, so we'll go right there. So now with my Shadow layer selected, I'm gonna go over to adjustments. And then I'm going to select Gaussian blur. Then I'm going to put the pen on the screen and slide it to the right. And you can see as I do that, those, that Shadow layer starts to blur to really give it a cool Shadow look all the way and you're going to, it's going to disburse too much. But like around, let's see, is 7% 109. I think right there, 8%, that looks pretty good, right? So that's a way that you can create a cool Shadow. Now if you want to group those layers together so that they don't get separated, you would select one layer and then swipe right on the other layer that will select them together and then hit Group 15. EFFECT: Dimension: Another effect you can do that's very similar to the shadow is dimension. So adding a little bit of thickness to your calligraphy. So I have a light green selected. And on a new layer, I'm just going to script out the word bold. Okay. Go ahead. Alright. Now it starts out the same as it did with the shadow. So we're going to duplicate that layer. And then on the bottom layer, going to select Alpha Lock. And I'm going to make this a dark green. I select my dark green, go back to layer, tap, fill layer. You can't see it yet. But once I move it, you can see that it's a nice dark green. So now this would be fine to do, to give it just a little bit of dimension. I'm going to make mine a little bit thicker, pull it over here and select. Now if we leave it just like this, it looks sort of like a weird shadowy thing. So we aren't going to connect the dimension layer, the dark green layer, back up to the green layer to make it look thick. Here's what I mean. We're going to zoom in here. I'm actually going to make the size of my brush a little smaller. Then we can fill this in. So once you have that connected, you can drag the color. There wasn't quite connected. Drag the color, fill it in. So we can connect it here too. So you want to make sure it's connected at all points. Okay? You can see that that looks much better. It looks like it's got some dimension to it now you can totally leave it just like this. Or you can add a little bit of shadow to it to make it look even more 3D. So to do that, you've got your dimension layer here. We're going to create a new layer above it. Tap, select clipping mask. Now we are on our darker green. We're going to keep it there. But what we're going to do is we're going to change the type of layer this is. So instead of being a normal layer, we're going to tap that N. We're going to scroll all the way up to multiply. Then we're going to change our brush, go ahead and select the brush. Go down to the spray paints or excuse me, airbrushing. Airbrushing will go to soft brush. Okay, and now we're going to add just a little bit of shadow. So let's say the sun was right up above here. There would be things that will be covered in shadow here. So for example, this area just lightly go along here, will actually make that just a little larger. And you can see now we have a little bit of shadow that makes it even extra, gives it even more dimension. If you want to take it up even further, you could add some highlights. So let's start another layer here. And instead of normal, we're going to swipe down to add. Go back to that light green. And you can see here this layer is above the the word layer, not the dimension layer. We can add a little highlight to that with our clipping mask. We forget to add the clipping mask. That's why it was going over everything. We can add a little bit of texture there. Make it look kinda like it's glowing. Just a little. Very nice. So I'll go ahead and turn off the drawing guide so you can really see it. There you go. That's another way you can add a little, a cool fact your calligraphy with dimension 16. EFFECT: Tie Dye: This section, I'm going to show you how to create Tie Dye Calligraphy. Now for this effect and for our next one, you want letters that are pretty, pretty beefy when I'm doing pretty thick. So what I did is I duplicated the brush pen down here. That's the native Brush. And then I went down to Apple Pencil and I reduce the flow to zero. Another reason why is because when the flow is up the way it was, we have some areas of transparency. We don't want that. We want totally opaque line. So just knock that flow down to zero. Again. I duplicated the brush so that I didn't ruin the original. But you do you know, I think the best word to do for Tie Dye calligraphy is groovy. So that's what we're gonna do. So I erase that because it wasn't quite thick enough. We want our Letters to be really thick here. Better. Okay? A little perfectionist there. Okay, so now we're gonna do, is we're gonna go ahead and hide that. A little bad boy, unclick the square there. Then we're going to create a new layer. Now we're going to create the tie-dye pattern. So I want you to go to Actions, little wrench over to Canvas, edit drawing guide. Had it on Tuesday, but we're going to do now is put it over to symmetry. Then we're gonna go to Options, make it radial. We're going to uncheck assisted drawing. You don't want assisted drawing, we just want this it'll these guides to help us. Then hit Done. Now that you have your radius guidelines Set-Up, go ahead and create a new layer. You can keep it on your brush pen. It doesn't really matter. And then we're going to fill these squares, these triangles rather in with the colors of the rainbow. Don't need to worry about it being perfect, real Tie Dye as messy. So that's what we're going to stick do. Okay, once you get your little rainbow completed, we're gonna go over to adjustments. Little magic wand, go down to liquefy. And I've got the size and the pressure pulled up pretty high. First thing we're gonna do is select crystals. Will pull the distortion if we can always adjust this later. So for crystals, I'm just going to go along the edges here, kinda roughen up the edges. So we don't have perfectly straight lines. That looks good. Then I'm gonna go to twirl left. And I'm gonna put my pen right in the center right where those guidelines are. I'm just going to hold it there. Groovy man. And it gives it a nice little twirl for us, which is very cool. Now if you want to make a couple of more, you can do a twirl right over here. Let's see, that's going to bleed everything. I'm going to just undo that. You can. I'll just show you a few more things. Expand. We get like a nice little fisheye look there or pinch to bring it in. Actually, that's kinda cool. I think I like that. Yeah. Reconstruct here. And so you make a mistake and you went to go back to normal. You just do all that. We don't want it. We're going to leave it like it is. Once you have a nice little sore, I'll go in there. We're going to get out of that. You're on the layer here. Now. I don't like to swirl it to too much because then it's not large enough. So once I get to this point, I'm going to select, I'm going to select the arrow and then I'm going to make this larger. I'm going to keep it uniform. Now. Yes, you do run the risk of this getting pixelated, but we're gonna make a couple more adjustments to it. So I'm not really worried about it looking, looking too pixelated. So I've got that done. Now. I'm going to use the smudge tool. So the smudge tool is this little fingerprint up here. So when unclick that, and then you can see this takes you to another set of brushes. It's the same brushes that we used before. But we want to get a painting. Luck here. So we're in the painting section. Let's try watercolor. Let's see how that looks. So we're gonna go up to these colors and you see, you're just going to pull it out like this. Kinda give it that natural Tie Dye, look. Now that those are brushes a little bit vague. Bpp, BPP. Be back, back, back, back, back. Sure. To check that. I'm going to lower just a little bit minds around the ten. There we go, that's better. And so you're just gonna go through and pull out these edges. Okay, so now you can see I've got a cool little Tie and I look here. So now I'm going to actually go and turn off the drawing guides so we don't see that. And then I'm going to do a clipping mask. Going to turn this into a Clipping Mask, turn that layer back on him. So I guess I headed off site. And there we go. Let me show you that again, since I was all upside down, we have our layer here are tidy layer. I'm gonna go ahead and, and turn on the Groovy layer. Then I'm going to tap my tidy layer, hit Clipping Mask. And there we go. Now I have very groovy groovy written out there. So now let's say I wanted to adjust where the Tie Dye was showing up on here. I can move it around. I actually like where it is. So I'm going to leave that. Now. If I'm happy with that, I can always flatten it. But I like I said, I was like to change my mind. So what I would do is group it. So you have one layer selected, swipe the other layer, right? Select group. Now if you want to have one that's just a solid word that you can, that you can use as a graphic. You can always duplicate this, hide one of them, and then flatten the new one. So now always see is the word groovy, there's no mask on it. This is just what it is. But because I copied it, Let's say I'm looking at this and I'm thinking, I don't like the pink, they're delete. Go back to my group and I can adjust. So that's why I don't really delete much that I always have the option to go back. But there you go. You got some calligraphy and you made it Groovy 17. EFFECT: Celestial: For our last effect, I'm going to show you how to create an outer space, seeing that you can then impose on your letters. Just like with the Tie Dye, we want a very thick brush. Again, I'm using the brush pen that's native to the program. All I've done is bring the float down to zero. Okay, and now we're going to script R word again. We want it to be very, very chunky. So space always makes me think of horoscope and astrology. So I'm gonna do mine which is libra. You can see I am making my downstrokes very thick because we want we want to make sure our space shows up in there. Was a little big. Let's fix that. There we go. Okay. Alright, and I just like before, we're going to hide it. New layer. Okay, so now we want to create a layer for our, our background and space. So I like to do almost black, blue. I'm going to grab that on the back. I'm gonna go ahead and turn off these drawing guides now. Alright. Now I'm going to introduce you to a very FUN Brush. We're going to create a new layer. And you're going to scroll down and the Brush Library to luminance. And you're going to click the blast one Nebula. That's what we're going to use. So right now we're on this very dark blue. I'm going to select a dark purple here for Nebula. Was so much FUN. Nebula. You can draw with it like you can, like I just did, or you can do spots like this. It layers really well. So I did a purple. You can do other colors. I'm going to start another layer here. I'm gonna do, I'm going to select a blue this time and see can have that reacts. So that's pretty cool. Maybe just do a little night. Light blue, I like the purples and pinks. Then we're going to add a layer of stars. There's a couple of different ways to do stars in spray paints. There's flicks. So go ahead and select that and then you can select white. Then you might just need to play around with it a little bit. So if you want like a Milky Way kinda look, you can do one of those. Or if you just want little spots of starch dropped, make it make the size a little bit bigger. And then you can reduce the opacity. Another thing I like to do for the stars is in luminance. Again, there's glimmer. You can go all the way across like this. I like to do it a little bit more, a little bit more subtle. I just do kinda spots throughout. Remember our word is right here. So if at any point you want us to be reminded where you're word as you can, grab it and bring it up to the top layer. There we can be reminded where a word is, so I'll make sure I'm adding some stars in there. Okay. Go ahead and hide that. Okay, That's looking pretty good. Then you can always add more. You can change this layer right now it's a normal, you can change it to add, to make them, give them a really glowing look. Reduce the opacity just a little bit there. Actually, I think I will keep it on, add a little bit more stars. Okay? So now we have, now we have all of our outerspace drawn there. So I've gone ahead and Drug my text layer to the bottom. Now, what we're going to do is do a clipping mask on all these layers down to our work. So we're going to start with the layer right above it. The dark blue layer, tap clipping mask. Looks weird, but I promise we'll get there. Nebula tap clipping mask. Because my word was hidden, makes sure your word is not hidden. Tap Clipping Mask. And then finally tap Clipping Mask. There we go. We have a very spacey Libra scripted out there. It's very cool. It looks really cool. And you can do this. This would be really FUN to do. My daughter's obsessed with space. So for like a birthday party, I'm looking at this thinking this would be great for our party invitations to add this effect to it. So just like we Tie Dye, this really only works if you are doing a super thick letter because you want to be able to see it. Now we can also adjust those layers like let's say we want some of these nebulous shapes. We wanted, we wanted to just kinda play around and see where they are. We can do that. That's kinda cool. We get that there. Same with the star layer. Sort of adjusted if we want to there, I think that looks good. That is how you make a Celestial inspired Calligraphy 18. Save & Share Your Work: Okay, so now that you've created your beautiful artwork, how do you go about sharing it? Well, Procreate has made it super-duper easy. You're going to do is click over to the actions and over to share the little arrow. And it gives you all sorts of ways to share your piece so you can share it as a Procreate file if you are trying to send it to another device, maybe what I usually save it as depending on what I'm going to do with it next week, it's all done. I'm making no more changes. I'll save it as a JPEG or a PNG, or sometimes a PDF, but rarely, sometimes. If I'm going to continue to work on it in Photoshop, I'll save it as a PSD file. Then I can toss it over to my computer. So let's just go ahead and select JPEG. And then you can see here, we can just save it to a lot of different places. We can save it as an image to our photo roll. We can e-mail it, we can post it to the ground, pop it on Pinterest, lots of different ways that you can share it. Now if you want to share it as a PNG and you want a transparent background, or you have to do is click over to layers, unchecked background. And that gives you a nice transparent background. And then you can save that as a PNG and export it as a PNG. Now, if you want to check out the want to check out the time-lapse video and share that. Let me show you how to do that. So click over to actions, over to video. And then you can see I had time-lapse recording checked. It's automatically checked. So it should have recorded the time-lapse. So let's take a look now. You'll see that shockingly, I didn't get this right the first time. I did have to record this a few times. See me create and recreate groovy, but I just want to show you what the time-lapse replay it looks like. And then we're at the end. So if you wanted to share that on social media, go to export time-lapse video. You can select the full length, or if your video was really long, longer than thirty-seconds, you can select a 30-second version and then export it again. You can post it right to Instagram, or you can save the video to post later. That's how you share your beautiful work. Now, for the work you're going to share with us for class, go ahead and save it as a PNG or JPEG and those are going to upload the best. And I can't wait to see what you're going to do on in fact, in the next video, I'm going to tell you all about the class Project 19. Class Project: Congratulations you did. You made it through glass. You are well on your way to becoming a digital Calligraphy Pro, in Procreate. Now for today's class project, what I'd like you to do as script to be word or a very short phrase, like one or two words. I would like you to add some color using one of the methods we discussed in class today. And I'd also like you to add at least one effect. So that could be the Shadow Dimension, Tie Dye, Celestial, or it could be a combo of some of those. Then I want you to save and export as either a JPEG or a PNG and upload it here to the Project section. You can do one, you can do all four, or you can do endless combination, whatever you do. Just be sure to upload to the Project section so we can do and overeager beautiful work. Now if you'd like to share on social media as well. Awesome. Be sure to tag me at hooplaletters and skillshare. At skillshare so that we can see it and then share it with the world. Now I do have one more requests before I go. If you enjoyed this class, I would love it. If you could rate and review here on Skillshare, that is super-duper important and it's the best way for other people to find this class. If you liked this class, also, Please go ahead and check out my profile and all the other calligraphy classes that I have here. And I've got even more coming at you. I wanted to thank you again for joining me today. I hope you learned a lot and I hope you had a lot of PFK-1. And I hope that you will keep scripting and making beautiful things. So until next time. As always, happy scripting