Handlettering for Beginners: Letter Your Personal Quote | Anne Kuiper | Skillshare

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Handlettering for Beginners: Letter Your Personal Quote

teacher avatar Anne Kuiper, Illustrator, handletterer, poetry lover

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

22 Lessons (1h 6m)
    • 1. Introduction

    • 2. Class Project

    • 3. Materials

    • 4. Calligaphy vs handlettering

    • 5. Theory I: Lining

    • 6. Theory II: Angle

    • 7. Theory III: Weight

    • 8. Theory IV: Spacing

    • 9. Skills I: Serif, sans serif, and script

    • 10. Skills II: Different letterforms

    • 11. Skills III: Connecting script letters

    • 12. Project: Different letterforms

    • 13. Decoration I: Banners

    • 14. Decoration II: Lines and flowers

    • 15. Decoration III: Letters

    • 16. Quote I: Defining the composition

    • 17. Quote II: Improving your sketch

    • 18. Quote III: Inking your work

    • 19. Thank you and finalizing your project

    • 20. Bonus: Script alphabet

    • 21. Bonus: Sans Serif alphabet

    • 22. Bonus: Serif alphabet

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About This Class

Don't we all swoon over inspiring quotes in whimsical letters that seem oh so ingeniously put together? Good news: you can do it too! And it's a lot easier than you'd think... 

Learn the basics of handlettering, the use of different fonts, and get to know how you can make your personal quote come to life with tangible tips about composition and easy-does-it decoration. 

Soon it will be yóúr artwork that is being swooned over!
And the best thing is: you only need a few tools to get started.

After this class you will have a new piece of art, ready to hang on the wall, frame as a gift, or give away to a loved one (or simply just to impress your friends!). Plus, you'll have all the tools you need to keep on creating amazing handlettered work. Because one warning: handlettering is very relaxing and véry addictive... 


C L A S S  O U T L I N E  

1. Theory: what does calligraphy have to do with handlettering? And how can we use faux-calligraphy to our benefit?

2. Skill training: Practice of different fonts (script, serif, and sans-serif) and ways to shake those fonts all up again.

3. Decoration: Use of decorative elements to support a message and to help form a steady lay-out (and to just make it look darn pretty).

4. Composition: How to make your quote come to life with a suitable composition: tips and tricks to convey the message the right way.

5. Bringing it all together: by combining all the elements you've learned about so far, you will have a professional looking, personally handlettered quote in no time.

6. Finalizing your product. Ink your work and amaze yourself!

Meet Your Teacher

Teacher Profile Image

Anne Kuiper

Illustrator, handletterer, poetry lover


Letters? Yes, letters!

Whether it is writing, drawing, reading or speaking them, this Dutchie is all about letters. Okay, and I do some illustration, too. After doodling away during my studies in totally different fields, I recently decided to really go for it: I started working as a freelance illustrator and handletterer under the name of Gouden Lijntjes (meaning Golden Linings in Dutch). Plus, I have a not-so-secret-anymore desire to also call myself a poet. But for now, let's just stick to lettering;)

I'm really excited to share my first class with you. I hope it shows you how much fun it is to be creative, and that it doesn't take a lot to get started! Hope to see you there!

Ps. wanna be insta-buddies? Find me on @GoudenLijntjes (I know, the name might look very... See full profile

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1. Introduction: Hi, guys. My name is on the diaper time and illustrator and writer, and occasionally also pull it from Absolute. I will teach you how the hand letter your own personal quote by teaching a little bit about the calligraphy background of hand firing, as well as some super handy skills that you could apply to almost any letter. And by giving you some insights on composition and decorations that are super easy but also super effective in her class project, you can pick any quote that you find inspiring or special or motivating more funny. And you just a couple of basic tools that you probably have lying around the house anyway, and you can get started right away, so you'll fluttered your own personal off artwork before you know it. When you see how fun and easy head lotteries you'll get, let's get started 2. Class Project: So for our class project, we're gonna let her our own quote. It can be anything. Maybe it's some inspiring clothes that you want saw on Pinterest that you wanted to hang on your wall. Maybe it's something your grandma once told you and that you want to remember forever or could be my personal favorite. Maybe you had drinks last night with friends and came up with the funny puns. Cheers. Or maybe you just want to keep it simple and say hello or we shall. Maybe Happy Birthday could literally be anything. The most important thing is that you realize that it doesn't take a lot just get started. So why not get started right away and start your class project by telling me what kind of quote you're gonna let her? I can't wait to hear about it. 3. Materials: now there are a lot of different tools that you can use wellhead lettering. But because this is a beginner's class today, we're going to stick to the basics. The first thing that you meet is just a regular old pencil that you have lying around the house. I'd recommend using on HB pencil or something with a softer lead, and I personally would like to make use of mechanical pencil. But that's just because I'm lazy. And I don't like to sharpen my pencil at the time. Uh, raising right coming handy and and then for the final part of the artwork, I'm gonna use thes step. They're fine fine liners in different sizes. I like these because the ink doesn't bleed, and also it dries very quickly, so that might come in handy when you need to raise some lines of your sketch after you think you're work. Also have might come in handy to keep a ruler by your side. Once you start planning the layout of your court, 4. Calligaphy vs handlettering: first, I want to teach you a little bit about the difference between calligraphy and tend lettering. The two of them often get confused, which is not strange because they have a lot in common, but they're not the same. So calligraphy you may know as the age old art of writing, winning and nib dating all the way back to the days before print was invented. But it's still very much present in modern day are in lettering. For example, when writing wedding invitations or name cards, place cards or when something else has to be written beautifully, it actually literally translates into writing beautifully. And the emphasis here is on the writing part, because head lettering is all about drawing letters rather than writing them and beautifully at that. So no need to be worrying about your handwriting. It's all about drawing, and no need to be worrying about that, either. I'm gonna teach you a few tricks out 5. Theory I: Lining: so this first part's gonna be the most theoretical of the whole class. So grab a good cup of tea and get ready for its, um, calligraphy turns. Some information about direction. The secret ingredient of hand lettering, which is wait and finally, some information about spacing. Are you ready? Let's get started. So, as you can see, there's a lot of different terms that define the lining. But don't worry. I just want you to remember these four. So first we have the baseline, which is this mine that keeps all your lettuce straits. It's to the line that you write on. Then there's the end or ex lying. It's the one on top of that, and it's called the End or the X line, because usually the end and ex wouldn't which are not in the word fabulous. But still, they don't cross this top line or the bottom line, so without any loops or swash, is that you might add to them. But usually they don't cross one of these two lines that kind of defines the size of your fund. Then there's the sender and the D sender, and that's where your loops go. So it's like the top and the bottom off the loops of your letters doesn't always have to go that way, especially with hand lettering. You have little like extra detail that goes below or above those lines or doesn't even reach those lines. That's kind of your creative freedom, and Joe knows that, especially with hand lettering. We'll make a lot of use of that creative freedom, but first, this is important to remember, cause it's you first have to know the rules to break them right. 6. Theory II: Angle: the next up is the direction of the lines or this Lent. Um, I'll get my pencil for this. So as you can see, all the letters kind of sort of have the same direction to it. Do you remember from when you were young and you had to learn how to write in school and you had to place a card behind your sheet of paper that had all these lines and you had to follow them? Well, this is kind of the same thing. I'll go into this with pencil. You can kind of see that all of them typically have head of the same direction. I was a bit messy with this one, but I kind of have the same direction. Even with, for example, a letter like the old where this is the top misses the bottom still goes in the same direction. And even with this weird, curly letter like the S, you can always find the top and the bottom It's the top. That's the bottom. And you can draw a line and it will kind of have the same direction as the for example, the F or the A, where that language or the U for the B. That has a little bit of a weird slanted line here. I should Don't that a bit neater, But you know what I mean? Or did you? Everything kind of gets into the same line. You can off course, change it. We can play with this, especially in hand lettering where everything's very free. So you can, for example, do, um we will write the word fabulous again. So Well, what the f straight up, but a more slanted But the B put a little slant in there too. Put the you straight up again. Get the ill a little back leading splint. I am. Oh, back up again. You It's leaning back again. You put the S to this site. Now you can see that this gives that kind of a messy look. What can what can be very fun also cause it gives different spacing. But if you want it to be, if you don't want to go for that fun and jump, you look, you want it wanted to be more needs than you can look at your lining and make sure that these lines that are now like this all over the place are kind of the same direction again . Rules are there to to be broken, so but we'll get into that more. 7. Theory III: Weight: now for the third point, which is, I think, safe to say, the secret ingredient of hand lettering and full calligraphy is the thick and thin strokes . So what happens, uh, went with calligraphy Is that usually have a nib that consist of two sides which looks being pink low through it When you go down When you press down on paper, the nips spread and let a lot of ink go through When you go up and you would press the nip would scratch the paper. It would splatter angle over the place and your whole life work. If you're a monk, will be ruined. Priebe ruined. So we don't want that. Not even if we're not monks and just just writing a work word. We don't want it splatter all over the place. So that's why we keep our up strokes been and our down strokes don't make this in turn arrow and our down strokes thick. So of course I'm not writing with nib a no. So I will just have to improvise. I could also just use bigger pen or bigger marker. So what does that look like when you be writing? Because obviously not all your lines would be straight, you would go. So you would come in for a letter, for example. Ah, you He would do thin stroke. There you go down, Which would be a thick stroke. I'm showing a bit. We go up again, which would be thin stroke and down will be thick stroke. Now, obviously thes don't really stand out there. Not really thin and thick strokes. But we can think that, you know, Here we go. So what does that look like in our fabulous word? Let me get a bigger pen, cause it's easier for you guys to see. We would, for example, start here, go up. So we keep that thin, we would go down here, so I'm gonna place an extra line there, because that's a thick Fine. We would go up again. This part is down, but it's kind of hidden behind that line. So I'm just gonna keep it like that, go up to keep it thin, Then start a new letter that actually starts here. I'll show you later how to connect these. So we go up, we go down, which would be a thick one. Something that Adam extra line go up keeping it been down. Keep putting their an extra line there. Up thin, down, up, thin down. You can also see that hand lettering this way becomes very forgiving. Because now what? You can see where my B was a bit slanted Too much to the left, um, or to the right. Actually, um, I can now correct that by putting an extra line there. So it's very easy to correct your mistakes with hen lettering. We're gonna finish off least letters. I like to usually keep these loops open because I think it's nicer even though usually go up thin down thick. But I like I like to keep them thin. Like I said, rules are made to be broken right. There we go. And your fabulous work now hasn't even more fabulous. Look, that brush lettering, you would do this instantly. You would press the brush harder or with nib. You would press nib harder and you would get a nice flow because now we have thes double lines and you wouldn't see that they would be filled out so they would be like this. But what's so fun about hand lettering is that you can add decorative elements in them. So, for example, can at stripes or you can add dots or you can only partially fill it up. I do very do some shading or just keep it completely filled up, even fill it with, like, little hearts. There we go. So you see how free you can be when you have a letter all the while, these are the same with. So the thick lines are this kind of the same with the thing. Lines are kind of the same week, so we do get that calligraphy style, but on the other hand, it is very free, and we can add anything that we like. 8. Theory IV: Spacing: So the last little bit of theory I want to discuss with you guys is facing. And I don't just mean spacing between the letters. I also mean playing with the the lines that we just talked about those four. So there can be a lot of variation, and that gives this kind of whimsical, very bound Seaver free feeling. I'm gonna use the word gold because I am love gold, my artist name, If you will means golden linings and Dutch. So we're gonna use the word gold. I'm going to start with a G here, so there's nothing like that's just a G, as you would normally write it. It has, um, and her Exline the dissenters here and it doesn't have an ascender, but if it would have, it would be there. But what if I wanted to add Oh, that would further away and a lot bigger. I could do that because it's head lettering is very free. And now you see that my en line is varying a lot. If you compare it to what the G is, I can take it even further and right for example, and Advil and make that go even further away, put the L Bear and connected straight to the do you and make that go a little deeper. I don't really like the connection that I meet here. Maybe that's also because I'm now writing one letter at the time, but you kind of know where I'm going with this. There's not much basic here, and there's a little more space in here, and there's a lot more spacing here. So that gives a kind of that whimsical touch, but also where the end line starts and the sender line in the descend airline, the D even crosses the online that it usually wouldn't cross gets if I write it here than it wouldn't go over those lines. But how does cause it's whimsical like that? Same goes for this one, so it's very, very free. You can also write very close to up to each other two letters. So it's a G, its own and a little bit longer fell. Let's go down a bit and put two D closer. There we go. So again you have varying in lines or excellence, which everywhere you wanna call it. But the spacing is a lot smaller in this one. Um, well, at the thin and thick lines just to give you an idea. And there we go. So he can vary greatly with this spacing and to show you how much you convey very with e ascender and descend or line. For example. What if I made an end line like this? And in a center like this in a very short descend? Er, I would, for example, right. My goal. Play this right, my gold. And you could totally play with that down strokes, so you can very without a lot. Now, I want to talk to you a little bit about thes space of letters like these because you're kind of gonna come across thes. So I want to talk to you guys a little bit about how to space letters like these. And I will get into more detail about those letters later, but you're gonna come across them. So what if you had, like, a certain amount of space, tens of victims and I'm gonna write a six letter word and I'm gonna write Wilt er as in wilted flowers? I don't know. Why Hope it's top that off a little bit. So have this space. I have six letters because it's Walter and that's six letters wilt er, six letters. So I'm gonna write filtering there now, which you notice that there's kind of an awkward space going on between the team, the L, and also that there's not a lot of space left here. And there's a lot of space left around the eye, and W seems a little bit crammed into a space that's been too small. So basically all the letters have their own shapes and sizes that you have to take into account so a W might get a little more space, whereas an I would need only a tiny amount of space and an L and T might want to push a little bit together just to get rid of that awkward space. Although technically the letters might have been divided equally today, I it might seem just a little off, and this is just to keep this in the back of your mind. I don't think you necessarily have to apply that much because, like I said, hand lettering head lotteries all about Well, it has to look, can't meet you, don't have to measure everything and be very technical about it because I think that imperfecta touch hearing their gives it some extra character 9. Skills I: Serif, sans serif, and script: That was the big chunk of theory that you're gonna get for me. And now we can proceed to practice our skills. So there are a lot of different letter forms that there. But today I want to talk to you about thes three different types of that kind of makeup of the big part of the types that there are. And once you know about these components, you will find it easier to recognize them in other layer forms as well. They are the serif, that San serif and the script. Now maybe you already recognize one or two words from these in terms, but we're gonna learn a little more about them. So here they are, the three of them. So what you may see instantly is that the first to the Seraphim, the song serif are very similar. They also each have the word Seraphim. And as you can see, the difference is in the actual serif. These little I like to call them feet. That's what's called the serif, and basically the only thing that difference between these two I used that this means without they're very similar but have a very different look and feel to them. Usually people tend to say that this one looks more fun and more more relaxed, and this types more one more formal, more sturdy, a little bit more serious. That doesn't mean that they necessarily have to be more serious and more fun. You can add a lot of different elements, like, for example, the SERE. A few can make a bigger or it could mean like with stripes or chemical triangles. There's a lot. There's a lot possible with this to make it look more fun. Now with the script letter, you kind of already saw it when we were just practicing with the word fabulous. It's generally speaking a letter that's very close to an actually hand written letter that doesn't say that it needs to be head written. It's just it has a big, more of an organic feel to it. It's very flowy. It's very free formed. You can basically do anything that you want with it. One thing that the three of them do have in common are the four principles that we just talked about in the previous video. So that's the lining. That's the direction of the angle. That's the difference between thin and thick strokes and the spacing now lining direction and spacing, they will help you structure your letters and your words so that it doesn't get all over the place. What maybe a less obvious is that thinning versus thick so that up and down strokes they apply to all the letters in the same way that they would to the script. So let's say I want to ride this a the San Serif we go up because we always right from left to right. So I would come in this way, put my first upstream and then my down stroke would actually be thick. So I'm just gonna to a stroke and at an extra line. So you see that it's a very natural way of placing your thick strokes. Same goes for this serif. Let's do this small A. So I would first drop my letter form here. You see, I'm starting on this side direct from left, right? Start on this side going up and then a down stroke be thick. So I'm adding an extra line and then the little tummy and finish it off right there. Usually, I like to keep this open But you can decide that for yourself because it is officially a down stroke. So you can finish off this like that. That would be down stroke. So now you can see that it's a serif. But it has been fixed ropes. Now with the script fund like the one we just practiced in the video with the fabulous I'll put it up a little bit so you guys can see, um, you just go up and down, so that would be a thick stroke ups of bin and down. And if you remember, it's up and down and this one's down. So So we have three very different letters, some serif and serif. This has a little, um, ending to it. I'm gonna add a little thing over there just cause I can. But they all have the same Bruce to them about weight and pressure. 10. Skills II: Different letterforms: now you know, look different letter forms or shaped like what you see me doing here is writing your practice sheets. You will find them in your class three sources and feel free to print them out. Impacts them as many times as you want. At the end of this class, you will find three bonus videos of me riding the three different letter types that we just learned. Of course, it's a lot slower than what you see in the video now. And also I explain what I'm during along the weight. Once you feel confident in writing these letters, especially a script one, you can continue to the next video. 11. Skills III: Connecting script letters: Okay, let's talk about connecting letters as we talked about before. You always I can think about how the letters start right here and one to go continue to the next letter. So with the L and the oh, that kind of makes sense because on this point is not very far from this point. If you put them close together, so that would actually, you know, we just uneasy connection. But, for example, with the V and the that you just practiced, these points are very far apart, and you don't want to just drag a line and connect them because that might look a bit weird , especially if you keep that wonky little thing in there so you can adjust these points a little little by little. So what you have in your practice sheets is just the, um, letters as they are separate. So we're going to start with the L, and we're going to go up already gonna keep in mind that we want to start a no at some point. So maybe we want to start the a little bit here so that it crosses that l. And now, if especially if you make the lines thicker on where they need to be thick. Even here, it looks as if they were written. And one thing with the V. You might also see the connection so you can go straight through. But as you can see, the curve is a little bit different, so you want to make sure that that curve is the right way. Wait, let me do this with pencil first. So if I make a curve here and I want to go that way, where am I gonna connect that? A. To You could make another curve and be like that. But as you can see, legibility comes. Not really. It's not really legible anymore, so let's not do that. There's two options so you can go and connect it like this. Make that was my tip. Make the curve here and connected to the I'll just write them both. There we go, connected to eat. Make everything sick where it needs to be. Think again, or you can could be already happy on the O. Keep the curve there and the V there, and just start a new eat as you would normally, and just embrace the space that's there. technically them, they're not fitting together. But maybe it actually gives my nice effect. Um, so you can be a little bit creative with the forms of the letters. All depends on what you wanna connect them to. Now there's one last thing that I want to talk about, and that's when the direction of the line changes greatly. So let's see, you wanted to connect this hill and this e where you see that the ill curve goes in this direction and the end of this curve also goes in destruction. Where is the E kind of curves and up direction? Let me show you. If you haven't l it ends this way. But if thing you want to connect it to a knee and you want to continue this curve, you go like that in your feet might not end up the way you want it to be. Maybe you like it that way. I like my ease a little bit more straight, so there is no harm in changing the direction of your line. Wait, let me. That's not a very nice tell. Let's making big l go up. And now I want to put in my street eat. There is absolutely no harm in just changing direction right there. And you just finish rate, especially when you think in these lines and color in the mid may be you just cover that change of direction right up and it looks like they're connected and you're not left with any wonky, um, crossovers like that. 12. Project: Different letterforms: So now that you know about the different types of letters and how to convict them, it's time to give our class project a little attention. If you want to practice your letters, you can pick one word from your quote and write it three times, but use a different type of letter every time you write the word. When you're done, you can upload it in your class project for feedback. So the work that I chose for my quote is the word life. And as you can see, I wrote in a script fund, Sunseri Front and a Serra Funt. And as you can see, they each gave out a completely different vibe and which every one you choose depends on the feeling that you want. Your quote to have mine is a little bit funny, a little cheeky. So, um, I might not go for this one that has a little bit to me, at least a little bit of a more formal feeling. I might not even go for this one because it has a little bit. I'm too much of a cute see style for me for this quote, so I think I might stick with this one might seek what, um, my composition feels like in the end. And that's kind of how you can play around with different letter styles. And you don't even have to decorate your artwork to give it a certain feeling you can already do a lot with choosing the, uh, the form of the letters and the type that you use. 13. Decoration I: Banners: But even though different letters are already great to style, your quote, there are many more ways to spice it up. So let's talk about decoration. Yuri saw some of these quotes, and as you noticed, one thing that they all have in common is that they have banners. So we're gonna work with banners today. Another thing that they have in common is that they have these tiny little decorative elements, like dots in the in the letters or little of flowers or little dot dot it lying there or a little swash over here or a little stripe over there. And we're going to talk about that, too. So a banner is a great element to add your quote because it looks very fancy, but it's really easy to make. Let me show you how easy I'll even get a thicker pen for this one. So first we start with the very basic rectangle line is even very wonky. But that's the case. Um, then you add little triangles to it, so you just go and put to trying with Hungary, and then you add the sides and a little in Dent to finish the sides. Now my banner is like I said, Super wonky. That's OK. You can see how easy it is to to make one. You can even add some shading, do a little decorative things here, and that's it. That's the basic. And you can even changed the direction of the rectangle. Someone should keep the sides straight. You just put another try and go under it, and I like to then curve my edges to and there we go in your class material. You will find a step by step practice sheet of thes two banners, as well as some other bands that you might use for your quote. 14. Decoration II: Lines and flowers: So like I said, decoration doesn't have to be very hard. Um, it can just be like a simple line. Or it can be the same line, but dotted, like with little small circles. Maybe you even want to add a little arrow to it, or some stripes. That's very easy. You can also spice up your lines by adding a little leave to them like this. It's very easy just adding small shapes to it. But you know it. Usually branches like that aren't straits. So you might wanna, um, curl them or curved them. There we go. Maybe maybe you even want to add some Berries to it. Can we go? And you have a very easy way to give some extra touch to your quote. If you wanna have something more like, for example, this you can see that the shapes that I used are very easy. So a flower is nothing more than just curling up. There we go and you have a very, very easy way to do a flower or just start with a little flour heart. Just do the flowers like you drew them. Primary school, very easy shapes and our rose. You can you basically do the current spiral? But with a little more wonky nous to it? Well, mine, actually, this might not be a rose. Is my pants different flower made a little less curves. My rose. Maybe the roses are just not coming to me today, but and you can all always add some random dot says some random leaves to it for some extra . It's washes. Maybe you even want to do a small branch sticking out of there. This, of course, combines very well with the with the banner. So, for example, in this quote, you have all these little different shapes, and you see that I didn't really use anything. That was a lot, um, more heart a lot more hard or something than this one. It was just based on. Maybe I even maybe I disused something like this, or like a little small flower, or like a little extra French. But basically they're the same shapes just crammed together in a very easy fashion 15. Decoration III: Letters: it's well then, to add another decorative element to your quote, you don't even have to add anything. Actually, you can just use what you already have, which is the letters. You can stretch them. You can decorate them. You can even put little twirls to them, and they are very, very flexible. So, for example, if you if you notice that I always used only three letter forms that the script fund, the sans serif and the serif, they're just used in a different fashion. So let me put three of them on top of each other. Let's see. Just see this. Yes, there we go. So, as you see, these funds are these words are all written in the same script fund, except that this one has very thick down strokes. This one is stretched out in a very long way, and this one has a little bit more nooks to it. It says, Try. I don't know if this was not my best work. He doesn't, but hey, that happens. But I just added a little extra swash to the T It added a little nook to the are made the, uh why a little wonky. So you see there's various ways to use the same fund. It gives a very different feel to it. Same goes to, for example, these two. They're both Assam Sarah Font, but this one has some weird modern decoration in it. This one's very nice and clean. That's defy, and this one is Sarah Font that has a very, very different feel to it from, for example, this one. But the only difference being that this one has stripes looks more happy, and this one is filled out so it looks a little more sturdy and a little more hard. 16. Quote I: Defining the composition: Alright, it's time to get started on our quotes. Yes, now things were really going to get artsy. Soon you'll let your own quotes first. I'm going to teach you something about composition before we go sketching and inking our work. And as a bonus, I added some alphabets at the end of the class, and the first thing I recommend you to do is just quickly got down. What you want to write, so minus life is short by the shoes. I literally put it down like this like no fancy, hence writing, not even trying. But it gives you a sense of how many letters there are in words in the you know, it's a different feeling of to see them. Um, and more importantly, you can also decide this way which words might get a more prominent position in your work. So what, I first want you to do its circle the ones that are the words that are most important. So to me, to disclose that to maybe life and shoes, um, you can also, uh, if you don't not. If you're not sure which word or words are most important, you can see where the emphasis lights. So life is short by the shoes. So that already says that these two are very big but short. And by also get a pretty big emphasis in this quote. The is and the they were not even gonna touch them. They're just supporting words nuts. Super important. Now, based on that, we're gonna make a really quick, rough sketch. I like to call it my building block sketch. So first you determine what shape you want to use for this, I recommend to either use the round around shape or its square shape. Nothing else usually can do like heart shapes or even coffee cups. But let's not do that for him. I'm going to do of rectangle shape this time and what I want to make sure of that, the most important words they're the words that a circles circled are getting a very prominent place. So I'd say, like life would be here, or maybe even bigger, like this square of this block, and shoes would also get a very big one. I usually just jot it down very quickly in there shoes and then shorts. Also quite a big one, and or maybe even bigger than that. So that's too short. Maybe even a little bit bigger later on. And then by the can fit nice and there and then I left with ISS and maybe I want to put that down in there. Some where So now what I have is a very messy layout, but it kind of shows me where the words go. So shoes has a big plate place. Life has a big place. And then short. I might even want it, make it a little bit bigger and is I want to give a little look there and that's my starting point. 17. Quote II: Improving your sketch: So what I did know is I added a little room for my banner since you're gonna work with banners. But also, I decided what kind of letter forms I'm gonna use Still in a very rough way. But just so I kind of know where everything goes. So what I did now is I chose the letter forms that I actually switch these true because I thought it would be better the other way around. I chose the letters that I wanted to use. As you see, it's a san serif, Sarah and, uh, script font. And then there's to take simple sans serif here, find what fits by going along with their composition. So remember how I had to squeeze as little is in there. Well, what I thought would be fun is to actually add letters and there that would gonna go short , since the word is also short. So that actually turned out to be a very nice touch to, to quote then shoes I wanted to do I mean, kiss shoes, they're fancy, they're fabulous. So I wanted to give them a little extra bush and at a low script to that. So that's what I did. As you can see, I'm retracing my letters all the time cause I'm like, trying to figure out where where everything goes. So this age got extra swash just to fill up that white miss their like to give it a little bit more balance. Eso you could just trace and you can just I mean, it's pencil after all, so you can erase anything that you want. He wanted to add a banner, so make sure that you, um, leave some space for the banner. If I were to write this first by the shoes, then maybe I would have made the letters go all the way up here and there would not be enough space left for the banner. So make sure that when you make your sketch, you also keep into account and the extra details that you want to do, like a banner or here I thought, I want to make some extra line. I'm not even sure if you can call him flowers in this scenario, just some circles just to make it pop. And some may be leaves, maybe drops, whatever they are to give it a little a little happiness, do you think I'm gonna add a little line here, a dotted line and below here so that it gives the, um, quote of a beginning and an end. I thought that would be nice. So that's kind of how you go along and you just fit in the types of words and letters as you see fit. You can do a lot of stuff while using the three funds that we just learned. When finalising your sketch. Make sure you get rid of any extra lines or any other things that might distract you while you go and think you're working a bit. You want your sketch to be as close as possible to what Your winters quote to look like him . And so that in a bit, you Congar oh in and thank your work without worrying about what lines to trace. 18. Quote III: Inking your work: Well, there we go. Time to think. This baby. This is the most relaxing ends and therefore maybe even the most fun part of buttery. Just grab your fine liner, put on some nice tunes and start tracing diskettes. When you want to raise your pencil lines to get a clearer view, make sure that your ink is dry. Yeah, and there we go. Your hand letter quote is finished. Congrats on finishing your homemade artwork. 19. Thank you and finalizing your project: I hope you enjoyed it. And that I taught you a couple of new things about hand lettering. Thank you so much for taking this class. If you have any questions, please do not hesitate to ask them in the comments. And I am looking forward to seeing your finished pockets. 20. Bonus: Script alphabet: And now, as a bonus, I added three videos of me lettering, three different else butts and explaining a little bit about them. You can use these videos, has some extra guidelines next to your practice sheets, the lettering. So first, we're gonna practice the script because it is one of the hardest ones. One that you probably have to practice more. Uh, but also, one want you get a grip on it, you'll see that the other ones are very organically in the same fashion. So I'm just gonna start by lettering the office kind of explaining how little their firms go, what, right, As like so and I will just arrows there. So it's one goes, this sign bends down we go, and here we go down, and then we have swash at the kind of looks like it's Martijn Arrows right now. But I'm just gonna going so first up and down. So I would add an extra line here on the down arrow, another down error right there. Here. If you want. Color it in break. Just add Do it. I think now to the beach. Yeah, down! Use my hair So we go down all the way to their down and up and sideways, actually. So now to my down arrows down And there's no other ones. So feel this to see the seats a little easier, so you can kind of guess where it goes. So here we go up. Can we go down for a little one? No question. So we only make a double line here. I like to make mine like this for about to tell you where the down stroke. I like to make mine like this, But you can, of course, also make him the straight line. I just did your down stroke there. I just like to add the extra Luke. So and this one, you just on a cross and you go the same path, this one that I exaggerate a little bit. So it a nice I'm just gonna go ahead and finish these letter forms so that you can, uh, watch them later and see how how I feel them out. This one can sometimes be a little bit hard because you start here. Oh, you make a big and you go times it doesn't really show. Um, it's not really clear where you start But what I always say is that there's little come in from this way because that's the way Be right, Remember, from left to right and then you want to end because usually you want to connect. This is something so you want to end on that side. So technically, it's like an O that goes like this. You're writing a word. You want to write it and you have a but you won't end on that side. Well, if you want to make just serval, you go over that again connected to letter. But also you can do so for and no what I I just I'm writing not here. I make a big Lou and so it's a very exaggerated But I think again, with this p, it's the same thing as well. D you can already You can also close it so you can also do it go over this back over the same line like that. So then this would be the only thing lying need it like this. But I like to exaggerate my crossings a little. You they 21. Bonus: Sans Serif alphabet: So about the Sunseri is that what I usually like since we're breaking rules anyway, isn't what I usually like to not make all six strokes think, but just use 16 through maybe too sometimes. So, for example, with an eight the one that I also showed you in the example, you would have the basic line and you would just thanks for because remember, this one goes, that one goes down. So that's white stick. And then what I cheat on is that this is actually also a down stroke, so it should be but here and then added into this. But I like my letter forms a little bit different, which is the fun thing about hand fluttering. So I just cheat. And I just used one, uh, thick down stroke, very good. And I think it's finished like that. Same goes for for example, to be I just go in and do one down stroke while actually you could also do a down stroke there because it goes down. But I think one isn't start. - Don't be afraid to add a little character to you, Levis. So, like in my k, I kind of wanted to take it by now. You know, You know, I like a little extra swash. So instead of just doing the straight to lines connecting them to the face, I just decided to do this wash, which I think makes it looks a little actress. Here comes a letter which I personally, uh, I used to have a lot of trouble with It's the M and because it has a lot of different. Like as you see, I'm starting down and go are starting up and going down. And then this also goes down and this goes up and this goes down. That's not usually how you So you think that a bigger stroke is here and then this is also pick stroke, and then this is also fixed rope, but it looks a little off, so we're not gonna do that. And what we need to remember then, is that again these letters are shapes that are based on the weight that you write. So you would coming from the left start here that so you would actually go up, go down, go out. So in that fashion, this would beat the down stroke down. It's a little out of proportion. But what I sometimes you like to do, since I'm already kind of messing up the rules here, it's just finding out myself where I want the letter to be a be on the other side. Um, you guys play around with that. Same goes for the end again. That's also a heart letter, because wait, because you write it like that. You kind of right. All the things downwards at the same time. Um, so this is actually a couple. And, um, but again, you come in from this side. So you started bottom. Come on, go down and go up. So this would be hamstrung. Now again. You can also ride these ends and EMS like this. So this would be an end I made. It's to your end. All depends 22. Bonus: Serif alphabet: Now let's move right over to the Sarah once going to do a little bit more of a street just kept. So we're gonna do now. As you can see, there's no extra weight. Add it to the letters, so that can also be style. Um, I could add extra weight so this would be a down stroke here accounts. But maybe I also like the lighter touch. Just so you know, you can also make the down strokes really big so that the contrast is really big. Are making really small or make all the agreed, but there's plenty.