Art Nouveau Part 2: Design a Cohesive Lettering Poster in Procreate

1. Welcome! : When you stop creating one of pieces and start thinking in series, everything changes. Your work stops being just a cool poster and suddenly it's a story, a duo, a collection with meaning and connection. Hey, I'm Jimbo. I'm a lettering artist, designer, and educator. And if you took my first Skillshare class on Artnuveau Lettering, welcome back. And if this is your first time, I'm so glad that you're here. But if I was you, I would probably start on my first class about the topic. This class is all about continuing that art nouveau journey. We are creating a second piece called Rose. I think I said it, right? That's designed to complement Nuit cra the clean moonlit design from the first class. Here's a few results that you submitted. This time, we're adding texture, warmth and more of that hand crafted textile feel like moving from a calm clear night into a soft pink done. I've also added today's final touches to the first piece that I did back in my first class, and I'll show you how both posters can work together as a series, either using a flat style, like in the first class or adding textures like we're going to do today. The thing about making them a part of a series is that when you put them side by side, they're not just two standalone posters, but they belong together. And building that kind of visual connection in your work is definitely something that clients, collectors, and for sure, your creative soul will appreciate deeply. 2. Today’s Class: Alright, here's what we're going to do in this class. We are creating a brand new arnuva lettering piece called a Rose, a tactile companion to kat clay. This one's all about soft done energy, subtle gradients, and a more organic handmade feel. I'll guide you through exploring a different arnova typography style. We're going to add new florals, depth using textures and overlays with my custom brushes. We're going to use the same color palette as last time but inverted because this time we are conveying done instead of night. And most importantly, we'll explore how to think in series. So your pieces connect and tell a bigger story. We'll study the key elements that can help this second piece visually link to the first one. If you took the first class, you'll definitely see the link, and we'll even open Nut Clare by the end of this class. So we can give it a textured upgrade so it matches this piece that we're going to do today. But don't worry because if you're new, you can absolutely follow along and still end up with a finished piece that stands strong on its own. The first thing we will do is to get inspiration by May art nouveau Pinterest board and also talk about contemporary real life examples of visual series. So you can apply this not just to this project, but also as a mindset for your portfolio or passion projects after. Let's get to it. 3. Inspiration: Before we jump into sketching, I want to share a little bit of inspiration. We'll take a look at the Arnuva board from my previous class, plus a new Pinteres board that I've made that explores how posters work in series. It's a great way to get your brain thinking about cohesion and how color palettes can work. Before getting started, I wanted to show you this Pinteres board that I created together with my first Arnuvo class. You can find a lot of inspiration here. I've been curating it for over, I would say seven months now since the class came. And there is really a lot of things that you can learn, even, like, how to draw some leaves and a lot of things that actually can help you kind of, like, derail from what I'm going to teach you today. If you see that I'm creating a flower, you could create another one, just come here and check it out. If you didn't take the first class, I would actually recommend you to go there because I shared a couple of books that really helped me when it comes to learning all these things. Anyways, this Pinterest board will help you, not just with florals, but also if you want to draw, like, other elements. So yeah, you will find literally a lot of things here. Okay, and I also wanted to show you another Pinterest board that I created called series Illustration series. There you go. These are not art nouveau, but I wanted to show you just to see what a series of designs mean. So if we go to, let's say, we can analyze them all of it. But, if we go to this one, this Daredevil, you can see that there's a lot of things that these posters share. So you can call them a series, right? So there you can see here that obviously the text is the same. The color palettes are the same. You can see that the blues are very similar. They all follow this, like, very dark and greedy, environment here, you can see, right, that this is happening in the night. This is a vigilante. You can see a lot of little things, right? So the text is always up. Imagine that the text would be up and down. Then you could maybe break the series, but the series, I really, really liked when I found them and I think this is a very good example of what a series of posters is. Now, if we go to this one, we can visit the site. This project from behind, you can see that the main thing here is the flatness of these designs. You see, they are very simple. They have a lot of blank space. There's always like this big you see these silhouettes, right? We have the hands here, we have a cross here. Here we've got also a person. So this series really works well when it comes to negative spaces and the overall flatness and simplicity of it. Now, let's go to the next one, which is this one. I'm not going to open the project here, but you can see the series is already. Like, the illustration style is very similar. It occupies the whole page and the credits. You can see it here. The credits or, like, the little text is always on the upper left and upper right corner. But you can see here. This works as a series. Even though the colors are not similar, so the color palette is really not followed here, but you can see that it's on the same shading style, and the composition is really similar since the illustration occupies 99% of the page. Now, for example, if we go to this one, you can see that the series, let's go visit the site. But you can see here just by looking at it, right? Like, you've got the very weird combinations, I would say, in between what would be like a Sunserf type here. They all use this very stretched sensor together with this funky lettering, you see, here in color, here in I don't even know what it says, but you tell me or like here in e. And then there is always like it's a collage, right? So it's a photography, always like in monochrome tones. This one is purple, these ones are black and white. But then you've got also these very trippy, kind of, like, elements on top that distortion a little bit, the posters. And this is the same, you see. Look at that. Now, other parts of the series is that the text is on the left and on the right, you can see that this is consistent in all of the pieces. The logo is always at a one place. There is also a small type that hides behind the people. You can see it here as well, I think. And then these ones, for example, these are the sketches, I believe. Yeah, these are the sketches. Okay, 'cause this could work as well as a series without the three D elements, you see, because you will have very bold type together with this um kind of collage with these handrawn illustrations and then with the pencil here. Great. So you see that series always share some of the elements, and that's what we're going to try to do today in the sketches and in the final piece, obviously. Now, this one works as a series because of the palettes. You see, like, everything is flat. There is no textures here, but the color palette is always the same. It's this autumn kind of, like, you know, this these oranges and yellows and browns, and it's always the same. So you can do a series just by following the same colors, and they would look like a series, technically. Now, this one, for example, you can see here that the colors are very distinctive. There is the text up here always, and the color palate is very simple, but very, very effective. They kind of use as well. Now that I see it, they kind of use like a central structure. You see, like, there is something going on always in the center of it. You see this structure here. Then we've got this little castle here, this packaging here as well. And then finally, something like this, as well. They are not necessarily following a series, but when you have a very specific style after some years designing, you will at some point, just design posters that look like a series just because your style is so so, so much visible, right? So yeah, that would be it. You see here, for example, it's the same. This person really has a style, and they all look like from the same series, even though probably they were not done in that, you know, using that intention. But anyway, that's pretty much it when it comes to the inspiration that we're going to use today. You can find the pinterest boards linked in the project. So you can visit them and just take a look by yourself. So let's go sketching now. 4. Thumbnail Sketches: Time to get sketchy. I'll talk about why I chose the phrase that I chosen. I'll also give a little shout out to my French friend Whitney for improving my French phrasing, not pronunciation yet. And then we will open Procreate and sketch three quick thumbnails. Remember that you can do this using paper or any other software that you have available. Each thumbnail will have one more element than the last to see where is that sweet spot for our poster to become the second one in the series and not just that disconnected. Okay, so let's get started. I usually sketch the little thumbnails using paper, but since I'm doing a class, I thought that I could use the Procreate app directly because it's gonna allow me to zoom in so you see better what I'm doing. Now, I'm actually very much inspired by this sketch that I did for my blog when I went to Madrid and that I created a piece that was kind of arn voish and I found a lot of straight signs with different art nouveau letters. And those are some of the examples that I found. So I think I'm going to use probably a couple styles that I found there. Let's see what happens. But now, the thing that I will do is to tap on the plus sign. Again, on the plus sign, I'm going to choose centimeters because I'm in Europe. Remember that if you're taking my classes, I always use centimeters. You can use inches if you want. Now, for the width, I'm going to create a 292 times 30 height. Now, the PI will be I'll put it at 500, just so I have a bigger poster later on, and I'm going to tap on Create. Now, this is going to be our final poster, but now for the sketches, I'm just going to rotate it, and that's going to be it. Now, to do the thumbnails, you could just drop a black color here on the first layer, and then tap on the Transform too and just make it smaller. In this way, we are keeping the original size of our canvas. Now I'm just going to rotate it and put it here. There you go. Now I'm going to duplicate this, bring it to the center, and then duplicate it again and bring it here. Now, pinch them all together and bring the opacity down. Now I'm going to lock this layer, and now I'm ready to sketch here. Now, I'm going to go to actions. I'm going to go to Canvas, drawing guide, edit drawing guide. And once you're inside, I'm going to go to symmetry. Now, this is something that we are going to use in today's class as well, we used it in the first class. But I've seen a lot of Aarne va pieces that we're just mirroring, and that's what are we going to do? It's way easier, believe me, because if you do different elements left and right, then the whole composition becomes more complicated. But, I mean, at some point, we can try. So if you are interested in learning art novo that is not at all like doing the symmetry thing, mirroring, you can tell me. Probably I'll do a third part of this class even. Great. So now I'm gonna tap on done. And before we get started, remember that you have a brush set here that I've prepared for you to create today's piece. Today's piece is gonna be textured, not like the first one, which was flat. And then you also have the color palette. Now, we won't use any of it. So I'm just going to tap on my recent brushes, and I'm going to get my soft pencil that I always use. Really, a lot of you ask, What kind of pencil are you using? And to be honest, I don't really care about the pencil that I'm using for sketching. Everything. It's pretty much the same. I've done some pencils in my brush packs in the beginning of 2022, and and I use those by default, but it's totally okay if you go ahead and pick the pencil native brushes which are somewhere here in sketching. I thought it would be more complicated to find it because I have so many brushes. But anyway, let's start sketching. Now, the main difference here with the first piece is that the first piece was, you remember, let me create a new layer. And remember that the first piece was Nui clay. I hope I pronounce that well. Um Now, this was the literal translation is clear night, and evokes a sort of a dreamy night atmosphere. Like, the palette that I used was mostly dark background with clear letters. And today's piece is rose. I hope that I don't think I pronounce that well, but anyway, let me write it for you better. There you go. So, this means Rosy dawn, and it kind of symbolizes the warmth and the energy of the early morning. The colors are going to be brighter. I'm going to use probably since I want to do a series that, you know, like night and day, sort of, maybe the background can be light, maybe, like, white or maybe pinkish. I don't know. But I'll be using the same colour palette in just a different way. I think it's going to be also interesting to see how the same color palette could work for two artworks, and at the same time, they are going to look connected, but they're gonna be something completely different. If that makes sense. So, let's get started. Now, I'm going to create a new layer again, and then I'm going to tap on it, and I'm going to make it a drawing assist. Now, everything that we draw on the left will be on the right. So now, for this first sketch, I'll be doing something that is a little bit disconnected, just to show you that the more we keep the sort of, like, the elements of the first poster, the more we kind of make the series consistent, right? So if we were to do a series that has no structure or, like, nothing visibly related to the other piece, I think it would be more complicated for it to belong in the same family in the same collection, right? So that's something that I really wanted to touch upon today. You could obviously make it look the same if the color palettes are similar. So that would be one element, right? So, if it's already, like mirroring, that would be a second element. Um, so we're going to see, like, how many elements we can repeat without doing the same, but at the same time, so it looks that it belongs in a serie. Okay. So now, in the first one, I'm going to do something a little bit freer. So I'm going to go ahead and create a box like this, probably put it up. And this is gonna be for our text. Remember that it has two lines. So it would be two boxes. Okay. So now here we could use this as I don't know, maybe you could use here. We could do a little Sometimes I just put elements like this. So you don't have to draw in the thumbnails, you don't have to draw, like, a whole rose, for example. Now, this would be one. Then maybe we could do some leaves coming from here. Maybe. Now, here, there could be something like some plants. So we could do something like this. And then you see something that it's just filled with them. You see, if I was doing this with paper, I wouldn't erase it. And you should erase it not much, right? Because when you're doing thumbnails, it doesn't have to look pretty. It just has just it needs to look clear enough to understand if that piece can become something else. You don't have to do something pretty because this is not how your brain will get used to something. So let me try to explain it better. Um, if we were to dedicate like now time to, let's say, you know, make this leaf better or whatever, we would be just fixated on one element, not on the overall composition. And that's what makes me really excited about these thumbnails that sometimes you just do three very sort of ugly, messy thumbnails, and then you look at one and you're like, that's the one that could become better. Whereas the other ones won't give you the same feeling. That's why I'm saying that it's very important for you to just do something that allows you to understand the piece, get used to the composition that you want to use rather than just the details. So so it could be, you know, maybe something like this. Then maybe right from the center. You could do, like, a line and then some vines here, for example, with leaves as well. Let's say, now this one can do something like this. Again, here, just improvising here as I go. But you see what I mean overall, right? So something like this could definitely work if you were to do it clean. And then from here, maybe you could do maybe even a line here. Then something like that. Just to underline a bit the quote sentence. Maybe a couple more geometrical elements here. And here we could have one of the thumbnails. Now let's bring this over there. And let's do the second thumbnail. Now, in the second thumbnail, I wanted to make something that is a little bit closer to what we did. So you could again, I know that we're going to use the color palette, the Arnval letters. But let's say that in the Nila first poster, we have the lettering in the middle. So let's do this. Let's do the letters right here in the middle, like we did with Niccla. So that would be one box. You could go to the selection tool, three fingers down the screen, and duplicate this. You can pinch them together and move them again. I think they were somewhere around here. They were not centered, but just a little bit up. I think something like that could work. Now, another of the elements that could repeat here could be a frame. Remember that we have a frame that was doing something like this. So that could be the second element that could repeat. Now, we did this kind of, like, ticker, kind of, like, tube like frame. And now, this is something that we could use. Now, we could, for example, now that we have this, we could stop thinking about the first piece and create something else. What if we created a palm here that I saw I've seen a lot of these art novo posters that they kind of are super geometrical and natural at the same time. You see, like this is kind of like a square. But then when they did the palms, it kind of, you know, put natural elements inside an organized poster. So inside of, like, these geometrical, like elements, they could do a palm inside of a flower. And I found that, that could be really interesting. Maybe if you were interested in a third class, maybe we could go ahead and do something completely different. Now, we've got this. So maybe here we could repeat it. We could do maybe like a pom something like this. Maybe. And then here we could do maybe, like, a little flower like the one with it in the first poster that would think something like this. Now for the pums you could now hear just do this. And I know it's a thumbnail. I know I said that it shouldn't be detailed, but I sort of want to do this a little bit better just to show you how to do these palms. Now, this one, instead of having the mid rib of the palm here, could be one of these open palms, you know? And then it could be something like this. This is the structure. Yeah, better. Let's say something like this. Now, I'm just gonna bring the opacity down by tapping on the little end here, and then I'm gonna do these poms. You will see that making palms is really easy. So you do this, and then you close here. And now a little reminder that if you want to learn how to create palms better, you can always take a look at my floral class where I take you step by step on how to create different palms with different angles. And it's a class that I'm really proud of because I really break it down in a way that everybody can learn how to draw these ones. That's kind of interesting to see that see now here we could do something like that as well. So that could be a palm. I didn't mirror it, but let's bring it here. And this actually looks really interesting. Probably I could use this for something else. But now, let's tap on it and make it a drawing assist, and let's make the palm up. This is the same old story. Sell it's like this. Kind of like Actually, let's make it like that. Yeah. So that could be it. Now I'm just going to select in the first layer, the structural things, and I'm just going to put them off, and I'm just going to pinch this together. Okay. Now we've got the second sketch. Now let's bring this one to the right. And now let's do the final sketch. Now, in this one, I want to do something very, very, very similar to the New clap. Now, again, we had a frame here so we can start with the frame same as we did here. Remember, that would be like our third element. So the first colors, second second the Aarnvo style lettering. We could even grab the boxes from this one, three fingers down the screen, duplicate, bring it here. Something like this. Maybe a little bit bigger, somewhere around. I would say. Here, pinched together. And now here, for example, we had I remember in the first piece, we had two flowers right here. So what happens if instead of putting it here, we put them up here. So we could do Let's make the tube first. Alright, I think, something like this. Yeah. Now, there could be a little flower coming from up somewhere around here. Now here we could do another flower. Could do as well a parallel tube like the one we did up on the first piece. We did some of these more geometrical tubes that were kind of, like, parallel to the first one. So I could do this as well. Hmm. Great. Now this flower can go like this. Something like this. And now Wait, actually, here. Let's finish the stub. Yeah, something like this. And now the flour could go here. Be one battle here, then I'm telling you not to go in detail, but sometimes I get super motivated and then I start doing it myself, so Yep. And actually, this flower could just go somewhere here, whatever, and then more petals maybe that go here. Just to make it a little bit more complicated. And then I think I'm going to use this flower to to actually I think I'm going to use it somewhere else as well. So anyway, we've got this two pretty flowers here. Let's just move them a little bit. Some are here, and then the other ones as well. There now here we could also do some kind of flower again, so like it could go like this. Yeah, something like this. And then we could also do the same flower that we did before that we did in the first piece as well. Something like this. Perfect now here. We could go and create something that it has some leaves here. You can see that I'm spending more time with this one already because I think I kind of like it more than the other ones. Okay. Now, this flower could actually go. Hey, let me select. Yeah, now, let me select just this. Three fingers on the screen duplicate. I'm gonna rotate it. I'm gonna use it bigger. Somewhere here. Yeah. Now let's try to center it better. Great. So now here we could also do some plants here. Let's pinch this together. And now here. So leaves. Something like this. Now, from here we could also do some of these vines here. Maybe another leaf. And now one of the elements that was very much there in the first sketch was the circle. So we've used a circle over here that was kind of like the moon. So what if we did another circle, the same one. But instead of doing it up, going to do it down. So it could be somewhere like this. And this would go behind our elements. Something like this. Again, just for it to be there for the time being. Great. So we've got the three thumb mills now. Now, you could pick any. This one would be way easier, actually. But I think for the series, obviously, this one will be better. Again, here we are repeating so many things. So we're repeating these two flowers. Instead of being up, they were down. We had more like a central element here on the first piece. Now we have it down. We've got some vinees. We've got this frame, this double frame, just double tube frame that we also had in the first piece. We've got a lot of little little elements. Like, for example, this circle here as well. We've got some of these elements as well, where, like, the tubes were kind of going elsewhere. And I think we got so, for example, here, we could do something like this as well to just, like, keep doing it. Like in the first one. So I am definitely definitely picking this one. Now, I'm gonna rename this layer into thumbnail. Great. And then I'm just going to get the rectangle selection tool, select this one, three fingers on the screen and duplicate. And I'm going to turn this off. Actually gonna unlock the first layer and just erase it. Perfect. Now I'm going to import the Nuit clay piece here so I can copy some of the structural elements to create a final sketch. So let's do it. 5. Structure & First Word: Okay, let's build the final main structure. We're going to pull from our sketch and start shaping the main guidelines from our first piece Nuit clay. Right after, we're going to tackle the letter forms with a new refined rnouba style. Awesome. So now we've got our first piece here. And again, remember that we are going to get a lot of things from it. So we're going to get the circle, we're going to get the frame. We're going to get the position of the letters. More or less, it doesn't have to be the exact same, but something that is kind of centered. And also the size of the flowers and stuff, I think I would keep some of these things as well. Now, you will see that as you do the series, your posters keep getting better, and there is a reason why because the more you study a style, the better it's gonna be after. So you're going to see, like, if you do a series of, let's say, I don't know, like eight posters, the eighth or, like, fifth will be better than the first one. At least this happens to me. So yeah, let me know if that's your experience if you've ever done any series of posters before. Now, what I'm going to do is to go to the nui Clare and just bring the past down. Now go to actions and in Canvas, edit drawing guide, and now tap on this blue circle, and I'm going to bring it to the center here. A good reference point would be this one. Tab Don. Great. So now that we are here, by the way, I'm also giving you my Nila piece. So if you didn't do the first tutorial, you can also reference my piece directly to create this piece here, okay? But obviously, I would recommend you to go watch the first class because there is a lot of things there that are very interesting, especially when it comes to inspiration. I showed you a couple of books that I've used to study this style and stuff. So yeah, go check it out. Now let's create a new layer, and that's gonna be our final sketch. And I'm going to start by getting the frame here. So this is gonna be. Let's do it again. So tap with your left finger. By the way, tap on this layer and make it a drawings. Always, always, always forget that. I don't know why. So let's do it. Perfect. Now, let's do the frame. I'm not gonna get the details, obviously. Because all these is gonna change. Perfect. Now I'll also reference this frame just to have it. I think I want to use it up here as I did. I'm just gonna get this right here. Nice. Perfect. Okay. Now I'm gonna probably probably do the circle here in the background. Actually, for this circle, it's way better if you go ahead and create a new layer without being mirroring. Because otherwise, it creates really weird circles. It's really difficult to make it. So let's place it here. And now let's do the same. Tap on circle. And this one needs to be a little bit bigger. So if you want to do if you want to control the circles better, remember that if you tap here, the circle is just going to make it is gonna get bigger, okay? If you tap outside, you're gonna move it. And if you tap on the blue circle, any of the four, you're gonna deform the circle, okay? So again, for moving it, just for making it bigger, sorry, but in the same position, just grab right here in between the blue dots. S, let's do it again. Nice. And now let's do this one, as well. And the other one. Something like this. Perfect. Now, this circle, I'm actually gonna select it all, select it with the rectangle selection tool. All of it. Go to the Transform tool and flip vertically. Now I'll bring this down here. Something like this. Perfect. Now, I'm just gonna pinch this together, and on a new layer, I'm going to do the letter boxes here. Duplicate and bring bring it down right there. Inch together. And I think that's going to be it when it comes to my structure. So I'm just going to move the two and move them here. Perfect. Now, my sketch, I'm just going to make it smaller. Just put it somewhere up there. Just to have it somewhere if I want to get back to it. But now more or less I know what I want to do. Now, for the structure, I'm just going to bring the opacity down. And I'm going to start doing the letters. Now, before I get into the final style that I want to use today, I'm going to show you a couple letter As. There's a lot of Arnabo styles, actually. And if you've seen any of my alphabets before? Up in my shop at chubm.com, I have a few alphabets that teach you how I create each letter step by step. So now I'm thinking, and I would like to ask you if you would be interested in me creating an rtenubau brush set for Procreate that has four alphabet styles and a lot of elements for Artnuva. But I would like to know if you would be interested in it because it would take me around three or four months to create. Let me know if some of you would be interested in that. Now, let's do two letter As. There could be a lot of ways to create these styles, and you could, you know, I've been doing some of them, and they become better as you go. They become easier. So now there could be one that does something like this. Right? Now, we can duplicate this, flip it. So that could be one. You could even make it thinner. So that could be one style. You'll see that I didn't choose this one, but this could be one of the styles that I could create an alphabet for. And I didn't choose it today because to me, it's not that ornamental. Some arnvo styles are more ornamental, and some of them are just a little bit less ornamental, more I would say more going to an art deco kind of like style. So this is one that I tried in the beginning. And then the other one, that's the one that I'm going to go for today, that's something like this. So if we create the first stamp like this, and now we're going to create it because I prepared a stamp for you to make this style better. But let me just, like, sketch it fast just so you see what kind of letter I'm talking about here. And then from here. We do something like this. So this could be the other style. Not could be because this is going to be the style that we're gonna use today. Okay, so let's erase this. And now, on a new layer, I'm going to go and select the Ardovo letter base. Okay, so let's stamp it here. Let's make it smaller. And now the upper part will go a bit more up, and then this will be somewhere around here. Yeah, bring the pasit down. Now, just a little bit of theory before we do it. I'm going to tell you what is an overshoot. So when you do letters that finish with a straight line, you're going to follow the X height, right? This line right here. But, for example, when you do a circular letter, there's gonna be an overshoot, meaning the circle will be always, always going a little bit beyond the line. Now, when you zoom mouth, your eye will tell you that these two letters are the same height. But if you were to put this one the same level than the straight line, your eyes will tell you that this is shorter. Okay? That's just like an optical illusion. That's why we are going to do that. We can start by doing a main stem. Stem is the vertical main part of the letter. So I'm just going to copy this just trace on top. Again, here, if you wanted to, you could exaggerate things. You could do maybe a Serif that is like this. You could do a serif that is even shorter. You could do it even straight if you want it. You could do something that is more like a Tuscan kind of letter. You could do anything that you want. But for the sake of the exercise, I'm just going to obviously follow this. Great. So now I'm just gonna duplicate it, flip it vertically. Put it up and just fill it in. You could also drop a color inside, but for some reason, I like better doing it by hand. The process is a bit more tedious, but the sketch looks better after. Great. So now we've got this one. Now, we're just going to duplicate it and bring there for after. And then with this one, we're going to create the first letter, which is going to be the letter A. Now I'm gonna erase this and keep it like this. Now, the first one is to I'm gonna change this a bit. And instead of finishing like this, I'm gonna finish like that. Because here I'm going to do this line go in there. And now, I'm going to finish the letter A, just by tracing on top of the stemp. These letters that I do for the art nouveau, they're always coming from an alphabet created in that era, but I always give my own twist. Now, here, the crossbar very important. We're going to keep the crossbars all the time at the same level. So for the A, the B, et cetera. Great, we have the A, so let's bring it to the left. Let's leave it there. Now let's duplicate the main stem that we have, and let's bring it here and let's create the letter B. Perfect. Now for the B, I'm gonna go ahead with the selection to select this and bring it down somewhere around here. I'm also going to change a bit Taserbs. So this one will be up. And this one a bit down. Something like this. And now the bee. We'll just follow this shape and do a little ending here. So let's do now the second part. You can also use this guide that I've prepared to actually make any curve that you want on your lettering. If you want to do a nice flourish, you could also use this circle, rotate it around or if you want to use any of this to whatever part that you would like to create, you can also use that. So I believe that this will probably help. But please let me know if this helps or next time you want me to just do the letters from scratch. I could also do that. I do it in my patron all the time every month. I create the letters from scratch. Sometimes I use guides, sometimes I don't I guess this is good for beginners, but if you're more advanced, you really don't need to use this. Okay. Times when you want to do a class, it takes so long to do the letters that sometimes my classes or tutorials are over 6 hours and sometimes that might be a problem if you're short in time. Okay, great. Now we've got A and B. I'm going to put this one here. Now I'm going to do the E and letter U. I'm going to again duplicate my main stem, put it here on top of this. Now we've got our stem to determine the width of the letters, right? Not all the letters are the same width. So for example, if you do a W or a letter M, they're usually wider. But generally, most letters in the alphabet are pretty much the same. So now let's do the letter U. So I'll do this little thing as well, using the guide. Up until here. And now let me just make it smaller, actually. Yeah, something like this. And not from here. I'll do the letter U. Now I'm gonna select this again and bring it a little bit here. There. More or less. Now, I'm gonna pinch these two together, and now here I'm also going to retouch this like that. You'll see that in any alphabet, the letter U, if it has a serif, it never goes like a normal serif because you need spacing here. When you use out, you need some of the spacing. There. Perfect, then. Actually, this curve should be a bit more down to do the overshoot that I was telling you before. Perfect. You got it. Now, you could also do some thickness here, for example, if you wanted to. But now this depends on you. Perfect. You know what? Even a bit more. Nice. Now we've got the A, the U. So I'm just going to pinch together these two, move them so I can do the E. So again, duplicate this, bring one of them on the stem here. And now let's use the letter B as a reference for our width. Now the letter E will do something like let me actually pins. Yeah, let's not use a new layer. We can use the same one. So it will be somewhere up until here. We're gonna do a line that does let me just erase this curve here 'cause I'll make another curve. So it's a curve that does this. There. Perfect. And now here, I'll go up like that. There. Now when it comes to this upper part, we'll do something like this. Like a wave, it finishes as it starts. See, this one goes up, and these two go down. And then from here, we'll do something crazy that a lot of our new alphabets have. That is to do a line that goes from here till down. Probably you've never done a letter E like this. But let's see what happens when we there. And make it thicker a bit down. Now, let's finish this part. And actually, I'm going to select this part up here and I'm going to bring it a little bit to the right like this. And now let's finish. The shape. And just like that, we've got a letter E, mostly done. Now they should go straight down, just like this. And then the crossbar, I'll just make it in the same same place there. Awesome. Okay, we've got the first word. So now let's bring the stem down here. And let's put together this word. So the E goes there, the B goes here. Try to balance out the spacing, so maybe the A can be a little bit more to the left. Just, let's try to make a nice kerning. Kerning is the individual spacing between each letter. So if you were to fill up this with water, the same amount of water should be here. Okay, regarding even details. This is a detail, for example, that will make our kerning differ. So let's put the E. Can also zoom out. I think when you zoom out, you really have a clear sense of what's happening here. There. That is good enough. Now, let's pinch it all together. Not the stem. So let's bring it down. And let's center this. And this is how we have we done the first word. So in the next chapter, we'll tackle the second one. Let's do it. 6. The Second Word: Alright, second word time. We will repeat the process, but keep an eye on contrast and rhythm so the two words feel like they belong in a sentence together. Not just stylistically, but in tone as well. Great. So now we are going to do the second word, which will just be three letters, actually, because we already have the E, and we've got two letter Es here. So first of all, I'm just going to ing the word up a little bit up 'cause we've got a challenge here. You see that the letter B goes down, right? So, like the spacing between words will have to be a bit bigger than this one, because this one has no letter that actually goes beyond any of the lines. But in here, we do have it. So just go to bring it up for now, locate this stem somewhere like around here, duplicated now bring them the stamp as well. I always say the Stem, so SDEM then stamp. But, you know, sometimes, since I'm not a native English speaker, I have when I talk fast, I just get confused. So Stem and stamp. B. There you go. So okay, now let's move this one right here, and we are going to do the letter R. For the letter R, we are just going to follow what we did in the B. But for this, actually, I'm going to erase this part. Up. Three fingers, cut. Go to the letter B. Select this part, actually. Up, all this. Three fingers on screen, duplicate, bring it down. Bring it here, and then spit this one, pinch it together. We've got the letter R, almost done here, actually. Okay, we have it here. Now, let's bring this down a bit. Usually, this could go a little bit more down than the B, but I think we can keep it like this. Maybe we could do it just a little bit. Because generally, since we don't have the down part, then visually, there should be a little bit more down, even more, actually. But since it's RNvo I think it's going to look good for it to be up. Great. Now, here I will just do something like this, and I'm actually going to leave it for now. I know that I want to do something like this. But that's all I know because first, I'm going to do the letter R. The letter, sorry. The letter O. Now, new layer. So for the letter O, I'm just gonna do an oval here. Edit it. Make it the same as like the same thick, more or less as the rest of the letters. Maybe like this. Make sure that there is an overshoot. And now let's make No, actually, what I'm going to do now is to make it a little bit thicker on the down part. Just a bit. The letter always never a perfect oval, actually. It always so if this was a vector, there could be like two points here. This part here should be a little bit flatter, and then as it goes down, it should go a little bit like this. Just a bit. Now, this makes a little bit more sense. We can always retouch it later on when we render the piece. But now let's make a big oval here as well. It's well, actually a smaller one, and it's going to be the one in the center. And let's make it a stick so we keep this thickness here. And on the right side as well, more or less, you can eyeball it like Yeah. This is good enough. I think we can distort it a bit. Again, visually, I think now it's quite good. Now let's paint it in. And when we add the ink inside, we're going to see what parts are actually flat. Maybe this in the end was a bit too flat. Something like this will do for now. Yeah. Maybe it's a little bit too heavy on the center part, so let me trim it a bit. Let's bring it somewhere around here. And now with the letter R, what I will do is following a bit this shape here. I'm actually going to bring it a bit closer and following the guide. Actually, if you were to flip horizontally the guide, maybe this could help you. So you could do something like this. Follow this circle. And then here, make it thicker. Perfect. Now, I'm gonna pinch them together. Well, actually. Wait a second. Yeah. Maybe with a little bit more spacing. Remember to keep the same spacing up and down. Okay. Great. Perfect. Now, let's go ahead and do the letter S, and we're done, actually. So I can just erase this, actually, bring the RO somewhere there. And let's do the letter S. Now for the letter S, if you get the guide, you could select you could actually, sorry, you could follow the letter B, a little bit. Not much, but just a bit just to keep this. So we're going to do two circles here. It's gonna be a little bit different than the letter a that I, you know, usually do, but it's something that I've seen in a book, and I've never seen something like this. So let's see if we can do it. So you could do an oval this, bring it up. There. And now you do another one. Like this. That actually goes beyond the first one, so goes inside the first one. And there's this overshoot here. Let's see what happens now. Let's bring this layer. So pass it down and create a new one. Perfect. Now, I'll start doing this one. Do the thickness here. Something like this. I'll do serif later. Let's just leave it like this for now. And then I'm doing this part. And it finishes here. And also do the thickness. Remember to keep the same thickness always. I think something like this will actually do. Let's paint it in. And let's paint this bird, as well. And we will leave it like this. So far, maybe I can Yeah, actually, I can finish it. So it doesn't go from thick to thin directly, but it does a bit more like this. I think this is gonna look. Yeah. Good enough. Okay, perfect. Now. This seems a little bit too. Let's make it a bit whiter. So with the free form tool, I'm just going to make it a little bit whiter. It's a sketch, so I don't mind it. Let's put it here. Yeah, I think this is good. Now let's bring the S closer to the O. And now I'll do something that's gonna look cool. So we could finish the letter S, doing something here, right? So you could do something like this. You could actually do a continuous circle and do something like this. You could do a lot of things. But since I'm putting it next to the O, I had the idea to do this. So there is a little ornament that comes from the O and it goes inside the S. It's like a ligature, but without touching the ladder. There. Perfect. Okay, now let's erase this, let's erase the guide. Let's go to the letter. E, select it with a free hand selection tool. The fingers on the screen, duplicate, bring down. Zoom out just to see the spacing. I think this is fine. Place it somewhere here. Now, duplicate it, bring it to the right. You can even touch a bit if you want. And you could modify this a little. That's why it's called the lettering, so you can actually modify things. Like that just for stylistic purposes. Perfect. Let's bring it a bit more up, actually. Just like this. Second one as well. Just. Okay. Pinch it all together. So the rose. Well, actually, let's pinch it all together. And I'm just going to select the rose part. The pink, actually, it's not a rose. It's Jose. And let's bring it in the middle. You can I can help that you have the circle and it's center so you can use. Great. And now let's bring it down here. Awesome. We got our lettering. Now, there is an accent here. Remember that this is French. And I think it's in this letter E. 7. Illustration Part: Okay, now let's add that little extra magic. The flourishes, ornaments, and illustrative bits that bring this piece to life and push it into a final poster territory. We are about to do the most complicated part, sketching this whole thing and positioning everything. First, I'm going to go to the edit drawing guide. Gonna bring it here at the center of it. If you want to find the center also better in the guide, just go here, get a line from this corner to this corner. Without without it being assisted, okay? So just, like, spring it from here till here. There. Perfect. And now from here to here. And if you do this perfectly, you have a center. So if we were we can go to actions Edit drawing guide and then bring this blue point right here. Now we have the center of this. Perfect. So let's bring back the letters. Then on a new layer, drawing assist. I'm going to start doing the rows here. Now, I want it to be somewhere from here and do something like this. Yeah, I think that's good. And then here it should finish somewhere around here. So gonna be something like that. Now, I'm gonna bring this plastic down, create a new layer, make it existed as well, and start drawing the flour here. In this one, actually, you can Well, actually, we can use this line. Okay, great. Sorry, sometimes I talk to myself when I'm creating these things. Um, actually, from here, I'm going to create the first petal. Now, the second one. The third one will go a bit more up. Something like this. Now I'm going to do a couple ones here, that they're behind. And then a last one. Nice. Okay. Now, here. That's one of the big ones. And this will be like a folded one. So I'll shape like this. An And then from here, a couple more. But small ones. Good. Please don't ask me what kind of flower is this because I don't know. I have no idea. But it's cool when you know how the petals work and all that, it's kind of cool to just create something like this. Okay, let's refine it a bit. Okay. Seems pretty good to me now. Perfect. Now that we have this, I'm gonna duplicate it and rotate it twice 45 degrees. Actually, wait, give me a second. I think I'll do it just a little bit less wide. Maybe it's like this. Yeah, this looks good. Duplicated and again, rotate it twice. And with the uniform, bring it here. And we'll place it somewhere around here. Duplicate it, flip it horizontally, snapping two on and bring it here. There. We pinch them together, and then on a new layer, I'm gonna do the frames now. So Let's try this again. Right. Actually, this one, I'm not gonna follow the guide because I think it's too close. Great double frame here. These two flowers are going to be a bit smaller somewhere here. Great. Okay. So now, from the frame, what I will do is to create This branch here coming from the flower. And let's say that they go up until here. And so now I will make it. So it's together with this. And here, there is something like that. Yeah, something like it. And now, again, there is a lot of Arnovo posters that combine really straight lines with curves with natural curves, which was the main element in Art novo. So now here, I messed up this little part here. Okay, great. Let's go back to the layer. And now here, I'm going to start creating this should be mirroring this side, actually, but, yeah, we would have to create something that mirrors both on these two sides and then it goes there as well. But it's fine. We're just going to do it here, and then we're going to do something by hand later on. So from here, we'll do a little nee here, then a leaf that goes somewhere like this. And then a smaller leaf. Perfect. Now we can just go ahead and well, actually, I'm going to erase this part here and now select this part. This part three fingers on the screen, duplicate clip Vert quick and ring. Perfect. We got it. Now, let's do something up here. Let's just erase. Yeah. I want to from this one up. Come down like this. There. And now, this goes like that. I'm doing something similar to my previous poster. And here, maybe we have to cover up the space. So what if we do something like this? Yeah, this looks pretty good. And this will go top. Now, here I can do a little triangle, maybe And then this can be a little This could be like the flower that we created in the first piece as well. Something like this. Nice. Okay. Perfect. Now, let's go here and create the bottom part. So now let's mark these circles first. So we know that this will go over here. And this will go like this. Perfect. And now this one. That's. I'll go like this. Awesome. Now, we want to make something that I can actually turn off the guides, actually, now because I don't need them anymore. Now, we could do something with this part here. So that could be like a little so it enters here, something like we it right here, right? So it enters. And then it goes up like this. Actually, I would like to try something. I would like for it to go inside. Right? And then, so the circle goes here. Let's see if I can make this happen. Actually, yeah. Yes, so it does something like this. Because in this exercise, in this class for today, what I'm going to try to do is to make the piece with textures instead of I mean, I said it before already, but the other one was flat and I didn't want to spend a lot of time using depth and stuff. So but here, I'm going to try to find elements that can go on top of the other just to create that depth that I'm really, like, trying to find. I can make it better later on, but yeah, something like this. Nice. Perfect. Okay, great. So, okay, now that we have this, let's go down, and let's make the florals here. So as I did up, this would go down like this on a straight line. And then it would do something like this. Yeah. Let's see. If I do a vine here and then here it could be a big leaf. Something like this. And then let's see, like the vine could be something like that. And then from here could cut and do another leaf here. What do you think? Maybe? I could do a leaf here. Hm. Yeah, this could do. Let's bring this one up a bit. Hmm. Yeah, interesting. Because this lift could go maybe could cover this space up. There. Yeah. Okay, and then here we could do something like this. Perfect. Okay. And now, finally, and I'm done after this. I'll do one that goes from here. It does like some kind of a circle here. And then there's a leaf co up. Yeah, I'm actually doing different lefts than in the first piece, just to give it a little bit more of that differentiation, even though if you were to do the same leaf, so the typical leaf like this, that would also be good. I think I'm going to put a few ones just to reference the first piece. But I'm doing this one's a bit different. I found that they were actually actually, like, very fun to paint. So as you'll see later, when we add colors, And then there's another one here. And actually, here we could put now that I'm talking about it, we could put another one. You can always go to the other side and make sure that it looks good. Sometimes when you are drawing on the right, it seems good. And then when you go to the left, you see it's not good at all. So you could go select it and then distort it at. Or with the warp tool. This is very, very helpful, actually, 'cause you can just touch here and there until. Yep. There you go. Okay, we got it. And then if you want to, you could also. Like, let's say, this one could be behind the circle. This could be on top. Now, I'm just gonna copy this. Clip it and bring it there. And before I bring it there, I'm just going to erase it from that side. You can drag it outside the screen, and then bring the new one. Sometimes when you sell, I mean, sometimes now, when you select things, let's say if I select this and I paint here, you see, it won't go there, even if it's mirroring. Look, actually. As I erased it, I actually raised it there, so select it directly. Without erasing, bring it outside not bring the new part. Okay, we're done. Now, you could bring a couple flowers here, a couple, sorry, a couple of leaves, just to make something similar to what we did before. Maybe one here as well. And that would be our sketch. 8. Positioning Colors: Before we start cleaning up our piece, we're going to lay down some colors to get a feel for how the final illustration might look. If you balance them well, you'll also get an extra boost of motivation because when you zoom out or just squin your eyes, you'll catch a sneak peek of how your piece could look by the end of the class. Okay, so now that we have this and before rendering our artwork, I'm going to show you how I decide which colors go where. I never wait for the end of the artwork. I always like to see a preview before. So then when we paint it, we don't have to think we can put some music on and just start painting. So the first thing that I will do is to determine what kind of background I'm gonna have. I think I'm going to have this green background. But it's not green. It's like a bluish tone. It's somewhere in between here says green, but, like, to me, it kind of looks a little bit blue, as well. So I will go to the selection to bring my guide again. And now here with the rectangle, I'm just going to do this. Just do the rectangle. And then with remove, I'll do the same but remove this so because I need just the frame. There you go. Now, with a pencil or if you want, you could use a soft brush, for example. Any brush that you want, you can just go. Actually, I didn't create a new layer. Create a new layer, bring it underneath your sketch, and drop a color. Now, with a soft brush or any brush that you have, because we are not painting this like for real. So tap on it, draw and assist, and then just we're gonna do these little corners here. And then inside here. Well, again, don't overthink it. Paint. Don't try to make it pretty or anything. Now, the circles, as well, will go in this color. Both circles, I think. Yeah, good enough. Now, the background, go to create a new layer, and with the same rectangle to it, I'm just gonna do this and drop a color. I'm gonna use this semi white color. Just bring it inside. I could maybe maybe even make it a bit brighter. Yeah. Look I'm just gonna sample it here. Yeah. Better I guess. Perfect. Now I'm going to do the frame. So on a new layer on top of the main color, I'm gonna use the screen, which is the one for nude cla. So, wait, let's I think I pronounce this worse and worse every time that I say it. Okay. Remember, it has to look like a pair. Now, letters, actually, they are a little bit smaller here. So I'm just gonna make them a bit smaller and center them. Yeah, I think now more or less. They're obviously thinner, more compressed than these ones, but I think it's okay. Now, on this layer, make it a drawing assist the new layer that we've done. And let's paint the frame. Perfect. You will see that I go from rush to eraser because I have a new Apple pencil Pro. And just by squishing the pencil, I go from one to the other. If you've seen any of my tutorials in Patron, you're gonna see that I always do it because I think it's the best function that Apple has put out really for the for this pencil. Great. What else? Do do, do, do. Oh, here. The vines here as well. This leaf can go, maybe pink. Okay, we are starting to get something here. Awesome. Okay. Now we can do pop, pop, p p Let's see. Yeah. Let's do the pink, which is going to be my favorite color in here. So I actually changed the tone of the pink, so you can go ahead on the old piece and ed it. I'm actually adding a chapter in this class where I go through this piece and I tell you which things that I've done just to make it look like this one. So we're gonna finish this one and then I'm going to show you how they work as a pair when I add the shadows and the textures and all that in the clay. Great. So let's go to the pink. Again, let's make it a drawing assist and paint it. You could always just do the outside of this. And once it's closed, you can drop a color inside. Okay. Now, actually, I added an orange that would be interesting as well to add there. So the orange could be just a little details like these leaves, for example, you can do it in the same layer. And maybe this thing here that we could make actually bigger. What else I could do here? Maybe that thing here as well. Could do it orange. Nice. Okay. Well, we are pretty much done here. Now, you can also add some let's say, some lights and shadows here. So you could do this make these layers alpha. And just for your reference, you could go ahead and, for example, this one could go green. These parts up here. You see that now, it starts adding a bit more life as well. So this part here as well. Now, you can just hint a little bit of light here and there just for you to understand where it goes. You could stop making it stop being a docs. Just so we add the lights here. So, for example, on the on this kind of tubes, it's going to be the light is gonna come from the upper left corner. Therefore, there's going to be here, like here, And then here. S? Because if it was mirroring, then this light would go here, and here I won't shadow. But here I want light. Again, this is just for your reference. So you don't forget these lights later on. Sometimes, you know, we get excited and we think that the piece is done, and then there's some lights that were not edded. So why not just edding a bit here just so we know. Perfect. Now even a shadow. Here, just as a reference, I'm not gonna I'm not gonna do everything because it's too much time. But okay. Now, for the pink, we could use this darker tone, maybe adding a little bit of shadow. Don't make it a drawing assist. Because the shadows could be here on that side. And that would be it. So we've got our sketch. It kind of looks from the same series. So mission accomplished here. And now I'm going to show you how to start adding the linework here, and we'll be rendering some of it. We won't be rendering everything because otherwise, this class will last until tomorrow. So what I'll be doing is to probably render one of these flowers with the leaves, rendering one of the letters and maybe rendering the circles and adding some textures and all in the end of the class. So I think what I will definitely do is to at first the texture. So it looks textured, then add shadows and lights, and then I'll go for a coffee. I'll finish the piece, come back, show you the final result and comparing it to the final result that I also did using the same effects that I'm showing you later. So let's do it. 9. Linework & Texture: This lesson, we will render our piece using linework and texture. Remember how in the last class, we kept the final result flat? Well, today we're going to do something completely different. I'll walk you through how I render the lower part of the illustration, adding lines, color and texture and show you, as well, how I approach the letters. After that, I'll leave the rest up to you while I head to my favorite coffee spot to finish my piece. It will probably take me a couple hours, but with the sneak pick that I'm giving you, you'll have everything you need to confidently keep going on your own. Okay, so now what I will do it's too high the things that I don't need. So I'm still going to keep some of my structure here. The colors, I'm just going to pinch them all together. And also the flowers with the whole sketch here, I'll keep it. So I'm just going to select these five things, group them. And then I'm going to turn this vertically here like that. And then I'm just going to adapt it. So make sure that the snapping tool is on. So I'll bring this here until you see these two yellow lines, and it's going to be a uniform transformation, then I'll bring it there until it adapts perfectly. More or less, at least. Great. Awesome. Okay, so now that I have this, I'm just gonna turn off some of the things. So I'm just gonna reveal this sketch because I just want to well, first of all, I'm just going to show you how to do this flower, actually. We're gonna do this flower, and then we're gonna copy it right there up. So let's bring the pasity down. Great. Now, go to actions in the drawing guide, put edit drawing guide, go to options and then put horizontal. And it's going to directly be centered in the middle here. Now, if you see that there's some things that are not completely aligned, you can always move your sketch a little bit to the left. I'm just going to select everything, and you're going to see that see this here, it's not super well aligned. So I'm just going to tap here with the finger a couple of times until it's centered enough. Maybe just one more time. Yeah, now it's centered. Perfect. Okay, so the first thing that I'll do is to create a new layer outside this group. This is going to be sketch. You can rename it into sketch. Now, let's get a new layer. Then let's go to the Arnvo habems brushes, and then here, I'll select the ripalizer. Now, the size, I'm going to select a 5%. And on the layer, tap on it and make it a drawing cis, like we were doing before. And let's do the flour. Great. You're going to see that when I do curves, if you've ever done any of my classes or tutorials, when I do a complicated curve, let's say I do this one right here, I always do part of it. So let's do this. I always do a part. And then without lifting my pencil off of the screen, keep it here, and then I continue doing the rest. I never do complete curves like this one, for example, right? Like, if you were to do like a whole curve, you could do it if you've been doing this for a while. But, for example, if you want to use the drawing assist and if you do this, let's say, want to do something more complicated like this, for example. With the drawing assist, you see, it's not going to look the way you want it. Even if you edit it sometimes, it won't be. Maybe this one could. But like, never I would never do complicated curves. Imagine that this was a curve like this. Obviously, it's better to do it step by step. Okay. Maybe this one good. Yeah. Let's see. Now, let's select the same eraser, the palizer. Actually, this one will come from the center here. Yeah. While I'm at it. I think I'm going to do the ornaments as well at the bottom. Just wanted to do the flower, but I think if we do this together, it's gonna be better for you later. So let's do it. Curve. Stop. And let's do it again. Let's stop here. Now, here's also a little reminder that the cleaner your sketch is, the better for your curves. This is too rough for me because sometimes it's harder to make the circles when you are cleaning them up, right? So, if you keep the pencil sketch cleaner, it's gonna be easier. Say, for example, here up, it's doing something that I don't like necessarily. Maybe not better. And these lines are kind of loose here. It's better for you to do them kind of, like, from thick to thin. So they look better later on. Okay, let's continue. Good enough. Okay. Now, this one I'm gonna leave it like this, so Because with the colors, I'm gonna do something cool here. So I'm just gonna I'm not gonna do this line right now. Oh. Yeah, this one will join. This other leaf here. And let's make this in as well. There. And then this line, I'm just gonna erase, actually, to do the same as with it here. There. Perfect. Great. So now you could continue this. Let's do the frame, okay? I'm gonna do the first frame, and then I'm going to start painting this. There. Now, this frame, I'm just going to close it for now because I'm not gonna do the details. I'm gonna do them later on in the coffee place. So I'm just gonna close it for now, okay? But, like, as you paint, you just gonna erase this and continue like that. Okay? So let's let's do it again. The good thing about doing these things with this palizer brush is that it gives you this rough texture, and the lines don't have to be perfect all the time. You see here, for example, I can do this, and it looks good because it's irregular. Okay, so once we have this closed, the technique that we could use is the following. So create a new layer underneath my underneath the line, right? Now, go to the line, tap on it, and then here put reference. Now, on this layer, I'm going to do colour by color. But on this layer, I'm going to paint this using the pink. So I'm going to get the pink and just drop it inside here. You see that now, since you have this reference on, it's like you were painting this layer. But instead, you're using the one underneath to put the ink inside the line. So do this, can move left to right until it's well painted, and then go up here, continue filling, then fill everything Good. Then I want another layer with this green. I'm gonna drop it in here. Continue filling, and then Wow, actually. Do this. Great. Perfect. So now that we have this, I'm going to create a couple layers on top of each of these, and I'm going to tap, and I'm going to tap on clipping mask. And now this layer also tap and clipping mask. Now, this will be for the shadows and for the lights in our piece. But before that, I'm going to create a layer on top of everything else. And then I'm going to try first with this orange, maybe, like, make it a little bit more orange here. And then go to the concrete facades here and I'm going to spray here a texture. Now we've got this very kind of, like, strong texture here that is going to give us an overall texture to our piece. Now, you could go to hue saturation and brightness and change it as you please, add more or less saturation and brightness, maybe something like this. Now before start shading, tap on the little on this texture that we just edit and put Ed. And this texture is the one that I was trying to find. See, we already have some roughness to it. Perfect. Now, let's start shading, shall we? Go to the flower first, and then here, I'm going to select this second color. And then the soft texture brush that is included in my patrim brushes, and then I'm going to start shading this. I'm gonna obviously do it without the drawing assist for the first time in this class, and I'm just going to make this smaller. So remember that the light comes from here, so I'm going to do something that makes sense like this. So I just going to add some shadow behind here. Just some. Not much. And then with the eraser, I'm actually going to select the soft brush eraser. And so I can erase this part here. Great. And we're going to do it from there till here. Perfect. Now we're going to add a bit here and erase the one in front. Perfect. Now, this one is on top of this one, so I'm going to add some shadow here as well. An erase. Some of it as well behind. If you see that now this shadow will be kind of like fighting with this one, you can also go to the selection tool freehand and select just this part. So you can just add your shadow here. Now, you could do the same in this one, so go ahead, select this part. And add shadow here. Now, Grace, this that you don't need. Perfect. Now we could add also maybe just some light shadow here down and keep it there, actually, because I also want it here. There. Now, just a it here. There. Now I want some shadow also here. There you go. And I'm gonna erase. Is part. And add some shadow here on the other parts. Great. We got this one. Now, on a new layer, also make it a clipping mask and I'm going to add some lights. Now, you could either add the pink lights like this. Maybe you could add a bit. Right? So right here in the spots here. Then here as well, and erase the one inside. So you see that I'm adding the light here, not inside, right? So I add change to eraser and then erase inside. This is a very easy way to put lights and shadows. It doesn't have to look realistic because this is an illustrative style. So just by adding some texture, I think this whole thing is just going to look. Really good. And now with the white one, you could go to the palizer for example, and you could add an extra light here. And then maybe with the soft texture, you could have just some more lines here. A Great. Cut some texture. Now, for the green, I'm going to go to the main color. Gonna tap on it, and I'm gonna make it an alpha. I want to do something similar, but starting with a double color. So I'm going to get this green here. And with the mono ripalizer, I'm going to go and paint this like that. Following this line, this direction. There. I'm gonna do it here as well. But yeah, I'm going to get the normal palizer so I can go s here. Oh, and obviously, I didn't mirror it, so I'm going to duplicate it and then flip horizontally and just erase this part. Yeah. Pinch them together. But yeah, this should have been with drawing assist. Perfect. Now we've got this part. So let's do some shadows and lights. Go to the clipping mask. And then for the shadows, I might use maybe this, like the color of the line. So I'm gonna get the soft texture. And I'm gonna start adding some shadows. So the first ones that I'll do is shadows here, obviously, the ones that the flower is making. There. I always do the same. Go to the obvious shadows and then do the rows. Yeah, that's good enough. Now, let's start adding some shadow here. Remember to erase this one down, and we'll do the same everywhere. So here, here Here. Now, for the ones, I'm going to add some shadow here. Just like this. I'm gonna leave it like this. Then here. Here, and then on the other side here. Down here as well. And finally, down here. Great. Now, when it comes to this tube, you can add shadow down. You could do a straight line like this and add some shadow here. And on this side as well. That side, no, because it's going to be the light. There you go. Great. And now instead of going there, the shadow will be here. So same at a line up. Do the same here. And now on a new layer, also clipping mask. And with a lighter green, I think I'm going to use this one. I'm going to add some lights. So I'm going to do a line here. Then this will be lit up as well. Then this And finally. Well, not finally. We have another one. So here is light. And then here. And now more light detail. So some here. Some here. Here. And that would be it. Let's do a couple of letters, and I'll leave the rest to you. Okay, so let's go and turn on the letters here. Bring the opacity down. Now let's create a new layer on top of everything else under the texture here. And let's start rendering. Now, I'm going to use the monoline. Because I want to make sure that some parts are really, really following this line. So I'm gonna make it smaller. Let's see. I have 29, maybe like a 30%. Maybe a bit less. Let's try with 28. Mm, a bit less. 25. Yeah, I like 25. You can keep 25. I can mark it for you. Here. That's gonna be your brush. So let's first do the monoline. Cross bar. And actually, we can do this part of the A. And now with a smaller monoline, I'm going to finish this little corner here. You're gonna see that now, if you want to drop a color inside of this, it's just gonna be wild and crazy, even if you adjust it. That's because we have this layer as a reference, so you have to tap on it and remove the reference and now go back to your line and then now you can drop. Perfect. Okay, let's continue with this. And now that we have this, you can make it less rough a little bit. Just a bit. And now on a new layer, you can actually do the first thing that we did. You remember that we did the stated first. So you could do that, too. Here. So let's do a line here. This. You could actually duplicate it pinch it together. You could join this. And now duplicate it and get up. And pinch it together. Now that we have this, I can just duplicate it and as we did with the sketch, just bring it there, leave it there, and now go here and finish the letter A. There. Pinch these two together. And we would have one of the letters done. Now, continue doing this with the rest. Continue doing this also with the rest, and I'll see you in the next chapter where we are going to add the final texture and also going to show you the result on the Nuclare using the same style, and then I'm going to compare them both to see if they actually look like a series. Hope they do. I'll see you in a second. 10. Final Touch Ups & Comparison: This lesson, I'll show you my finished piece and walk you through how to add those final touch ups that bring everything together. Then we will open up Nuit Clare and place it side by side to up Jose to see if they truly feel part of the same series. I'm a bit nervous to compare them, so let's see if I pulled it off. Also, let me know if you like it more flat or more textured. Okay, so I'm almost done with this. But before I finish, I wanted to do a couple details here and there. So there is an important thing that I left for the end of this tutorial just for you to see. But, for example, I've done, like, the whole frame on top of everything else, right? But, for example, in here, I would like to do something so it generates a little bit more of depth. So what I will do is to go to the circle. So these are you see the lines of the circle, go to tap on them, and then I'm going to tap on select. Now I'll go to my frame and then here. Is it this one? Yeah. But first the line, I guess, the line is up here. Yeah. So I'm just going to erase this line here, here and here. You see that now when I erase, I just erase what's going on on the linework here. So now I go down here and I'm going to do the same. Great. Now I'm ready to erase everything. You can also do this manually if you want to. Now go to the line work right here and erase. You're going to see that the linework is always dark using this second color here. But in this case, for the circle, since it was touching the letters, and I didn't want something dark because then the letters wouldn't be as readable as they are now, you will see that it's blue. Perfect. So now I also have it here. So I'm going to go to the shadows. Remember that all those are clipping masks. I did clipping masks everywhere for the shadows. So I'm gonna raise this shadow right here. There's something here that still didn't erase good. So let's see. Now. And now we go here as well on the shadows right here, and I erase them as well. Now, we could put even more shadows using the subtexture brush on the frame. So if we go to the frame, then we could add some shadows right here, for example, erase some of these lights. And here we do the same but on the right side. So erase the lights a bit and then on the shadows, add some shadows right here. Okay. Now depth is going a little better here. So you can do this everywhere, pretty much, but I'll do it here as well. So I think I'm going to erase this. Just so we do it again, go to this linework, tap on it, and tap on Select. Now, go back to your linework here and erase this too. Is it the raising there? Yes. Perfect. And now we'll go to the green here and erase this as well. And now, erase everything else by diselecting this. So go to the frame, and that is here. Sorry, the linework. And it's done. Now let's add some shadows on the clipping mask. I'm gonna erase some of the lights here. Perfect. Now shadows. And do the same right here. Add shadows here. And I didn't add some lights right here, so I'm gonna add some lights that I forgot also here. Nice. Okay, now I just need to erase this shadow right here. Perfect. And I can add. As you san, you're going to see that you will always forget something. So a bit of shadow here. And that would be pretty much it. So now, what I could do is to get a new layer on top of everything else. So I would say, Well, on top of my linework right here, and this is going to be for the detail lines. I'm going to select this color. I don't want this to be super visible. And for the lines, I want to do something very small, so I would say like 3%. Yeah, that's gonna work. And here we can just go and select a drawing assist. And let's do it. There's actually some line that is going off here, Yeah, perfect. You see, my perfectionist can't stop, as it seems. That's all it's it. There. Great. I no here. Now, maybe you could add one. Somewhere here, maybe with a darker green. One here. Just kind of following this. That much. Just a little detail here. Perfect. Now, I don't want to overdo it. You can do more, obviously, if you want to. But I just want to do. It's cooling. Not to overpower the whole illustration. Remember that. Sometimes too many details aren't good. Now, here, you could also just get this and actually paste it up here, but you know what? Let's do it ourselves. Let's do it by hand. Let's the last color again. Because this one is mirroring, remember there. So I'm gonna have to do more lines. But instead of four lines, maybe we could do two because they are gonna be way smaller. And again, you don't want to overdo it. Actually, I have this line here that I don't like. I didn't do it down. I don't know why I did it here. Yeah. Here, I'm just gonna add one, I think. Op. Same here. Mm. Okay, let's go back to a minute. I didn't select. And that would be pretty much it. Okay, so now that we have this, you could add more green lights to places such as the ones we added here. But these flowers are too small, so I'm just going to add a couple here, a couple there, but that's it. So I'm going to add maybe one here. Let's make it a bit bigger. There you go. So one here, one here, one here. And I think that would be pretty much it. Now maybe you could add more here, for example, the leaves and everything. But I think so far, these are details that are not that important. Perfect. Now we're going to add a cork texture. Yes, it's from my peg rough and row two point oh. And it is I kind of resembles some kind of a cork texture. Actually took it from real cork. So I'm just going to Oh, no, it was from my ultimate background set. Yeah. Okay, so I will select a dark color, go on top of everything else. And with the cork, I'm just gonna add an overall texture like this. And now that we have it here, I'm just going to lower the opacity down. You can try also different modes. I like the hard light one. Or the darker modes as well. What you could try as well is to tap on it, tap on it clear. And then you could try maybe another color, maybe, like, let's try this red. Let's see what happens with the red color. There. Now let's try different modes, as well. See what happens. You know what I think I'm just gonna put a multiply mode. I like this red. I'm just gonna bring the opacity down. It's there, but it's not there, okay? It's always like that for texture. I should never overpower the illustration. I like this. Perfect. Now I'm gonna create a new layer, and I'm gonna drag it on the background down here. Well, actually, you could bring it on top of the sketch. It's still at the bottom. Now here with the soft texture, we try to add a bit of a darker tone here down, maybe like a green or maybe like a pink. What do you think? Maybe we try some kind of a pink color down here and then white up. I think because, you know, we're talking about this kind of, like, pinkish dawn. So I think maybe it would look good to add just a bit of this little shadow up down, sorry. Down here. And then, you know, you could add white up here. Could make it darker. You can just try things and see what happens. You see, I don't want to go that dark, but a little bit of a pink I think looks pretty good. I always try to combine it with white and so it doesn't overpower. Great. We have it. Now, turn off the main texture and turn off this texture and turn off the background. Then I think we forgot one texture. Which one is it? This one right here. Great. You see how different this looks without the texture. It really looks modern and obviously we didn't want that. So now, go to actions, add copy canvas. Great. Now, turn on everything that we just turned off. This is in the background. Now here, right on the background, put three fingers on the screen and paste. Now we've got this, you see, all our effect here. I'm actually going to put it on top of my texture. And this is a layer that contains all of our illustration and lettering. Now go to adjustments, hue, saturation and brightness and bring the brightness down to zero. You're gonna see here, and now it's dark. Great. Now I want to move this slightly. Here. Just a bit. Go to adjustments, Motion blur. And from here till here, drag your pencil just a bit. There. I'll do the same with Gausionblur. Just a bit. Now, this maybe we could add, like, a green shadow, something like this, so it's not overpowering everything else. And then you can select the mode, maybe multiply. And make it so it's not super visible, right? I want it, but really, I don't want much. You know, just a little bit. A little bit like that. This is good enough. Yeah, that's fine. Little bit lesser. Great. Now that we have this, go to actions, copy canvas, and then on top of everything else, three fingers on the screen, paste. Now, here we've got the whole artwork. And since I wanted to look even a little bit more retro, I'm gonna go to adjustments. Noise. And I'm going to add a bit of noise, just a bit. Maybe like 14%, something like that, and now go to adjustments again and go to chromatic aberration. Now, from here to center, let's add just a little bit of a chromatic aberration. And this would be our final piece. Now I'm going to go to actions. Copy Canvas again, to show you what happens when I put this one next to the N clay. Um, artwork from the first class. I'm gonna go to gallery, and I'm going to show you what I did with my Nu cla Artwork. So, this is what we had before. This is the style that you actually came up with. Probably you added textures. I saw some of you adding textures. But if you didn't, you can add them now using the same steps that I showed you before. So this would be the comparison between one and the other. Nothing much changes, some hierarchy of elements, you can see here. You can see here some of these things in depth, this circle, just as I did in the last steps in this class. Now what happens if I go to these that I prepared already here. And I put three fingers down screen and paste. Remember that we copied the canvas. Now, let's make it the same big. With the uniform and the snapping tools on, let's bring it here. And here we've got the second poster of our art nouveau series. 11. See you next time!: And that's a rep. You just created a rich lettering piece in Arnbau style. And more than that, you build something that belongs in series. I hope this piece felt like a natural continuation of the first one we created in the first class or the start of something new, if this was your first class with me. Don't forget to upload your project, so I can see your progress, whether it's just a sketch, a final export or your own matching series. And also, if you have any questions, please let me know. And if you're curious about my classes, feel free to check out the first Arnoba class if you didn't check it out yet, or browse my page for more lettering Shenanigans. Marci Baucu and I'll see you in the next one. Bye.