Bold Bevel : Create Standout Lettering Pieces

1. Intro: Welcome in. If you don't know me, I'm Saki, a Montreal based surface pattern designer, lettering artist and illustrator. I'm all about expressing myself in colors and textures. I present to you Bold Bevel create standout lettering pieces, my second skill share course. This course will focus on two different lettering effects. The Bevel effect and the three D effect. This combo is a part of my signature lettering style, and it truly packs a punch. We will not be covering out a letter in this course. We'll start with a flat text element and bring it to life with bold colors and textures. In this class, you will create a standout lettering piece inspired by your favorite song. If you're in, I'll catch you on the flip side. 2. You Will Need: For this class, you will need your flat word or phrase. I suggest going with five words or less, which I will explain in the next lesson. As for your brushes, you will need a sketching pencil, a smooth fill brush, a textured shading brush, and a smooth shading brush. For finishing touches, you will also need a light pen and flare brush. I do use the basic ones from procreate that you can find in the luminance section. 3. Styles & Textures: While you can absolutely apply these effects to basically any kind of lettering style, there are some details to consider. First, you have to think about the letter width. You need a certain amount of space, but within the letters to apply your bevel effect. Also, it will show up better and be less complicated to manage if you have a larger space to work with. Next, the texture you will choose to use in your main shading will definitely change a lot about the final result. In this year, I did a smooth rush shading for the bevel effect, which gives it a really nice rounded feeling. But if you go with Other types of texture like here with a more salted texture brush. The effect will be completely different. You can play around with tons of textures and different brushes to find out what speaks to you the most. But there's really a wide range of what you can achieve with these techniques. Next, by using different lettering types, you will also get a variety of options you can end up with. First, we have here, the retro kind of lettering style, which gives it a kind of whimsical curvy look. But you can also go with a bold serif, which will also translate really well with the effect. So, you do have options. I do like to serif and retro because it's easier to mark your guides as you will see in the next lessons, but really there are so many ways you can apply this. Last but not least, I try to lower the length of my phrase to five words or less generally. Due of effect is quite a stand outlook. Having too long of a phrase can be very overwhelming for you as an artist, but also for the eye of the person who views the art. This is a five word quote, and if I added more, it could become too loaded as a piece. 4. Color Palette: If you want to start with the same base, as I did, it is available as a PNG in the class project section. You're going to start with this blank flat word, and then we can build upon it. For this kind of bold look, here is what I go for in terms of color palette. For the treaty effect, I will choose five variations of one shade. For the main color, I will do five variations of one shade, and the accent color will be one super contrasting or bright shade. This gives the most stand out look to it. In this case, I chose five bright pink colors, five bright purple colors, and for the contrasting color, I went for pure white, but we may experiment a bit with this later on. 5. Marking your Guides: Now it is time for the first step of our process, which is going to be to separate our letters. First, I'm going to use the alpack feature to change my words in the main color I want for the Bevel, and I am going to pick a lighter color with my sketching pencil. And we are going to start separating. What I mean by separating is that obviously, the bevel is a center effect. You will need to separate your letter forms into two sections where the bevel will be applied. So to do this, you're just going to go in the way that feels the most logical. You're going to clip a new layer and use your sketching pencil to just go ahead and split where you want the bevel to hit. Easy as that. At first, you may need some practice. You can always activate streamline to make this process easier. And please don't be scared of experimenting with this. At first, it will not be a natural process. But as much as you practice, you will get better, and it will feel more natural to do the separation like this. So basically, I can start from the bottom here and do the same process. And now big difference that I need to put your attention on is when we have junctions. Junctions mean that your bevels will meet. So in this case, you're going to take every intersection with the corners of your letters, and you're going to add some lines there, which means this bevel on the left will close down at the intersection, and the second one that goes down our K will start here. For anything more than that, it's really experimentation. So I'm going to speed up the process, but not too much. This will be kind of a work along situation. I'm just going to separate it. And if you have any moment where you don't really know how to split a letter, please feel free to drop some comments and questions in the students lobby. It will be my pleasure to help. And you can always come back to this and try and find the intersection that looks most like what you're having at this time. This is not the point to be perfect at this stage of the process. You're going to have lines that are not super crisp or not perfectly splitted. That's something we're going to fix and make crisp in the color blocking process. As you see, the point of my eye is not perfectly centered, and it's okay. It's definitely fine. What you have to remember is that you always need lines at your intersection to go to the corners of your letters because this will make shading so much easier. Cursive Ss are probably the toughest letter. But if you follow what I've done here, you will definitely have a super nice end result. For the smaller word, you can decide to do the same splitting or you could leave it as a plain letter. I do think splitting it at this point really adds to the final effect. It is a bit more tricky to do, but it's worth it in my opinion. You can always use liquefied to fix your letters if you think they are needed. That's what I do when the lines are, I mean, they won't be perfect, but they do I do want them to be about the right place. So yeah, don't aim for perfection, get things done. You can create corners like I did here where there are no corners. I just felt like it was a more natural way to do the shading later. I do improvise a bit on the here because there is a big section that I do want splitted. You will see how I shape those a bit later. So here we go. Awesome. So now we have our guides for the next step, which is color blocking. 6. Color Blocking: Next step is color blocking. Please note that if you have certain layer limitations, you may have to work step by step, but on one word at a time. In my case, I think I have enough layers to be able to color block my whole sentence. But you can check this in your Canvas info. My case, I use a 2,700 pixels by 2,700 pixels, canvas. And if you go to layers, you will see I have 139 layers. That should be enough for the number of sections I have here. But if you use a longer phrase, you may run out of layers. Just keep on going through with the steps and come back to do the new color blocks later. Next, I'm going to use my fill brush or in this case, I like to use a monel line brush, but you can also just go in with your fill brush. And we're going to use a deeper shade of thing to color block our sections. So, this step is definitely tedious, but you're just going to go ahead and fill you're going to separate each of your color blocks on a different layer. So you can create quite a few layers there. And you're just going to follow your guides. Make sure your edges are really clean for this because that's what's going to be your bevel afterwards. I do like to go a tiny bit overboard with this here so I can clean up my edges, so they're super super sharp. I will go here. Even though I know, I'm not quite within my lines. I'm just going to go with my eraser and clean up, so I have a really sharp triangle edge here. So we have our first color block. Then we can set it to Alpha lock and move on to the next one. We're going to do this for every single section of our drawing. So it is time consuming, but it will definitely make shading way easier. This is the section where we have to get nitty gritty on all of the details. As you can see, I do take the time to clean up every edge of every line I make. This is going to strongly affect the end result of your piece. So don't be scared of redoing your lines, aligning them to the corners perfectly, going in with the eraser, with liquefy, whatever you think is required to get your piece to the next level. There is really no set technique. I just go in with my either monoline or liner brush and my eraser, and I just work on it until the lines and edges are super crisp. Your curves do not have to perfectly follow your guides. There are more there as an indication of what you want your separations and sections to be. So as I said earlier, these are not perfect, but this section is really all about cleaning up everything. It does seem a bit. It is time consuming. It is pretty important task. But then once the shading goes on, you will see how beneficial this is. For smaller size letters, I do reduce my brush quite a bit, but I really do the same word. You can be a tiny bit less extreme about your edges here as they are way smaller. And honestly, the effect will look as long as the effect looks effective, you're going to do just fine with this smaller size. So once we're back to the bigger word, I put my brush size up. And again, I will go and fit the points together. And as I showed you in the previous lessons, I added some corners where there weren't in two edges of the M. This case, having those extra corners that do not naturally exist within the letter really will help get our shading to be really, really crisp, smooth, and look professional, too. So if you do feel like a straight line going through multiple angles would affect your shading. That's where I would say add sub corners. Here is the oh I told you about earlier. In this case, I'm splitting this weird section into four sections. It's going to add some dimension to the shading without having a big blob of stuff. So I think that's basically it. Just go until you're satisfied with your lines and just embrace it. The shading will definitely look dog and give yourself a chance. This is your first devel lettering piece. You will improve with time. 7. Shading & Highlights: All right. We are finally at the stage of shading and the highlights. This is the part that will definitely bring some life to your design, and it is definitely one of my favorite parts as well. For the tutorial, I will be using my own custom brush, which is the soft speckle brush. Give this effect here. But I have found that in the spray paints collection of procreate, the medium nozzle can bring a really similar effect. The only difference is that mine has more regular sized specs, and the medium nozzle has a bit more variety in the size of the particle. But that's about the only difference I found. They are both super easy to layer, and we'll give you that super cool effect you're looking for. Another tip before we begin, For shading these effects, I never use my brush at full bacity. I will show you the difference. This is the medium nuzzle at 100% opacity, which is really intense and doesn't give you much room to layer anything has it is pretty much already opaque. By lowering it to around 60%, you will get a way more easy to layer shadow. And if you want it to be more intense, just go over it again. So if you keep going, you will bring it to full lapacity, but it's way smoother and easier to work with. The next thing we have to take into consideration is that the bevel is like a upside down V shape. So you really have to get that three D perspective, because if light comes from here, it will hit here and create some shadow here. So you have to be able to place your light and shadows accordingly, depending on where your light source is coming from. So we're going to get back to our lettering, and I will show you how to do that. So here I like to work section by section. In this case, I will want my light to come from the top loft of the Canvas. So I want my light source to be here. Therefore, the bevel will always get some light hitting on the line I just drew. And below will be a section of shadow, and that will apply for all the design. As you can see here, the top of the line here will hit the bevel, but then lower down, it's your other section that will catch the light, and the shadow will be on this section. So this is kind of a bit of mental gymnastics at first, but you will definitely get to the results you want. You just need some practice to get used to the slight effect if you're not super comfortable with treaty perceptions. So first, we're going to choose the medium shade of our main color. So the middle pink in my case. Since we alpha lock every single section, as we went color blocking, it's going to give us a more fluid workflow here. So you're going to click on your first section and click on fill layer. It will fill it with your medium shade, which is what we want to start shading as we want two darker shades and two layer shades. So choose your favorite brush, test out the size you want it to be and be sure to lower your opacity for it to be easier to work with. Then you're going to start with the shade, just one shade darker than your main color. Here, we know that this section is the bottom of the bevel, so there will be a more dramatic shadow there. And this section here will get some light. So we're going to work around it. And from the thick part of the bevel where the V is, we're going to have more dramatic shadow and highlight. I do like to put some highlight in the tinner parts of the bevel. So you will see how I'll apply that in just a second. So you're always going to keep alpha lock on when you work on this. So I'm just going to start and apply my first shading color on the full edge here. As you see, it's quite a smooth shading. But with the layering of your shading, like if you add some, it will get darker, and it's really about dimension. The whole effect is based on this dimension. Next, you're going to use your deeper color and I get a tenner layer. Next, I'm going to go with my first light color, and I'm going to leave some of that medium pink in the middle. I'm going to apply some highlight to this thin part of the bevel and do the same with my lighter color just on the edge. So as you see, it gives kind of a textured yet really smooth effect. But we do still have our highlight color to apply. Normally, I apply everything as I go with each section, but for the sake of the tutorial, I'm going to do the top section before applying highlights, it's going to be easier for you to understand where I select the placement of the highlight color. We're going to take our medium color, fill our layer, and start applying shadows first. So around the thick part of the bevel, I put shading, Then I do my darker shade. At this point, you may find that it kind of blends together in the middle. That's normal. We will get to that in a moment. Then we do our first highlight color and our second highlight color on the edge. If you're hesitating on the placement of your shadow, you can always doom out. You will really see that dimension come to light. Next, it is time for your highlight color. Off camera, I tried it with white, but didn't quite like the feel. So I tried this kind of pinky purple kind of in between my two main colors, and I really enjoyed this. This highlight color, that's super contrasting will definitely be what we need to put the dimension of light in our design. This is where I will place where the light hits. So in this case, you know that the light hits on this section here. So I'm just going to add this bright purple just until it starts being the bottom part. That's where I will apply that highlight to the other section. I do like it to be quite frank. So this is what I'm going to do here. And I do add a tiny bit of highlight color all around. My shapes as well. At this point, it's really up to you. Then we're going to move on to our second section, and that's where I'm going to make that purple meet and finish that curve. And I'm going to again do the outside where the light part is. Here, you do not want to put some highlight in this shadow here because you will lose your bevel. So let's just unzoom. And here we have a super nice, smooth and contrasting bevel effect. You can play around with colors because you will get completely different effect from any colors you will try. Just for the sake of an example, I'm going to undo this and do it again with a new color. I'm going to go with something super punchy like this kind of neon yellow, and we're going to do the same thing again. So here, I'm doing until it becomes the bottom part. And the outlines. I put a little bit less on the bottom. I put more where the light actually hits. Then we're going to do our second section where it meets. And here you have, again, a contrasting bevel. Did really like my purple, so I'm going to go back to that. For the edges like this triangle here. Honestly, there's no true rule to how I place the highlight color. I just zoom back out, see how I feel if I think it misses a bit of something. That's where I go and apply it. So it's really whatever you feel is best. I'm going to finish more sections with you, and then I'm going to speed up the process to show you the whole word. When I find these triangles, I create in those kind of wonky sections. I just do, again, the shading on the edges. If you want, this is a good time where you can lower the size of your brush as well, just to have a bit more control. And then for the highlight, I'm going to alternate. Like this first one here, I'm going to put some highlight here in the middle and in the outside. So you barely see any pink left there. The middle triangle, I will only do the outer edge and the third bottom triangle, I will do the same as this one. Here, I'm going to put a little less on the bottom since the light is not hitting it as much. So medium pink. Add the shadow number one, shadow number two. Light. Light number two. And here the highlight, as I said, will just be on the outer edge here. I can add some more if I want to, but I do feel like you kind of lose that definition. This here is more defined. So let's keep going. For big sections is honestly not harder than the first ones we've done. Again, it's about being logical, about where the light hits. I'm going to put my brush back to its original size. All right. For the highlight, again, outside of the bevel, like, the tin part. Then when I do splits in the middle, I just use the same rule all the time. In this case, I will put high light in the left side of the bevel because that's where the light hits. Here in the bottom, it's still the upper part, but then here it becomes the lower part. So this will be the other section. When I talk about choosing what to add here, like you see here that in the middle of the bevel, you lose a bit of definition. In this case, I think it lacks a bit of shadow, so I'm just going to add some of that. And reapply a bit of a highlight over it. You get that folded effect. Now, the left is the thick part of shadow. Add highlight on the thin part, and we're going to add the highlight color on the outer part here. But here I do feel like I could add some here. Or maybe I could add shadow. That's really up to you at this point. Yeah, I like that more. Here, we're going to use the same technique. Here, we put the shadow number one. Then shadow number two. Light number one. Light number two. Highlight on the outside a bit les where the light doesn't hit. And then we're going to add some here where it is the top part. In this case, I do think my shading is a bit intense in this middle part. I'm just going to smoothen it with my medium pink. Just to make it a tiny bit less aggressive. Think so. If you want to, you can also add multiple coats of highlight. If you want it to be more intense. You can always add more. But you have to remember you will lose some of that texture to opacity. But I must say, I love it with the extra color. So I think I'm going to apply that to the rest. Also, once I'm really done and satisfied with the Bevel effect, I merge those layers together. So you can either click on it and merge down every layer or you can just pinch them together on your procreate app. If you're not certain that you like how your bevel look, don't do the merge until you're satisfied because if you do it before, now all of the colors are merge. So you will draw everywhere. I'm going to show you two more types of sections before I speed up the process. It's going to be the dot on the eye and the kind of middle part of the in this case. I'm going to go ahead and start with this one here. In this case, this section, the bevel is kind of in the middle. So it's kind of similar to this section here. So I'm going to lower the size of my brush. Apply my shading. Then my highlight. F color, which I will have here as well to give it more dimension. Then we have this section. Here, that kind of keeps on going. I'm going to add the shading to the corner here because that's where the light will directly hit. Do my outline again. And then I can do the top here. I'm going to make this part a tiny bit less intense. Just to give more room for that pink to show up. Here we go, we have that one other type of section. The last type of section that I am thinking of are the dots on the eyes. These are really simple. I just do x cross in it. So how I shade them is very similar to this section up there. I will shade the two facing ones similarly and do different other two. So here, I'm always going to do that V shape. With the shading. Again, it doesn't need to be perfect either. You just really need to translate that to that dimension. That's really the goal of this effect. I'm going to do the outside here that didn't translate. I'm going to put that outside. Here, I'm really happy about my shading for the other two. I'm going to select the same shading V here. But then I'm going to apply my highlight on the edges. And a tiny bed on the side. A tiny bit. So here you go. I think we covered basically every section that has really a different way of being shaded. If you have any question or a section in your letter that you do not know how to shade, please drop it in the class comments. I will do my best to answer as fast as possible to help you out with this. All right. It's now the time to speed up the process. I will keep it reasonably sped just so you can follow along and shade just as I do. So I will see you once the whole piece is shaded. Right. So depending on where you chose your light source to hit, it's going to be a really important thing to keep in mind where the light is coming from. Since there is some really unique angles to each single letter that you're going to shade. The light source is always going to have to be in the back of your mind while you get everything done. The highlight color is a little bit more free to use where you feel is best. But if your base shading and highlights are in the wrong place, your piece will just look a little bit off. So you have to keep in mind that positioning of the light, every single part you're going to be shading. So for the smaller word, I do go a bit less extreme on the shading as it is waist smaller. It does not need as much extreme caution as long as your shading and highlight are in the right spot. There's a bit more latitude in terms of the highlight color in this one. Once you get to your second word, it should definitely feel more natural to place your highlight in shading. It just becomes kind of a second nature. You just do everything with the matter of the thickness of your bevel and the light combined together. Your first piece may be a bit tougher, a bit longer to shade. But in general, I would say that you will get used to it. This weird section of the O here is kind of a wild card. You can shade it basically, however, you feel like it, and it will look great. What is cool is before you merge down your layers, you can always play around and restart sections. So don't be scared to do that by using your alpha lock and the fill layer feature. So here you go. Shaving is done. Let's get to the next step. 8. Outline & 3D: Welcome back. We are at the next step, which is doing an outer outline and creating effect. I've seen a few easy ways to do outer outlines, but I do feel like the quality of line, it gets kind of pixelated in the places where we have points. It's not quite equal everywhere. So personally, I don't use those ways of doing it. I decide to trace the outline myself. To manually create an outline, I do really like to use the round brush and procreate. But I do like to add some stabilization, so my curves are really way smoother. I like to duplicate it. I will name it in about this brush. I'm going to name it round brush plus stabilization. And go to the stabilization features. The two features you're going to want to work with is the streamline amount and the stabilization amount. In my case, I have a illness that makes me tremble a bit. So my personal settings are stabilization at 50% and streamline at around 12. So this is going to allow me to have really smooth curves. But you can definitely adjust percentages so you're comfortable with your brush. Also, you're going to need to go to the apple pencil section and set the flow to 0% so that your brushstroke stays consistently okay all throughout. Now you're going to need a layer underneath everything you have done so far, and you are going to name it outline. Now you're going to choose your second main color and your medium shape. And personally, I like to go with around 5% for the size of lettering I'm doing right now, but you can definitely adjust this as well. So I'm just going to trace right along the outline of my letters, so kind of half of the brushes hidden underneath and half has the outlying light cell. And I'm just going to adjust it. And that way, it should give us quite a consistent thickness of outline. And it's quite easy to adjust as well. Here, I can just go in with my eraser and give that a little point. So it's as easy as that for the outline. I'm going to speed up the process while I trace my whole letter in piece, and I will be back in a couple with the treaty effect. I'm going to talk about a tool that is pretty known on procreate, but if you're newer DD app you may not know. You can hold your pen at the end of a line to make it a straight line, but you can also do the same with a curve, and it will allow you to edit some nodes in the curve to make it perfectly aligned to what you are doing. So you can use any of the coins You can see appear on the curve to be able to get a consistent outline that follows your letters, which is an amazing feature. You can use it in tons of ways, and also if it doesn't show as a curve editing tool at first, and it wants to do a line instead. Often, you can click on the top to edit. The arc or line and select the right kind of shape. This way, you don't have to redraw every single time. This is a feature that is really amazing for these lettering effects. It really makes my life way more simple with this. Your lines do not need to be perfect every single time as you have the power to fix them, but never be scared to erase and restart when it's required. Next, we're going to fill that outline. You're going to hold the check mark on your outline layer, so it is the only one showing, and we're just going to pull and add the fill in our shape. In this case, there's just a tiny bit here and here. Perfect. You can now hold the check mark again, and everything else will reappear. Then we're going to duplicate our outline, and the bottom one will become our 38 layer. You're going to use the selection tool and place it in the angle you want. In this case, I'm going to place it around here. And all we have to do for this step is to go ahead. I do like to use a monoline brush. I have a custom one, but you can use the classic monoline from Procreate. And in the treaty layer, we're just going to make those edges join. So that the treaty is full. So we're just going to fill in that direction here. There's just a tiny fill here that will make the treaty effect complete. So that's all we have to do for this step. So I'm going to speed it up. For most places, it's going to be easy. You're going to just have to do a straight line. But anywhere where the treaty effect is applied in a curve, you're going to need to curve your line a tiny bit, just to give it a natural look. It will look like a more genuine treaty, and honestly, it does change quite a bit the shape you want to create. So that's really a nice way to experiment and make your shapes even more convincing in your piece. 9. 3D Shading: All right. Now that we have our flat treaty effect and outline, it is time to add shading and highlights. You're going to add layers over each the outline and the treaty effect with a flipping mask. We are going to play around with your shading. For this step. You can use either a texture or a smoke brush. You can really get completely different and results depending on what you choose to use. Here I'm going to use the same texture brush I used in the inside shading. Now that all of our layers of shading inside the letters are all condensed in one layer. It is a great time to use the HSB sliders right here in the adjustments. To add some contrast, some saturation to your colors. I decided to do that there. I boosted the saturation in a tiny bit of brightness to have a more intense pink or shading our tree effect, I do a really simple process that is just repeatable throughout. So you're going to choose your first darker shade and add some to the outsides of the curve. Then I take my darkest shade and add them to the extremities. Then I go for my first lighter shade and just get it in the middle, and then I use my lighter shade to add a point of more intense highlight there. Then I go to to my outline layer that is clipped, and it will add a tiny bit of the same lighter color to my outline to show some dimension there. It's quite delicate, but it is a highlight that we will put emphasis on in the finishing touches. When you get to a letter that has an inside three D effect, I just use my darkest shade and add some in there just to show there's depth. If you have a bit of shading that's in other sections of your lettering, I just go in with a regular eraser and erase it. That way, this shading section will not affect what you do next. Often, I will do a couple of separated shading layers on the same layer. But once you have things that are going over each other, I just add a new layer of shadow, and then I will merge them all in the end. So I'm going to shade a couple sections in real time to show you my technique. And then we're going to speed it up. So here we have an inside curve, and obviously, there's going to be the meat between the two curves. I just go again with I finish my shading. And then I'm just going to go ahead and erase where you have that separation. Keel. I also added the highlight to my outline, so I'm ready to shade the next part. You may not like hearing this one sentence, but you have to trust the process here. Sometimes it's easy to get to focused on one shading section. And as you can see, I shade my letters by zooming way less than in other steps of the process. It does help me have a better idea of the effect throughout the whole piece, and it helps lose the focus on every single tiny detail. This kind of shading is not a perfect thing. You just have to adapt and make it look realistic. So it's mostly about placement, and sometimes the little details you may want to stop on, you will realize are not worth this time. So instead of zooming in too much, have a wider picture that will help you. Get your effects done more quickly because honestly, when it comes to these kinds of steps, De is better than perfect. At this stage, if you think your shading is not intense enough to your liking, it is the time to duplicate it and see if you like it best with more intensity. In my case, I do like it to be quite intense, so I'm just going to merge two layers together, and now we have a really punchy highlight there. So next up, we have the finishing touches. 10. Finishing Touches: All right, so now is time for the finishing touches. We're going to need two new layers, one at the top of everything and one on the bottle. The bottom one is going to be our background. And the top one is going to be our light effect. We're also going to add a drop shadow. To do so, we're going to duplicate our outline layer and put it right between the treaty effect and the background. We are going to alpha lock that shape and choose a dark version of our second shape. Then you have to remove the alpha ck. We're going to go ahead and place it down here. Don't worry. It looks really intense right now, but it's going to change. We're going to go to our adjustments and use the motion blur. This will allow us to choose the direction of our blur. In this case, we're going to work in that top left to bottom right diagonal to apply our motion blur. Personally, I do really like this around, like 20 to 25%. I'm going to go for 22 because I really enjoy this, and we're going to drop thepacity. To let's say, I think 50 to 60% is nice in this situation. So we have our drop had ready. Now for our background. In my case, here, I chose my accent color and went to a lighter shade of it and just filled the background. Then it is a fantastic time to add some texture if you want to. There are multiple textures you can find in materials, vintage, or industrial, as well as tons of images you can find online to use for your art case. In my case, I do have a wood background, I think will look really lovely with this color. So that's what I'm going to use. To add a texture from your right pad, you're going to go to the actions and choose either inserti file or insert a photo. In my case, it is in my files, so I'm going to choose inserti file. Then you have to choose your texture. In my case, I'm going with this one over here. Which I'm going to size up, so it fills my background. Then I'm going to set my blending mode to overlay, which is going to apply the color to my texture. Then you can play around with the opacity for it to look the way you want to. In this case, I do really like around 90%. If you think that the treaty effect is not strong enough with your drop shadow, you can always add some more shading underneath your word. To do so, you're going to duplicate your outline, pull it with your drop shadow. Again, you have to alpha lock it, change it to your shading color. And then you're going to use the Gausha blur to blur it to put that shading over it. In my case, I do really like the 7%, so that's what I'm going to go for. Then you can just check it on and off to see if it's the effect you want. In my case, I'm really happy with this. So I'm going to merge it my drop shadow. So all of my shading will be on this one layer, and it really changes a lot about your piece. Now it is time for the light effects. You're going to go to your top layer and then to the luminous brush library set. You're going to use the light ban and the flare, and it's going to add some dimension and detail fine tuning to your piece. I'm going to choose my highlight color, but pull it about 75%. Of the way to the right, and it's going to give you a really nice color to work with. Like you will see the purple in it, but it will still be a really clear shade that will not only look like white, but you're going to have that purple in there. So now you're just going to apply it wherever you feel needs to fit. You don't need to overdo it at all. It's just going to add some dimension. You can always use liquefy to to adjust anything that needs to be. And I do like to come over and erase just so it has that nice point at the end. And here you have one light effect. So I'm just going to keep applying some of those and be back forward to flares. Now, it's all about not exaggerating the amount you put in. If there's s light effects, everywhere in your piece, the impact of each slight effect is going to be lower. So you want to put a bit in every letter in my opinion, but you do not need to do every single line and every single curve. S electing those spots where you decide to put the light effect are really going to have a huge impact on your final piece. So if you want to try and get familiarized with the concept, you can always do multiple layers with different placements and see what you like best. Then using the flare brush, we're going to add some flares to a few places. It really doesn't need a lot. So I'm going to use the same color and just go ahead and drop a flare here. I want them a tiny bit bigger, but that is really up to your taste. And if you want to, like I'm doing right now, you can pull it toward so white a tiny bit more. If you think we can go lighter than that, Yeah, that's it. I don't think it needs more. So that's it. Here we go. I'm happy with that. So we're done. If you want to add some more stuff to the background, you're definitely free to do so. But yeah, that's about the step to step process. 11. Outro: So here you go. You've got a bold statement lettering piece to add to your portfolio. You can play around with so many features of this to make it yours. And yeah, I cannot wait to see your pieces in the class project. If you enjoy the course, please consider leaving a follow to be notified of my future classes. Thank you so so much for watching through to the end, and I will catch you in the next one.