Brush Lettering in Procreate for Beginners: Everything You Need to Know!

1. Welcome!: Hi. Hi, I'm Molly Suberthorp. I've been a professional calligrapher and type designer for over 12 years, creating custom lettering for brands and individuals around the world and designing digital assets for other artists. I'm also the author of five books for people looking to learn lettering and turn it into a business. My true passion is helping other lettering artists hone their skills, opening doors to new creative opportunities and careers. As such, I have a particular passion for teaching. I designed this class for anyone looking to learn script brush lettering using traditional techniques. I'll share all the beginner level fundamentals, starting with the basics of using a brush pen. You'll learn how to write a simple but beautiful script alphabet. I'll cover the basic strokes, letter formation, lowercase and uppercase alphabets, and other considerations for beginner lettering artists. When it comes to the key considerations for script brush lettering that looks effortless and professional, the exact same principles apply no matter what medium you're using. I will be demonstrating on my iPad using the Procreate app, but you can follow along from home, even working with ink on paper. By the end of class, you'll be writing a modern script brush lettering alphabet with confidence. Plus, the bonus free practice sheets that I've included will provide a roadmap for continued practice at home. Thank you so much for being here and I'm excited to get started. 2. Procreate Canvas Setup: Let's set up our Canvas. No matter what digital app you're using, whether it's Procreate or Affinity or Photoshop, you can follow along and set up the same Canvas size and resolution. The most important thing here is that your resolution is really high. Whether you plan to print this eventually or not, the higher your resolution is, the more that you'll be able to zoom in without pixelation. For the sake of this class, I'm actually going to set it at 600 DPI so that I can zoom in really, really close and show you all the fine details of the strokes. For size, I'm going to set mine to 8.5 " wide by 11 " high, which is a standard American paper size. That's in part because some of the materials that I have offered you as bonuses will then fit that canvas size perfectly. So if you want to follow along using those bonuses, I recommend a canvas like this 8.5 " wide, 11 " high, 600 DPI. With a blank canvas in front of us, we're going to need to create some guidelines for our initial stroke practice. But I've also offered you one guide sheet that you can import now if you'd like. So I'm going to do that, and you can follow along with the class materials too if you wish. Here I have, the guide sheet and I have this just here as a background for our initial stroke practice. We aren't even getting into letters yet, but I find it helpful at the very least to follow along with these baselines so that you're going to get the practice in creating even lines and even heights. Before we move on to the next lesson, take a moment. It's your turn now to set up a high resolution canvas and a lettering guide. 3. Procreate Brush Basics: To start our stroke practice, let's select black from our color palette and select a good lettering brush. Again, lots of lettering artists have made these. I have one in my ultimate lettering and calligraphy pack. There are some default procreate brushes. But again, I have offered you a free one that you can follow along with. It's the one that I'll be using in this lesson today. So long as you install that, you can follow along and use the same one. It's this felt chisel tip marker brush. Now, I want to make a quick note before we get too far along in our stroke practice. I want to state that digital lettering brushes are generally quite different from paint brushes. The goal of a good digital lettering brush, be it for procreate or affinity or Photoshop is to create an experience as close as possible to the experience of actually lettering. So that doesn't necessarily mean that the brush behaves identically to the way a pen would. It's true that if I were to take an analog brush marker and make quick strokes like this, I would be able to freely and easily make those strokes. However, some adjustments must be made for lettering brushes and calligraphy brushes that are digital to account for on the iPad, the glossy screen, the plastic tip that has tooth, no grip to the actual surface. For Photoshop, if you're using a Wacomm tablet or a mouse, again, accommodations need to be made for various aspects of digital artwork that simply cannot exactly replicate a real brush pen. For this reason, you may find that a lot of digital lettering pens behave quite differently than you're used to with digital paint brushes. This can take a little bit of getting used to, but I assure you that there is absolutely nothing wrong with the brush, it's going to be a lot harder to make really quick strokes like this. The ink won't necessarily follow your pen as well. However, this is again, created to accommodate or account for the slippery glass screen and the plastic point of your pen. If you're using a real pen on paper, you get a little bit of a grip, especially with felt tip marker pens. You get a little bit of a grip against the paper and it's just enough to be able to stabilize your pen and create straighter strokes, longer strokes, smoother strokes, more natural looking strokes. So I get a lot of questions, and that's why I wanted to address it from people saying, What's wrong with my brush? Do I need to go in and adjust it? I'd say no, I'd say, typically, especially if you're buying lettering brushes from real lettering artists, trust that they have a very good sense of how the brush is designed to best replicate analog lettering and just understand that it's kind of a new tool that you might have to get used to if you've never used a lettering brush before. 4. Downstroke Practice: Right here is page one of the stroke practice sheets that I've provided for free. You'll see that there are a number of strokes here and even more on page two, and we're going to go through them all now. I'm just showing you this here so that you get an overview of where we're going with this and you know that at home, you can follow along by tracing if you'd like. We're going to start by making straight down strokes and we're going to move only in between these two horizontal lines. I want you to press down with medium pressure. And try to make pretty straight, pretty even with downstrokes. We're not moving upwards yet, that comes later. We're moving from top down to bottom. On all of these, I'm applying even pressure, and that's why I'm getting even thickness. Lettering brushes, as well as calligraphy pens, adjust their thickness based on pressure. For that very reason, if I reduce my pressure, I get a thinner stroke. This is the minimum pressure, and I have to go even slower because the less you press on a glass screen, the harder it is to get any friction going that's going to grip your pen to the surface. So the harder you press, the thicker it will be, the easier it is to make relatively straight strokes. You can, in fact, move a little bit faster than if you have absolutely no pressure these are the harder strokes to make. It's a little bit counterintuitive actually. What I want you to do right now is get out your canvas, start, get out any brush that you want, but I recommend this free brush I've given you and work on straight down strokes of varying pressure. I'm going from a thick to thinnest to slightly thick again. Maximum pressure creates this level of thickness. In my years of teaching, even in my analog lettering classes, it's been really important for me to tell students that no matter what amount of practice you have with lettering, even professional lettering artists, when they get a new tool, a new pen, any kind of tool, we have to sit with it for a little bit and learn it. It's just like driving a new car we've never driven. It doesn't matter if you have the basic fundamentals down. The specifics of the pen, the amount of pressure required to make a certain thickness has to be learned by your hand first. It's not even that elementary to make strokes. Even professional calligraphers do it. Now we're going to make this one level harder by adjusting the width of the stroke as we draw down. I'm starting with minimal pressure. I'm getting thickest in the middle and I'm moving back to minimal pressure at the end. Thin to thick to thin. This is honestly one of the most difficult skills to master, and we have to start with it right at the beginning because it's also for better or worse, the most crucial skill for lettering. Varying your pressure as you write, let me just go for a second. Thin to thick. Any variance as you write is a crucial skill to develop for lettering and calligraphy. You're always going to be going from thin to thick to thin to thick to thin. That rhythm never, ever changes. You won't be going and creating a thick stroke next to a thick stroke or a thin stroke next to a thin stroke. You will always make fluid strokes that go from thin to thick thin to thick thin to thick. That's why we're practicing these particular strokes now. You're training your hand in something new and something you've never done. I want you to really understand that this may take a little bit of time. Your brain knows how this is supposed to look, but your hand doesn't know how to do it quite yet. Have a little bit of patience with yourself and just work through these as many times as needed until you start to feel at least a little bit more confident in them. Now instead of downstrokes, we're going to make tapered diagonal strokes. Okay. So again, moving downward only, we're starting with thick and getting thinner and thinner, meaning maximum pressure down to minimum, maximum to minimum. At this point, you can pause the video if you're feeling like you need to spend a little bit more time getting even downstrokes and working with your pressure variation. But the next stroke we'll be practicing are curves, and again, downstrokes. We're not moving in an upward direction yet. So a curve here is going to be a little bit like a parenthesis. We're starting with increasing our pressure as we move downward, then decreasing it again so that we're thin at the bottom. Increase decrease. Increase decrease. I'm making these counterclockwise now, but I also want you to practice clockwise. You can go back and forth, back and forth between them. I don't think I can emphasize enough that if you're not used to lettering like this, just remind yourself that you are currently learning a new fine motor skill. No lettering artist gets this right away. This is the absolute basis for the elegance of hand lettering and it's going to take you a little bit of time to make your hand and brain work in perfect harmony here. If you feel a little bit more of a challenge, make them smaller. You're going to see that that's actually harder because you have less time and less distance to move downward. Thus, you have less time and distance to decrease the pressure and increase it again. You may want to move a little bit slower if you're making them smaller. Oops. You can see that even the pros make some mistakes. I would call this one not very good because I have uneven pressure. The thickest part is not actually in the center. I would call that a poor job. But you'd really want to slow down that pressure, slow down that speed for a shorter distance. Next, we're doing a different type of curve and this will be an S curve. Again, sticking with down strokes. We're going to start out thin, low pressure, increase as we move downward and decrease as we get to the bottom. So counter clockwise first or down into the left. I do not recommend making big S strokes like this yet. I'm just talking about very subtle S shapes. You can try these in the other direction if you'd like. But this is taking that thin to thick to thin to a new level. 5. Upstroke Practice: Now I've created a new blank layer so that I can keep doing my practice, and I'm going to move on to upstrokes. So upstrokes are always no pressure. Even though digitally, it's possible to increase my pressure on an upstroke, that is simply not appropriate for lettering. Traditional lettering and calligraphy utilize pressure on a downstroke and absolutely no pressure on an upstroke. None. Your hand should feel like it's gliding across the page. I don't care what angle you make these at right now. Perfectly vertical is actually the most difficult. You'll find that writing at an angle becomes a little bit easier. You'll also notice that even though you're moving very lightly, the uniformity of the stroke may not be exactly even. That is mostly because we're using a brush marker and not a fine point calligraphy pen. It's a lot easier to control the width and create very even upstrokes with a calligraphy pen. But with a marker, you have a lot more flexibility of that fine tip point. Even the slightest amount of pressure variance will create variance in the upstroke. You really have a lot of practicing to do here just to create uniform upstrokes. However, to move on to the next step, they don't have to be perfect yet. I want to reiterate that it's a process to get used to creating these. So please don't be too hard on yourself if you're struggling to have zero pressure at all and glide up the screen. For the next phase of upstrokes, let's make curved upstrokes. Again, I don't care what angle you do them, doesn't matter, but I just want you to continue exerting zero pressure at all across a curve. Remember how downstroke curves need to have a thick point in the middle. However, upstroke curves really need to be uniformly thin or as uniform as possible. Now let's combine them. We're going to combine downstrokes and upstrokes in one of the most common types of curved strokes in any kind of letter script lettering, and that is called an underturn. That's where you start with a downstroke, you curve under and come back up again. You go down, curve under, and come up. To examine this, I use equal pressure moving down like this. As I reached the bottom here, I had already reduced my pressure. Remember when we practiced these curves and we practiced reducing our pressure here at the bottom, that's what you need to be doing here. Equal pressure down, reduce my pressure as I move around here. Then as soon as I make this turning point at the very bottom, all my pressure must be released. I have to go from heavy pressure, minimal pressure up to zero pressure. Pressure, up to zero pressure. Now again, these are called underturns because when you get to the bottom, you're turning under and up. But the related stroke for this is an overturn where you create a thin upstroke followed by a downstroke. So up down. No pressure, pressure. In this upstroke, I had increased my pressure very slightly, but that's okay because the contrast between this stroke and this stroke is still really dramatic and it's that contrast between thin and thick that makes script lettering and calligraphy look so elegant. Here we have our underturns and our overturns. Let's combine them. We go from an underturn to an overturn. Underturn to overturn. You can keep going even longer. That's great practice for what's to come when you're creating entire words where you don't lift your pen and you have to move across the screen horizontally at larger distances. I want you to stop for a moment, create some underturns, create some overturns and create some combinations of both. The next common way to combine upstrokes and downstrokes is with loops. So a loop like this obviously combines an initial upstroke with a curved downstroke. With a curved upstroke again. So upstroke, down stroke, upstroke, up, down, up. You can double back on yourself higher, right here, or you can double back on yourself more toward the baseline like this. Doesn't really matter for now. The point is about coming up and then making this sort of backward overturn, moving counterclockwise, coming back down again, and then coming up. You can see these are very similar to a lowercase E, in fact. And then we're just going to connect them. This is the first time now that you're creating strokes that are pretty close to letters, pretty close to words like E's and s. Speaking of s, let's try this same stroke with double the height. If this were an E, the L would come up roughly to double the height or at least in most lettering styles. This is going to be a little bit harder because your initial upstroke is going to be longer so you have a longer distance to travel with no pressure, and that takes maybe a little bit more practice. But again, I just want you to think about your hand and your arm gliding up the screen or up the paper. These exact principles apply even for hand lettering on paper. There is absolutely nothing specific to this as a digital technique. Now let's combine them. Now for an added challenge, let's combine this and this. You have, short, tall, short, tall, short. You can already see most likely that this again, even more closely emulates real script writing in the sense that actual lowercase letters really do vary between heights. You have acender heights, X heights, and then you have descender heights, which we haven't gotten to yet, but you will constantly in script writing be moving higher, the lower, then higher, then low again. This is a very, very good exercise to get to that combines upstrokes, downstrokes, curves, loops, and variation in height. And letter connections, of course. Last but not least, we have the ultimate stroke practice, namely circles. Now, circles, of course, combine down, curved downstrokes and curved upstrokes. We've already practiced each of these, but it can be beneficial to practice each of them separately for a moment. Now, these circles are going to start at the top. Think of it starting at 12:00. When you get to 6:00 or the baseline, that's where your pressure is going to completely dissipate and you'll move from that downstroke into the upstroke. I want you to ideally not make these vertical, but try to make them slightly ittallic. I don't care what angle, but slight italization is what you'll be using 99% of the time in lettering, so it's best to practice that from the start. So you can see that I'm starting at 12:00, increasing my pressure, decreasing it, and coming up to join. Let's make this even bigger. I should say, by the way that I'm enlarging this for the sake of the class. I don't recommend practicing this large because my hand actually has to move quite a distance to cover this space. You're going to find a space that feels easiest for your hand to move when I make it this height, which in reality is roughly the height of an uppercase letter, a pretty large uppercase letter in lettering, it's easier. It's less distance for my hand. There's a happy medium, go too small. Like I said, it's harder to control the pen in a short distance. But I'm going to make these large for the sake of your viewing pleasure. These are the classic challenge, let's just say for lettering artists because making perfect ovals and ellipses actually completely combines all of the stroke practice that you need. You have to have coordination to connect them at the top. You have to have real control of your downstroke and specifically real control of that curve where you release the pressure. Here you have to have really consistent control of your upstrokes. So it's kind of like the perfect combination of all of the skills. And once you practice all those other strokes I showed you and you get to the circles, if you feel comfortable to keep going with them, fill a whole page with them. Sit down. Every time you go to practice, fill in a couple lines with them. It's going to get your hand warmed up. It's really the best warm up drill. I want to remind you that as freebies in this class, I provided two sheets of stroke practice. There's this one of the initial down strokes that we did. Then there's also this one showing the S curves, various upstrokes and all of these combinations of up and down. Your assignment now after this lesson is to go through and continue practicing these. Again, you don't have to feel like you have them perfectly down pat, but I want you to feel if you've been experiencing frustration, move a bit past that frustration before we get to the letters in the next lesson. I want you to feel like your hand is warmed up, it's flowing. Have some ways to go, you have practice ahead of you, but you don't feel like you're out of control of the pen. You have a sense of how much pressure it takes to make upstrokes, how much pressure it takes to make downstrokes, and you feel confident at least combining them for a few curves, maybe not a long word length, but at least a few curves. 6. Learn the Grid!: Now it's time to move on to the lowercase alphabet. This is really where the fun starts. I want to note first that the lowercase alphabet is not something that I teach in alphabetical order. In my years of teaching, I have really found that teaching letters based on the repeated shapes that they contain is a lot more effective than teaching letters based on how they rank in the alphabet. Once you understand how many shapes repeat throughout the alphabet and how practicing those individual shapes will help you learn letters faster. I think you're going to understand why I go in the order that I do. That said, we will be starting with the letter A. I have set up here the exact same grid that I was using before and I'm using the same felt tip brush pen. Our small lowercase letters that are referred to as spanning an X height will span this distance in our grid. From the baseline to what's called either the X height line or the waist line. I'll teach you the letters in a second, but I just first want to explain something about how they're going to fit in the grid. That means that an A is going to fit in this space. A D will extend one block higher and a G, for example, would extend one block lower. That's because the A is a letter like NOX that fits from only the baseline up to the waistline. Letters like DK, B H, those will extend above the waist height line all the way up to the asender line because this distance is called the Asender and letters like G Y cursive Z have descenders and those are going to extend below the baseline down to the descender height. 7. Lowercase Letters: a, d, g, q: So the first shape that we're going to do is the basis of the letter A. It's this shape. We're starting right here, not at the top. We're starting right here about a third of the way down and moving in an upstroke. So again, no pressure. We curve into a nice thick downstroke and then again reverse our pressure here. If this looks familiar, you'll notice that this is basically an underturn that we already practiced in our stroke drills. You have a little bit of an overturn combined with an underturn, and then you meet up together right here. Let's draw that one more time. This is an essential bowl shape that's going to be repeated in multiple letters. I want you also to notate that this is not actually a perfect ellipse. It's not perfectly round. This side is nice and round, but this side feels a little bit more straight. Let's do it one more time. I've curved right here, but now I'm going to make a straight line to connect to my starting point. You'll see why that's crucial for the elegance of the letter in just a moment. Now let's combine it with a simple downstroke leading to underturn. I do not lift my pen here. Let me do it once more, even larger. Now, let me show you that straighter line that we created is what makes this nice little carat of negative space underneath the A. Watch what happens if I make that bowl a lot rounder. That's more like an O or an ellipse. But what happens when I come back up here and make my downstroke, this space is much smaller. The center of gravity of the letter moves from being nice and even in the middle. Down. It actually looks, if you can see, the letter looks like it's actually sinking into the baseline. It does not look as elegant, it looks a lot clunkier and the extra rounded shape really gives it a little bit more of an amateur appearance. Now, optionally, you could start slightly higher and still get an elegant letter. But again, I'm still making a straight upstroke there. And all that does is decrease this negative space. Nothing wrong with that at all. It's a matter of stylistic preference. So why don't you go through practice some bowls, separate out the two elements if you want, bowl, downstroke and then combine them into a number of A's. There are practice sheets for all of these letters included in the course materials as well. The next letter we're going to do is D, and you're about to see that D is remarkably similar to A. We start with that exact same bowl. But right here, instead of stopping at the waistline, we'll just keep going. Curve down. We have an overturn an underturn, another overturn, and another underturn. Bowl AsenderUnderturn. Now, here's something crucial. I see this a lot with students. They get here to the bol and then they change direction and go up. Well, we don't want that because first of all, it makes the letter too upright. Second of all, it decreases the width of this loop. I like to have a lot of nice negative space in here inside of my loop. It complements the negative space inside the bowl and it just overall looks a lot more elegant. So what was the mistake made here? The mistake was made that a lot of students feel the need to change direction here. And in a way that comes from our writing of printed D because we feel like that stem needs to be vertical. It absolutely does not. So when you get here to the bowl, keep going in the exact same direction. You will not change your angle at all. So you come up here to the asenerline and that's when you turn around. You'll see that as you play, you can get a lot of variation in the width of the letter without adjusting its height or ratio. For example, this one is narrower because I made the bowl narrower and thus, I made the angle of this a little bit less steep so that when I came around, the loop itself was also a little bit narrower. When you're following the italics, a general rule of thumb is that the down strokes, the thicker strokes are what should look visually like they're adhering more to the line. To start with, that will mean that our bowl, the thickest part of our bowl is tangential to that italic line, and that our downstroke stem here is parallel as well. Now we're going to do another bowl letter. Again, using the exact same bowl. But instead of D, we're going to do the letter G. So here we have our bowl again and just like A, we're going to change direction at the waistline, but we're going to move down to the descender line and make a counter clockwise underturn and come back up in a very long upstroke. No pressure on this upstroke here. Again, Bowl descender. Loop up. Now, you'll notice that in the lowercase letters, I have these exit strokes or the ending stroke of the letter, and I'm just letting them flow beautifully out of the letter. But of course, as soon as letters start to connect to each other, you're going to notice that the exit strokes are going to have to adjust according to the entry point of the next letter. So an exit stroke plus an entry stroke will become a single connector stroke. But learning the letters like this one by one in a vacuum, I highly recommend that you make entry strokes, which none of these letters have yet, and exit strokes like these just look beautiful so that the letter alone stands by itself. Now to zoom out a bit, I want to make it clear how repeating these bulls are. The A, the D, the G, that is such a repeating shape so far and we're about to do one more letter that contains it. That just practicing and drilling, that bowl shape over and over, is going to get you halfway to four different letters. It's a very important repeating shape. That next letter, of course, is Q. So Q and G are, of course, very related because this downward stem of the Q, up to this point, it looks exactly like a G. But right here, we're doing a clockwise underturn instead of a counter clockwise one. Here we go again with our bowl, downstroke, upstroke, and out. This simple alphabet that I'm teaching you intersects here at the baseline. That is a stylistic choice you're going to see as your practice continues that there are lots of creative ways to do most letters. You can make variations of most, you can intersect here. You can even intersect past that downstroke. But this course is not exactly about variations. It's about creating a simple alphabet that you can then take one step further into the variation territory if you so choose. Now, if you want to take a moment, pause the video, go over to your practice sheets. I recommend drilling these a little bit if you'd like, before moving on to the next set of letters. 8. Lowercase Letters: l, e, f, i, j, u, y: Now we're going to work on letters that have loops in them, either identical loops or very similar loops. But conveniently, we already did one of them. When we just learned D, we also learned L at the same time. You actually already learned it. Let's do it a few times. Start at the baseline, long curved upstroke, followed by a nice curved downstroke. Now, similarly, and we did this again in our stroke practice, we have an E. It's just a shorter version. You will notice as you practice and as you look at the work of other lettering artists that some lettering artists make Es with one added step, which is that rather than make their upstroke like that to start with, they actually change direction a little bit. And this is again a stylistic thing. I would call it almost intermediate level rather than beginner, but here's how that looks. And that is simply so that the angle and the shape of what's called the I of the E takes on a smaller and more elegant shape. Here are the two side by side. Here's the slightly simpler one and here's the change of direction one. This is a good moment to stop for a second and just practice a little bit of letter connecting because these are two very simple letters to connect, no lifting of your pen is required. Let's do that with that other form of E U, change direction. Up, change direction. Now I'm going to throw in a slightly more challenging letter, but I think that's only fair because L and E are two of the simpler ones. So we start at the baseline. We come up and make a loop. So far, this is very close to L. And we have an F. But look, this is the bottom of the queue. You already did this. This is again a repeating shape or two repeating shapes. It's almost like an L combined with the end of a Q. Almost. Look what happens when I combine them. You almost get an F. Don't be intimidated by an F. It is going to be a longer stroke for your hand to move, and that's one of the primary challenges is just learning for your hand to glide up and down and get that continuous smooth stroke. But you've basically already learned it. Baseline up to Asender and then up to baseline again. Now notice that I've made this downstroke basically parallel to this italic line. That's another way to keep these letters going italic. Now we can actually already write a word. And I can write that without even lifting my pen. If you feel like starting to incorporate simple letter connectors, this is another good word to start at this time. There are loop letters so far, EL and F. Now that we did a slightly longer letter, let's go back to a simpler letter, and that's I. Now I want you to notice that this I is actually the right side of an A. You already did it. You've already learned the bottom of the I. If you want to incorporate an entry stroke into it, simply do that. Enter up to waist line, down and do an underturn, up down underturn. Again, I'm making this parallel to the italic line. Now, for making the dot of the eye, which is called a tittle, which many people think comes from the words tiny and little combined tittle, you just want to make sure that that tittle falls along the axis of whatever the downstroke angle is of your eye. In this case, whether you have grid or not, you can just imagine coming up from this axis and placing the tittle right there. Yes, you can make these into round dots. That's a stylistic preference. But for the sake of this alphabet that's brushy and has these flowing strokes, I tend to prefer these little down strokes, almost like the shape of an apostrophe. Now, the only other letter that has a tittle and of course, that's a J. Again, keeping in my theme of repeating shapes, you know that you've already done this because this is just the right side of a G. Your G is actually a J if you take the bowl off. Again, coming up that axis, I'll draw the tittle on right there. Now we're going to do some repeating underturn shapes and let's start with the letter U. Remember in our stroke practice, of course, we did this underturn shape. Well, all you have to do is add a little curve at the beginning and an I or the right side of an A, that same repeated downstroke right there. So we have underturn followed by this simple I downstroke to combine them. We get a U. Now again, notice I'm trying to make these as close to parallel with the italic lines as possible. Turn, downstroke, underturn, downstroke. But of course, you could have an entry stroke like this if you'd like. For example, if we did the letters L, followed by you'll see that the entry stroke of the U does come from the baseline or the connector stroke that would lead into the U comes from the baseline and goes all the way into the beginning of it. Well, of course, related to the we have Y. So far the same as a combined with, depending how you think of it, a J or the right side of a G. You have, again, the exact same U underturn followed by that J shape. Underturn, decenderline, and loop back up. 9. Lowercase Letters: n, m, h: Now let's turn those Us upside down to make an N. An entry stroke. This is kind of like an upside down I, by the way. So you have a nice upstroke leading into an overturn and a downstroke. We've already practiced this in our stroke drills. It's that stroke drill overturn. Just missing the first part of the upstroke. And in fact, in fact, you can actually make your whole ends with that upstroke, if you want to really practice how the letters would be connected. We talked about that. The ways that these ends can be varied a lot is far up or how far you double back again when you're moving up before exiting out of the overlap with that downstroke. Here's another way that some people might do it. Here's yet another here's yet another. So let's compare these. In this one right here is that exit point. Here, it's down at the baseline. There's almost no overlap at all. I came down and I immediately moved out into the right, it's all the way down here. Over here, it's even higher. It's almost halfway up the N. The differences between these is completely stylistic, totally up to personal preference. I tend to prefer this because that's what comes most naturally to me and it's my own lettering style. But you'll see that this one looks a little bit more whimsical, a little more loose and flowy, and this one by contrast, looks a lot more formal. This one that I'm teaching you is somewhere in between the two. Now, of course, you're probably already thinking this. What repeating shapes would we find of the N in another letter? Of course, that leads us to M. So we have three parallel downstrokes, in the end. It's the only lowercase letter that's going to have three parallel downstrokes. If you really want to be a stickler or you're more into a very formal classical lettering style, this is an example of a letter where as so long as you're parallel and truly as close to parallel as possible, you're going to look formal and very elegant. But as soon as those parallel lines separate and they don't become parallel anymore, the eye immediately notices it and you get a much funkier look. Right? That's a much funkier M. We have this axis, this axis, this axis, not parallel at all, but totally valid. I've never been a person who said that any letter is right or wrong. So long as it's legible and you like it, then it's perfectly correct. But I do believe in sharing why certain things look more formal and why they might look more whimsical or care free so that you can make that as an educated preference when you develop your style. Now if you really want a slightly challenging word to practice with now, we can use one of the most classic parallel downstroke exercises that even monks transcribing in calligraphy ages and ages ago, also practiced in their practice sheets. That is this word, minimum this is truly a real test of downstroke consistency, letter space inconsistency, and parallel downstroke conformity. So you have uniform widths between these downstrokes. You have uniform metallic slant. You have equal width approximately of these downstrokes, meaning that equal pressure was used in the thickest parts of them to create the same down stroke width. Then you have letter spacing consistency. So between the letters themselves, these connector strokes look pretty even. Incorporating letters side by side to work on letter connections and really drill in that pressure, that thin to thick, that's important at any stage. You don't have to wait till you've learned A to Z before you start combining them. Now what letter actually incorporates the shape of an N into it? That would of course be an Of course, we have an N built right into the H and an upstroke or a left side stem that is very similar to a D, in fact. You have a lot of similarities with this loop. It's just that the exit stroke comes up and out like an N. Down, up, overturn up. Up, down, up, down, up. Let's combine these. This isn't a word, but it's just helpful practice. You can see how we've repeated these shapes just like and Y related. N M and H are also very closely related letters. 10. Lowercase Letters: b, k, p, z: So now we're going to take that left side of the H. Let me draw it again here. I'll show you how it incorporates into two other letters. The repeating shape here is this one. You can practice this a couple times. This is part of three different letters. In fact, actually, I take that back. It's very close to four because remember that the F looks like this. So actually, in many ways, it's repeated in an F as well. So the first letter that we'll be adding to the roster is B. Actually, there are a couple ways to make B. I'm going to teach you both because, well, this is probably the only letter where the differences between the two versions are so great and people generally have a very strong preference. We have here that initial downstroke stem. Then we curve into a bol. This becomes an overturn that curves backward, up, down, up, curve, back, loop out. Let me just draw the bowl for you by itself for a second. That looks like this. When we add that down stroke, it becomes a B. If you're struggling a little bit with this stroke combination, work on making them separately a few times and then combine them. When in doubt, break it down. There you go. The other way to make a B that's a pretty classical version is I like to think of it almost like a chubby F. The width of the loops can really change, but you do come up into an L shape. Look, we have an L here. You come up into an L shape. And then up and out. Personally, my preference leans towards this B because I like that this B contains two downstrokes, giving equal weight on left and right. You have a thick downstroke here and here, so both sides feel evenly weighted. Whereas on this B, you have only one downstroke and this is just an upstroke. The next letter that incorporates that downstroke stem is a K. Downstroke stem like this, and then the right hand side looks like this. So upstroke, small bowl, not a full bowl like the bee, small bowl and then a leg. So to combine them again. Now, you're probably already wondering, is there some variation on this? Yes, you could stop right here and lift your pen. And create a K like that. That's essentially this K without this part of the loop. This is another matter of personal preference. Many lettering artists don't feel like stopping midway through a letter and I get that. But depending on the application of it, you may or may not want to incorporate this other K into your repertoire. Combining X height letters with a sender letters can also be helpful combining them then with desender letters as well because now my hand without lifting, had to move from here, eventually up to here and down to here. My hand in one continuous flowing motion had to stretch from a center to descender, just like in the letter F, and most words are going to require you to do that, so it's good to get that practice of long movements. I should actually teach you one more K, which is like this. Instead of looping over, you can actually come down. I call this more modern. It may be better suited to brush lettering, which by its very nature is a little bit less formal. Let's just look at these three here and I'll let you make your choice. Moving on, I want to take that bowl from the Be. Let's take this bowl and we'll show you how that gets repeated. We have the bowl of the Be we already have learned it and what we're going to do is just add an S curve and we're going to make it into a P. You can enter into that S curve like this and then either you can lift, I'll show you the lifted and non lifted versions, but you could lift and create that bowl. Let's do that a few times. You come a bit above the waistline because this point is in a way, so small and so delicate that it looks more evenly weighted and proportional if you come very slightly above the waistline, and then down in an S curve that is roughly parallel to the italics and then make your bowl. Here it is without lifting my pen. And this creates a loop. This tends to be my preference, but I actually find that students find this a little bit harder. So if you want to start out and find this too difficult, you can start with this disconnected version. You have just your S curve, lift and make your bowl. Let's do a B and a P just next to each other so that you can really see how related they are. You can see these exactly matching bowls and in many respects, almost exactly, actually, the P is a flipped version of the B. Not exactly because we have this nice S curve at the top, but imagine it's slightly like B being flipped over, mirrored vertically, and you get a P. The next letter we're going to do is a Z. While it's not exactly related to any of the letters we've done so far, now that you've mastered that bowl of the B, you can use that same stroke of the beginning of the bowl, but then loop back on yourself and make a second bowl. So you have bull bowl up again. To get this to connect, you have to have an entry stroke and an exit stroke that can enter into an exit out of other letters. That's why the Z looks so different from a print version of a Z. 11. Lowercase Letters: r, s, t, c, x: The next set of letters or letters that I call miscellaneous ones, they don't actually repeat shapes from other letters, but don't worry. They're not too too difficult and it's not that big a group either. The first set is R and S. I just for a moment, want to draw here what print versions of RNS look like. Because similar to a Z, the script versions of R&S are quite different from the printed versions. Rs start with a thin upstroke. And then they make this unique downstroke. This isn't repeated exactly in any other letter. Let's do just that downstroke for a second. This is called a shoulder. It's because it's a non sharp point. It's a curve in direction. If you're having trouble with it, I want you to think of this. Put your left hand or your right hand against your writing hand. Then it's like you're going to push as you're making a continuous downstroke, it's almost like you're pushing yourself to the right. To make it more elegant takes a little bit of practice, but it's really a matter of making a continuous downstroke that flattens out here and comes back down again. Yes, you can make this with a loop. You can make this with a big loop. That's a much funkier version. But your classic formal R is parallel lines here, nice thin upstroke, going above that waistline just like we did with P and then coming back down in a continuous downstroke. I do recommend that if this letter is new to you, you take a moment and pause so that you can really get it under your belt. Now, the only way that this R shares a repeating shape is this top part and this upstroke. These are related to lowercase S. Lowercase S is similar to R in that. It has a nice smooth upstroke. It goes above the waistline and it comes back down in this continuous downstroke. Here's just the downstroke. And you loop out of it, by the way, just like you did in that bowl of a B. So in that sense, there is a repeated shape in here, but S does feel like its own unique thing. It does happen to be one of my favorite letters to draw. There is so much you can do with an S to vary it. That's advanced. Don't worry about it now, but I'm just letting you know that there's more than one way. So let's do R&S together just so that we can understand their similarities. You can see same upstroke, same height reached over the waistline, both moving into a curved downstroke. It's really just that the curved shapes are different shapes. Remember that you have traceable versions of these in the class materials, and it may really help you to just drill in those downstroke shapes a number of times. Since we just did some difficult ones, let's move on to quite a simple one, which of course is T. Honestly, the hardest part of T is not the trunk or the downstroke. It's the crossbar. And that's not even difficult. It's just that there are a couple of variations I'll show you. The first is just a straight line parallel to the baseline or the waistline. It should always be thin. I never want you to exert pressure here because you really don't want to have kind of destroys the elegance to have a thick stroke intersecting a thick stroke. You really want to keep the contrast that is so important and special to brush and calligraphy lettering, to have thin strokes and thick strokes intersecting each other so that it's that variation between one and the other that continues throughout. So upstroke, downstroke, upstroke. Thin across. However, if you want to add some visual interest or some curves, you can make a thin little flourish there. Here's what I would say. Make that flourish, very simple at first like this, moving up, then down a bit, then up again at the end. You want the beginning and end of it to have an upward movement up across, up. The reason or the difference between that and the opposite. So here's right? Here's down across and down even more. Just take a moment to look at the differences between these two. This, first of all, looks like the one on the right here, looks like it's falling forward a little bit. It's a little bit depressing. This looks like a bit of a downer. If you stick with this style, you get the forward and upward motion, which again, is what gives calligraphy and script lettering so much elegance. You can exaggerate that curve. You can have a lot of fun with it song as it's up down up. Up. You can even keep going. This is a great opportunity to flourish. Again, we're not dealing with flourishing today, but it's a great goal to get to eventually, to be able to utilize that thin upstroke in a very visually appealing way on a letter that is seemingly so simple. The next letter in this mixed bag group is a C. It's not that Cs are difficult. It's just that they're their own thing. Yes, they're similar to this bowl. However, unlike in this bowl where you come up at a pretty straight line, this one really should be curved out. So to lead into another letter, it's going to look a lot like this. You have to really curve out that exit stroke of the C to connect to your next letter. You also start right here, it's up stroke, down stroke, upstroke. Up, down. Up. C was actually not the last of this mixed bag group. We have one more and that's X. X can be a little bit difficult to incorporate into words. It's a great example of a letter that I want you to start practicing immediately within words. X is really in script like a T or an I or a J. It's a letter that you write into the middle of a word, mostly finished, and then you lift your pen at the end, come back and cross it or add the finishing stroke. So you can practice upstroke, down stroke, upstroke, and cross it up, down, up and cross it. And the issues that I often see people do, are they make them too wide like this. But then what happens is, if you make it very wide, as soon as you add it to a word, it looks completely out of proportion. That just really looks wrong. You're also losing a lot of the thin and thick contrast. I want you to think about keeping the Xs width roughly the same width as some of these other lowercase letters we've been doing. It's just that it has quite a different shape. Practice these separately, practice them on the practice sheets. But next we're going to move on to the very last segment of lowercase letters. 12. Lowercase Letters: o, v, w: The final grouping of letters is just three letters and two of them have related shapes. But what really makes them have something in common is that they're the only three letters of the lowercase script alphabet that don't end at the baseline, but end at the waist line. Let me first say what I mean by that. If you have an A, when you're done with the A and you're ready to move into whatever letter comes next, you find yourself right here. A moving into L, I can go straight up from the baseline. My connector stroke starts right here at the base. The same goes for all of these letters that we've learned so far. My exit stroke of the H and the connector stroke starts here at the baseline. But if we have a letter like, Oh, I've exited the O and I'm up here. I'm not down at the baseline. Os by themselves are not difficult letters. They're actually pretty simple. We've already worked on them in our stroke drills. They're counterclockwise ellipses that loop out. In a moment, we're going to talk about how they connect to the next letters, but I just want you to be aware that one thing that makes this unique is how this letter connects to whatever letter comes next. There are your O's. But here are Vs. This is the second letter in the group, and we're going to teach this together with W. The third and final letter of this high ending group. All of these end up here at the waistline. With V, you come down just like an N. V is not this type of angle in script. V comes down and then it down out over. Here it is with the loop. W is similar except it has more of a curved bottom. Again, you could loop out the W or you could just make it a little flick of the wrist like that. We have O V and W in this grouping. Now, these letters connect to each other extremely easily. Let's write one word that just uses those letters. I don't have to lift my pen and I have no tricky connector stroke to think about when connecting them. However, some of these letters or all of them, the same principles are going to apply for all three of these. Some of them have to be tweaked a lot, some of them don't really have to be tweaked. One way that you aren't really going to have to tweak them is when you're moving into a sender letters, O to L, that's pretty easy. O to B, that's pretty easy. I'm moving into letters that can start pretty high without having anything strange about them like a That's pretty easy. You just go straight up and down into the But what about R, for example? O to R. Where am I supposed to go? Well, like that. One technique is to come down and exit a bit lower out of these letters. Let's try this with V, for example. This is a bit of an odd way to write VR, you'd want to have to adjust the V to come down and then go up. It's a little bit tricky WR versus we could loop down and up a little bit more. That would be a great way to utilize a loop instead of just a flick of the wrist to give you an excuse to exit out lower instead of higher, giving you more space into that upstroke. Same thing, of course, goes for S, which was that related letter. Exit out a little bit lower. VS. I these are letter combinations that take a little bit of practice, but are definitely worth addressing head on, practicing exactly OS or OR, VS, especially OS and OR. Those are very common letter combinations in many languages. So really something to get your hand, your muscle memory warmed up with and just really drill it in. That finishes up all the lowercase alphabet. You now have all the letters under your belt and I hope that you have a very good sense of how the letters relate to each other using related shapes and italic slant and ratio width and proportion. 13. Uppercase Letters: A – L: Now that we've covered the lowercase alphabet, it's, of course, time to move on to the uppercase one. And while this is a class for beginners and uppercase letters can be a lot more challenging than lowercase ones, I do want to demonstrate each and every letter of the alphabet, and I'll be going through it alphabetically, unlike the lowercase alphabet. I do, though, want to emphasize that it's going to be very important for you to by yourself with the practice sheets that I've provided in class. Uppercase letters, by definition, they are taller, which means a lot more movement of the hand, which is a beginner's skill that you're still learning. They often have a lot of flourishes built into them, much more so than the lowercase alphabet. Even the simplest uppercase letters do, generally, they have far fewer repeating stroke patterns than the lowercase alphabet. So while I'm not trying to intimidate you, I am just trying to emphasize that working through these on your own is going to be the best way to master them. But watching me in the video do the demonstration so you can see the stroke pattern and how I emphasize the weight and all of that, that will help you along the way. First up is A. I just want to say that these uppercase letters will all span the Asender height. Some of them will even extend down below where the desender goes, but none of them will be just this height to fill the X height. So starting with A, I'm going to come up and down, making a very slight little flourish on either side. Now, because this can be a little bit bottom heavy, I tend to add a little bit of a tail there up at the top. Again, like this, you're going to see that lots of lettering artists vary their uppercase letters dramatically, and there's really no one right way for any particular style. So I am providing you with a very basic style here, but I really want you to look at the work of other artists too and find inspiration there. B contains one of the shapes that repeats in a couple of letters. So we're starting with an S curve that doubles back on itself with a little loop. And then we're meeting up there at the bottom. That does take a little bit of skill to make sure that you meet up at the right place, but I know that you will be able to do it with practice. Moving on to C. C is a fun one, a lot of curves. If you want to extend this bottom part, you can do that too. That's one variation that I'll show you now. D shares this B shape a little bit. We start with that same S curve coming out like this and we connect again at the bottom. E is another fun one with lots of loops. You may notice that these seem like they might be more italic than the lowercase. They're not. That's just an illusion, but because they have more flourishing to them, they can seem a little bit fancier and more slanted. The slants become more noticeable. F, J, and T are going to be pretty similar. Here's your F. Even though we're going to do these in alphabetical order, I'll just quickly show you here that J is very similar. I just curl around even more and of course, leave off the crossbar. But let's get to that in a second and just truly go through this alphabetically. This little crossbar here by the way, I come across and then I make either a little loop or a flick of the wrist down. You can make it a bigger loop if you wish. That would look more like this. But either way, whether it's a loop or just a filled in little comma shape, you need to have something there or else it looks too bare. It looks unfinished. You see, if you do that, it looks a bit almost like a that old style of T that had a crossbar, so you really need to finish it off over here. G starts out very similar to C, but it comes up here and has a nice tail, so it extends all the way down to the descender height. You can have fun with that tail. You can even connect it to the following letter if you'd like. It's not that hard with a G. Depends on what you want to do, but you can have a lot of fun flourishing that tail without too much effort or experience with flourishing. There are many styles of H, but for brush lettering, I prefer pretty simple ones because I feel that that's most in keeping with the loose, flowy, brushy style of this particular pen. This does require lifting your pen twice, making three individual strokes. But it's just a very simple and intuitive letter. I can be a tricky one for people because we're very much inclined to make them as one of the simplest print letters, uppercase, just a straight line or with a top and a bottom bar like that. But script I really has to not only be slanted, but it has to have curves incorporated. So to do that, you can just make a very simple curved upstroke leading into a downstroke into a counterclockwise underturn. Obviously there are lots of variations, but you don't want to curl so much that it looks like a J and you want to keep it pretty narrow so that again, it doesn't look too much like a J. If I widen that eye shape a lot, you get a lot more of a J, almost a T shape. After I is J, which I already showed you when we were doing F. But here we make it wider than the I. We add a big curl down here. You can get more dramatic. You can get kind of simpler or more minimalist. But the more you curl this, the more you're really emphasizing that it's a J. And of course, in context, depending on the word, it looks more like a J. Moving on to K, we have an introductory stroke that's very similar to the H, followed by a nice arm and a leg. That's what these two strokes are called. A little upstroke in curl around. This is more curl than this. That's personal preference. Arm, leg. You see that I weight both of these. There are three weighted strokes here. L is a nice, fun, loopy one that you can have a lot of fun with. One piece of advice that I always give is not to make this top loop too small. It's a very common mistake that I see. It's that people make a very small top loop and this just doesn't look proportional. One thing I like to tell people is that when you're working with florist strokes, it's better to make them too big than too small. As soon as it's too big, it looks extremely elegant. As soon as it's too small, it stands out and looks pretty amateur. It looks like you didn't really know where you were going and you didn't have a lot of intention behind the letter. You can bring out that bottom stroke so that you can really underline a word that comes after it. It's a lot of fun to work with s in that way. 14. Uppercase Letters: M – Z: The style of M that I've picked out for this particular brush alphabet is one that's similar to a lowercase M. It's a very loopy version without any points. I feel like that really complements the other curvy loopy strokes in this style. This is one example of an uppercase letter that is easy to connect to the next letter if you wish. You can see that it just seamlessly went right on in to the lowercase letter that followed. N is, of course, related to the M in this style. But again, there are lots and lots of versions of these uppercase and you can make them pointy, more like a traditional N. But this is the style that I feel best suits this brush alphabet. Here it is without that loop. This is personal preference. If you want it slightly more formal, get rid of the loop and just double back on yourself and come straight out of it. The only trick to remember with uppercase Os is to make them as loopy and indulgent as possible. If you want to connect it to the next letter, you absolutely can, or you can finish it out with a dramatic exit stroke. Just have a lot of fun with this one playing with your flourishes. Sort of similar to the B and the D, the P contains an S stroke. But rather than coming out into the right like we did with B and D, we're going to curl out to the left and create a nice long bowl. Now, one mistake that I see is that people make the bowl hit too high. I see a lot of this. Now, that's not bad. That can be very beautiful in some very formal styles. But depending on the style that you're doing and this particular alphabet has a pretty dramatic look to it, I would say go with a very large bowl. You can either not intersect the bowl with the S curve or you can intersect it. That's a matter of personal preference. Now, script Q is another one that looks very different from the printed version. It almost looks like a very flourished number two. I find it one of the most fun uppercase letters to write actually, like the L, you can make that final tail pretty long and you get a lot of beautiful flourishing without much effort. R is similar to P, of course. Again, hit low, don't hit too high or the proportion in the ratio can look a little bit wonky. If you want to make it more similar to the K, you can cross that S curve with a little bit of a loop. Here it is with slightly more dramatic loop. S is another one of my favorites to write, although it can take just a little bit of practice because it's very dissimilar again to printed versions. But if you're familiar with cursive, this will probably come pretty easily to you. You can either end your flourish here with a nice inward curl or you can exit out of it for a connection with the next letter. Either way, you want to make sure that you get a nice bowl here, pretty elliptical shaped bowl and that you extend out to the left of your upstroke quite a lot. Just some very nice loops in this. T is pretty similar to J except you have to extend the top crossbar and I make the top feel a little bit flatter. This is one of the differences with J. Remember that J looked a lot more like this. But here, I'm extending the top so that it looks longer and I'm curling around a little bit less at the bottom. For letters like this that really can't connect very well to the following letter, you just have to make a very beautiful entry stroke to that letter and keep going with your word. It will create a cohesive look even though they're not connected. U is a simple one. You have just these nice curved down strokes and you can choose whether or not you want to loop them coming down or not. That's really another personal preference thing. This again is a letter that would be pretty easy to connect to the following letter. Uppercase V is always a fun one for me. You could have a lot of fun making this final upstroke really curve over your word. I would definitely bring it up above the Asender line. If you end at the Asenderline, then you risk bumping into an lowercase letter that may or may not follow it. For example, if I had an Asender letter coming pretty close after and this stroke went to right there, they would look like they're getting a little too close together. So nice curl and don't make these two too wide. I like to make this initial curve curve out a bit. It's fun to give it a little curve and not make it straight down, followed by an upstroke. W is going to be very loopy and rounded the way that the M was. But like the V, it's going to come up above the Asender line. This again is not one that can connect to the next letter, so you're just going to have to keep them disconnected but snugly together so that they look cohesive. While X may not be an especially fun one, you can play with this long upstroke crossbar. So you can actually start it lower if you want and make it nice and flourished, or you can make it pretty straight. Y is always one of my most favorite letters to write. Just like a G, it extends across three spaces from a sender all the way down to D sender. You can loop this if you want, just like you had a choice with the U and you can also just like the G, just end it here on a curve or loop back to connect to the next letter. I always find that connecting it to the next letter is pretty satisfying because it creates a really cohesive look and it's just fun to not have to lift your pen. Uppercase Z is basically an enlarged version of the lowercase. It also extends across three so that your next letter would go here at this height, it won't go down here. You have some loops followed by a nice curve at the bottom. You could hypothetically connect this to the next letter too, if you wish. So there we have our uppercase. Please do download the worksheet. You're going to be able to practice all the uppercase letters individually and then come back and practice with a worksheet that looks like this where you have upper and lowercase letters together so you can really see how their counterparts relate to one another. 15. Bonus Flourished Layout: As a fun bonus to reward yourself for doing a lot of practice, I have included an intermediate level, traceable practice sheet of this nice, flourished layout design. Now, this uses a slightly different grid, and obviously it uses much fancier lettering. So like I said, we aren't learning every one of these techniques, but tracing this as part of the freebie that comes with this course could be very helpful to you in moving to that next level because I know that's one of the skills a lot of people want to progress to pretty quickly, flourishing and layout designs. You can pick any lettering brush that you want. So for example, I'm going to demonstrate this using one of my watercolor brushes that comes with my ultimate lettering and calligraphy procreate kit. But again, you can use anyone. Don't just use black, start incorporating color and just have some fun with this. I'm going to decrease this opacity somewhat, make a new blank layer above, and then just get to tracing. Hello, Ramona. I can't shake the simplest feeling beyond go. We stand on the opposite shore. Hello. I reach through mysterious sealings. By home, home. If you're now ready to move on to learning a lot more about lettering flourishes, I highly recommend that the next class you take is my lettering flourishes master class right here on Skillshare because I give you a really detailed overview into all of the fundamental principles of lettering flourishing so that you can have a head start when you begin creating your own. 16. More Learning Resources: Thank you so much for participating in my class. I hope that you feel inspired by the lessons and examples that I shared. You've now learned a complete script lettering alphabet in a modern brush pen style, and you have the materials that you need to continue practicing on your own. I absolutely love it when people share their work in progress with me. So please tag me on Instagram if you choose to share yours there. I also want to make sure that all of your questions get answered, so don't hesitate to reach out to me if you have questions. I also offer a lot of free practice sheets through an online resource that I created called Molly's lettering Toolkit. So if you're already itching for even more practice sheets and brooches, head over to Molislettering toolkit.com, so you can sign up for free and gain access to all of my freebies. And with that, I wish you all the best in your continued practice and look forward to seeing you back here again next time.