Create an Amazing 3D Letter in Procreate

1. Welcome: After taking this class, you will walk away a pro on how to shade anything from A to Z. Hi, I'm Lisa and welcome to my 3D lettering class. I love 3D letters as you can tell. In this class we're going to cover the inset look. I'm going to show you how to use that motion blur plus the heart airbrush that I taught in one of my previous classes. First, I'm going to take you through the sketching, then the outlining, how to add an outline if there isn't one. Then I'm going to show you how to use some of the cool features of Procreate, like making a reference layer, adding color, using clipping masks, and also how to use some of those blend modes and what they do. Then I'm going to take you through lighting and shading to really sell that 3D look. We have an amazing gift, Abbie Nurse is sharing with all of us one of her halftone brushes that she has not released to anybody else, and it's not even for sale inside of her radical halftones brush pack. So this is an exclusive brush for this class. When you take this class, know that you're going to have a brush that only people taking this class are going to have. You can also go and explore her website at uproot.shop and check out all her other Procreate brushes. She has some really amazing tools. She's a Procreate ninja. You'll find a brush set with that exclusive brush inside of the project section. I can't wait to get started. We have lots to cover. So let's begin. 2. Setting Up: We're going to get started by setting up our Canvas. I like to use a Canvas that is 3000 by 3000 pixels. We don't have one so I'm going to go ahead and make one by selecting, Create Custom size and type in 3000 not 30000, 3000 by 3000 pixels. We're going to make sure it's on P3 color. DPI is going to be 300 and go ahead and title it Square 3000. That way you can access it later. For easy access, I like to make brush sets for the projects I'm working on and for this project, you'll need a few stock brushes plus the ones that I'm sending you. With the brush set that you're getting from me, you'll get a flat brush, my monoline brush and AN Wiggling Squares Halftone. The rest of the brushes, I want to show you how to gather and place inside this brush set. You're going to grab the 6B pencil from sketching set. Just swipe left and press duplicate, drag it and drop it into 3D letter brush set. Then do the same for your Bonobo chalk brush from the sketching set and your Acrylic brush from the artistic set and the hard airbrush from the airbrushing set and you'll be good to go. Now you can rearrange the brushes just by holding down and dragging them around. You can rename your set. You can even make a new set just by pulling all the way down on the brushset menu and tapping that blue plus sign at the top. Type in a name and then you can start dragging in and copying your brushes into that set. For super fast access, you can set up your quick menu to use with the double-tap feature of the Apple Pencil tool or you can use any other gesture. Once you set up the gesture, you can add brushes to the quick menu and it's super easy. Look how fast I can switch between these brushes. This is such a time saver. To set up this action in the quick menu, go over to the Wrench, tap on Prefs or Preferences, click on Gesture controls, go to click menu and you can select any of these gestures. I selected the Apple pencil double-tap. Then when you use your gesture, the quick menu will appear on the screen where you last touched the screen. If it's off to the side, just tap again in the middle and that screen will pop up right there. You can select different actions for each button just by holding down on the button until the menu pops up. To choose a brush, all you have to do is select brush and then scroll to your brush sets and choose our brushes from the 3D letter menu and load them all up. Then man, are they right there at your fingertips? Now we're done setting up our Canvas. Let's get on to drawing the letter. 3. Letter E: Drawing: Now we're going to draw the letter E so I'm going to choose my 6B pencil and then I'm going to sketch it out. Quick line is a great tool to use. You just draw a line and hold your pencil down and align will automatically straighten up. You can move it around and position it where you want. I'm going to make a slab serif E, so I'm adding these little slabs on the ends. Then I'm going to lower the opacity, select a new layer, and get my flat brush. I'm going to draw a line and just test it out to see if that's the right size. I just want a tad bigger and then I'm going to utilize the duplicate function. Just swipe left on layers and duplicate and then move it to where you want it to go. Then I'm going to draw one horizontal line, position it, and then just duplicate it. Then these guys, I'm going to merge together because I'm going to duplicate them again for the rest of my E. It's just makes it more uniform if you want a perfect E. I'm going to do the same. Just going to duplicate and move over, and overlap. When I overlap, I don't remember that those are overlapped, so I'm just going to lower the opacity. It helps me see which one is there. I'm going to use my select tool to just select one of those lines since I did merge them together and I just need one. If you swipe down with three fingers, a quick access menu pops up so that you can copy and paste. Then I just toggle my layers on and off to see which ones I'm working in. There is a shortcut that you can use to move between the layers a lot more quickly. I always found that it tripped me up and I always ended up in the wrong layer. So I haven't really gotten used to that function yet, so I don't use it. I just do my old school toggle on and off to figure out which layer I'm on thus they become more unique, I can tell quicker. What's cool is you can also use the quick line function to erase. If you want to erase straight lines, just hold down your erase mark and then if you click on Edit Shape, you can actually move it around to get it in the right position. I love using that quick line. Then of course, copy and paste function if you want to cut out large sections instead of swiping to erase, just highlight the whole area. You can even highlight the whole area with a square and a circle now. I'm just finishing up. If you erase before you merge all your layers together, it's actually a lot easier to keep those edges really straight. Then of course, using that quick line to erase those edges. So handy. All right, I'm just finishing this up, getting that center serif done. Slabs error. Before I draw that line there, I'm going to merge all of these together, make a new layer and just draw a small line. These are all going to be the same. The line is going to be the same size on all of these openings. I'm just going to draw it once and then duplicate it and move it into place. Just saves time. Then any bits that you forget, just go ahead and erase those after you emerge everything together, makes it super easy to clean that up with that quick line function. We have our E. So I'm just going to rename and organize my layers for this whole class so that you can see how you can keep them super organized. If you swipe right on both of them, you can group them, label them. Choose the names that you want to label them. I'll give you some recommendations, but man, it really does help when you want to go back and edit. 4. Letter S: Drawing & Outline: Now we're going to draw the letter S. I'm going to use my 6 B pencil again. I'm going to draw a circle and hold my pencil down and use the quick shape function. It turns it into a perfect oval and if I put my finger on the screen it will turn into a circle. I'm going to use ovals for this S and I want to just duplicate that oval I made, drag that duplicate down and make it a little bit bigger because the bigger on the bottom is a little more stable for an S. Then I'm just going to merge them together, lower the opacity and make a new layer. I'm going to choose my monoline brush this time. I'm just going to be drawing the outline of my S, following the edges of those curves. Circles are a great way to make your S's look really awesome. Then I'm going to start filling it in. Going to make this give it weight. After I draw my skeleton and give the weight, and then the thicker part of an S is always in the middle so just be sure you are not leaving that too thin. Then after I fill in, I'm going over and refine my edges. I can use the quick lime feature again and that makes arcs. Then if I tap on"Edit Shape", I can edit that arc and make it really fit and of course If they're little bit sticking out, you can always go and erase those really easily with your heart air brush. Then I'm going to rename my layers and group them again. Sketch, and this one is going to be solid because it does a solid shape, oh no. I will change the base and then go ahead and label that Group S. Now, I put both of my letters in the same file, but you can do it in different files because you might run out of layers. Now we are going to create an outline and I'm going to do that by duplicating my base and then go into the Gaussian Blur. They give it about a 15 percent blur, but it just depends on how thick you want your outline. I'm going to tap my layer and tap Select. Then I'm going to tap that heart airbrush turn it all the way up and keep coloring it in until I see a harder edge form. Then after that hard edge forms, I'm going to rename its outline. I'm going to select it and then invert my selection. I'm going to use the heart airbrush as an eraser and erase around the edges. This will get rid of all those rough spots. This is how you get rid of those pixelated edges. Very nice. I'm going to select my base and tap my "Outline Layer" and tap "Clear" and rename my, my base the face. I'm going to make a duplicate of my outline, fill it in with black and rename it solid. It's going to be my thicker shape. Then I'm going to tap on my "Face" and tap "Invert". That turns the color to white. Now have an outline. 5. Adding the Drop Shadows: E & S: Now the exciting part, we're going to add a drop shadow. I'm going to duplicate my outline, and I'm going to rename it solid, and then I'm going to go ahead and fill that in because I forgot to do that with my E. Then here's a really cool trick. Create a new layer, tap your outline and select a reference. Then tap into your new layer, rename it your face, and go ahead and choose your white and then drag and drop into the center of your E, make sure you're in the face layer, and voila, you have the face filled in because you made that outline a reference. We're going to go ahead and duplicate our solid layer once and renamed the top one, the drop shadow, and then the bottom one is going to be our cast shadow. I think just tap the layer, use motion blur and we're going to drag to the bottom left. You don't have to drag very far. Then we're going to select layer by tapping on it and pressing "Select", and then go grab our hard airbrush. Use that gray color under the white in the swatches, and then just color it in, colored into your heart's content. Keep coloring. Just keep going over it. Let's check for some empty spot. I'm just going to grab the layer and drag it to the top and fill in any of the empty spots, and then just keep going over it. It really is important to deselect this just by tapping in a menu or tapping the select button again, and that way when you move it, it moves as one solid piece. Sometimes if you don't deselect and you're moving it, it will move just the fuzzy part. Now zoom in and check to see that you've lined this up, I'm dragging it down to the left. I'm just lining it up at the top and the right side of my shape to make sure it doesn't stick out from over the edges. Sometimes you might have a little spot that sticks out and you can just erase it off. Now I'm going to make the cast shadow just by doing the same thing, selecting motion blur, but I'm going to drag down to the right this time. So opposite. Then I'm going to select my layer again, go back with my hard airbrush and color over that, just color within. You could drag it to the top again and double-check since it is underneath all that, you want to make sure there are no empty spots, and then you also want to make sure the sides are solid, have nice crisp edges. Then we're just going to drag it right back down. Then I'm going to lower the opacity to about 30 percent, you can do whatever you want, but I like about 30 percent for this project. Then you're going to zoom in to the top left corner and then position it behind your drop shadow so you want to line up with your drop shadow this time. If you don't lined it up with your drop shadow, it looks strange. I've seen cast shadows coming out from places where I'm like, oh, that does not look right. Okay, so let's do it really quickly with the S. I'm just going to let you watch this time. 6. Interior Drop Shadows: E: Right now, we're going to create that really cool Interior Drop Shadow. We're going to go into our layers, and duplicate the Outline two times. Rename the lowest one, Inner Drop Shadow, and then the one above that, you want to rename that Inner Cast Shadow. It's just helps set them apart from the other drop shadows. It's really helpful to name your layers. Select the "Inner Drop Shadow", select gray, and the "Motion Blur". We're going to go in the same direction as the original Drop Shadow that remain. Just drag it down. I like to just trace that drop shadow. You don't need to make as a thick as the Drop Shadow as the first one. Then grab your heart airbrush, select your layer by tapping it, and pressing "Select", and then color to your heart's content. Then I realized that my Inner Cast Shadow was the same color as my Drop Shadow. So I went ahead, and selected a darker gray and I added that to my swatches, and then I added a lighter gray. We're going to use that dark gray, and you can easily just replace that color by swiping to the right, and tapping "Fill Layer". Then we're going to move this right underneath our outline. It should line up pretty nicely with our original drop shadow. Here is where the magic happens. We're going to select our "Drop Shadow" by tapping it, and then tap on "Clipping Mask" right above our face. Now everything that is outside the Face will be covered up. We're going to go to our Inner Cast Shadow, we're going to create another Motion Blur, we're going to go in the opposite direction, which is the same direction as our original Cast Shadow. We'll go ahead and trace it, and "Select" purple black. Use your heart airbrush to color over it. Now it's going to be hard to see if you've got all of these, so you can toggle on and off the layers to see if you filled it all in. Deselect it, make sure you deselect. Then I like to lower the opacity here to about 30 percent for that shadow. Do that before you drag it into place, so it's easier to see. I need to find an edge like right here in the center. Then I can line it up with, and I'm just going to drag it into place right at the bottom of that Drop Shadow. Get it right there into place. You can move it around a little bit. Zoom in for sure. Then I'm going to make that a clipping mask as well. Everything is hidden except for everything that's in the Face. Then I'm going to use my heart airbrush to erase because the light is coming in like that little sun is showing, and it's up there on the top left, and so I want to erase anything on the left side that's facing the sun. I'm going to use my heart airbrush to erase, and be careful not to erase the other parts of the shadow. You can use your quick line for those nice crisp edges. All these little sharp corners union a nice crisp edge on. You can already see that difference there. Then the shadow here needs to follow the edge of the corner. We can make a quick line and guesstimate, then erase the rest, tends to be the same direction. I'm going to do that on all those corners. You can move it up under the corner to see if you got that angle right, and erase, and one more, an angle, perfect. Here we go. Then this side I'm going to show you, can just start down here. You can either erase it just by scribbling, cross it, or if you want to make sure that it's all gone use your Select function, and then swipe down with three fingers and select "Cut". Then tap your surface and double-check your work. Looks great. Now, we're going to change the outline just by going to the wand, and selecting our "Hue, Saturation Brightness" menu. Then you're just going to drag the brightness up until you're almost at white because that light is hitting that top surface. You want that to be brighter. 7. Interior Drop Shadows: S: Right now for the Interior Drop Shadow of the S, we're going to once again duplicate that outline twice. Rename the bottom one, Inner Drop Shadow. Rename the top one, Inner Cast Shadow. Tap on "Inner Cast Shadow", tap on "Motion Blur". Drag to the bottom right. Trace that drop shadow. I did mine on a little on the thick side. Do yours a little bit thinner. "Select". Grab that dark gray and your Hard Airbrush and color to your heart's content. Now drag in place from right underneath that outline to the bottom right. See how everything's covered by that outline. You don't anything peeking out. Then tap "Clipping Mask' after you tap the layer and it should snap to the face, and so everything else is hidden except for what's in the face. I like to turn off my "Drop Shadow" and pretend like it's hollow on the ground. If you delete the outline too it gives a really cool effect. You could do stuff like that. I'm sure you could figure out something to do with that. Now we're going to enter a "Cast Shadow" and using the "Motion Blur", I'm going to turn back on my layers. We're going to drag it down to the left along the cast shadow. You had a nice long cast shadow. Go back to my layers, tap it, tap "Select". Use black and my Hard Airbrush and color that thing in. Then I'm going to lower my Opacity before I've tried to move it into place. I really want to find an edge on the very right side now because it's going to go down into the left. I'm going to place it right underneath my drop shadow. If you need to turn off your "Clipping Mask" so that you can see your drop shadow better, it really does help sometimes because it gets confusing at this point. I move my drop shadow and I'm going to put it back. Now I want to move my cast shadow. I'm just going to place it right there on the right chest, lined up with that. All right. Now we're going to make those a clipping mask again. Then we're going to correct some things that didn't quite translate right here we see a big gap then we're going to fill that in with our Hard Airbrush. Just use black, it's really easy to scoop over that and fill it in. Right there in the bottom, right there on the top of the bottom little end point. Then we're going to use our cast shadow as a guide to erase the rest of those. Start with your cast shadow meets the edge of your drop shadow and erase away the excess. I'm going to use my Bonobo Chalk brush to erase or was, and it wasn't working very well. I switched to my Hard Airbrush and arrays to ride up to that point. Then I'm going to find other spots where the light would be hitting like right here at the top. Over around the bend of the middle piece. It's just look for where the cast shadow touches the drop shadow and that's where you need to start erasing. Any side that faces the light. Now I didn't like how those hard edges looked, so I went ahead and grabbed my Soft Airbrush from my airbrushing set and swooped in there to give that nice soft edge because when you're going around a curve, shadows tend to blend out a little bit more. They don't have those sharp, harsh edges like they do on corners. 8. Shading the Drop Shadows: E & S: All right. Now, we're going to add shading to our drop shadow. We're going to use the color black and the hard air brush. Create a new layer above the drop shadow and make it into a clipping mask. Rename it shading and you're going to change it from mode to contrast and overlay. Lower the opacity to 50 percent, then let's go to our E, and we are going to color in the areas where the cast shadow meets the drop shadow. I'm going to use quick line because it just makes these corners super easy to draw. I'm just going to drag it into place, tap the screen and start another quick line, go to "Edit" and then you can move it around and get it perfect. I can just color it in, move it over, I'm just going to color here right on the underside. So I'm not going to worry about the left side of my E yet and the drop shadow. You can even just draw a shape and fill it in. I've sped this up for you, so it will go a little bit faster because it's basically the same thing over and over again. But I wanted you to see the entire process. All right, that's done and that's our shading. Now we need to make another layer. So we're going to duplicate that shading layer, we're going to lower the opacity to about 25 percent, this time. Then we're going to shade these areas in, where the cast shadow comes down and touches the left side of our E on its drop shadow, and as you can see, our black makes a lighter gray with 25 percent opacity. So I just started here in the corner and drew my quick line and then I've clicked "Edit" and I dragged that quick line down, where it met the cast shadow. Now I'm just coloring in the left side, and I don't need to be too careful with those. That's basically it for this cast shadow, pretty easy and voila. Now for the S. All right, so we are going in here, make a new layer above the drop shadow, go to contrast overlay, 50 percent opacity, and this time we're going to use the bonobo chalk brush. I'm just going to shade it in. I like the smooth edge that it gives the nice transition from dark to light and we're going to use our cast shadow as a guide to show us where to shade in and where to stop. Because that's where the light is coming down and hitting it. Then it's always going to be darkest right behind that edge and it's called the core shadow. There we go. 9. Shading the Interior Drop Shadows: E & S: Now that we've shaded the cache shadow, we're going to go ahead and shade are interior shadow. Tap on inner drop shadow and create a layer right above there. You can see it automatically makes a clipping mask. Go ahead and rename this, inner shading. Tap on that inner drop shadow and select it. We're going to go in here and we're going to make a mask. Tap that layer on inner shading and tap mask and you can see it makes a layer mask. This means that anything we draw in the inner shading will only show up where that masks covers it. I'm going to go in and choose my black and then make sure in the inner shading layer. I'm going to go ahead and lower that opacity while I'm there to 50 percent. You're in the inner shading layer, not the mask layer because the inner shading is going to be a dark blue. I'm going to shade the bottom of my drop shadow. Move this edge, once again, I can use that quick line, which you can see those three shades of gray adds a lot of dimension to the work. I did this entire project in gray first so that you can see all the values and then I'm going to show you how to add some color. We did those and now we're going do these three. Make sure you get all of them. On the corners here, be extra careful. Getting nice and straight. Draw a rectangle, fill it in and your done. There's shading the interior drop. Let's do the s. Can I go in to the inner drop shadow, make it layer above it? I'm going to rename my layer inner shading. Then I want to lower that to 50 percent. Go into my brushes and I'm going to choose my Bonobo chalk brush once again for this curved edge because it gives such a smooth transition. I want to make that layer mask by selecting my inner drop shadow and go ahead and tapping my inner shading layer and selecting mask. Now everything that I draw is going to just be inside that inner drop shadow, there we go. That was super easy. 10. Adding Highlights: E: Now we're going to start adding some highlights. We're going into our E group, we're going to make the highlight over the drop shadow, so I want to go ahead and make a new layer above all the other layers and clip it to my drop shadow. I'm going to rename this highlights. I'm going to go ahead and make another one right above my face layer because I know I'm also going to do that too, but I'm going to do it just inside of my inner drop shadow. I want to make a copy of that inner shading with the layer mask and just rename it highlights, and clear it out. Make sure you clear that layer. I'm going to go down, back down to the first highlight and layer I made. Let's go in and choose white and get our acrylic brush. In order to make something lighter you have to start with the dark and this highlight is going to be the lightest part of our surface, so we want to make the background layer a darker color. Go ahead and choose a dark gray or a medium gray for your background color. Since our cache shadow is going down to the right, our light is actually coming in from the top left. I want the highlights to hit the top left of my E, so I'm just coloring and coloring. Then I can come back and erase, I sped this up for you because I spent a lot of time just trying to make those marks well. You want those marks to be in the same direction as your cache shadow line that goes up the side of your E. Then I'm going to duplicate that highlights layer and I'm going to drag it down below the E, so that it's basically on top of the background. Then I'm going to give it a Gaussian blur over 50 percent. Just makes a little highlight. Then I can lower the opacity just to make it look like it fits in there. You can play around the opacity of the highlights as well, I like to put it on Screen blend mode because that will just lighten the layers underneath and not make it white. It actually lets the color show through. Then I wanted to go back in and erase parts of it, so it would really look like a highlight. There you go, that is the drop shadow. Now let's go to our inner drop shadow. I'm just going to click, make sure I'm not in the mask. I'm actually in the layer. Then I can zoom in and make sure that your opacity isn't down too far. Choose screen mode just to have those colors show through underneath. I know we don't have color yet, but it'll work when we do add color, go ahead and give those edges a highlight that the light would be hitting. Then you can play around with the opacity again. I want to get into my face layer and I want to darken it because it's actually in shadow, it is not being hit by the light. You can go all the way black, but then you would lose your shadows, so I'm going to hit right here like a dark medium gray. You can see that the shadow shine through nicely, and then it looks like it's sunken down and it's not too bright and then, those highlights got a little dark. I'm going to go in and lighten those up a little bit and raise the opacity on those. There's my E, beautiful. Because the light is coming down and hitting it, I'm going to come in right above my background. I'm going to drop in a new layer and rename this background highlight. Drag it down below all your layers, so it's underneath everything. I'm going to go grab a special brush from airbrushing, the soft brush. I'm going to choose white again and get this pretty large and just start coloring lightly into the background. You'll see this like a spotlight hitting the E. Just gives a really cool effect and just go ahead and drag that opacity down a little bit. There you go. 11. Adding Highlights: S: Now we're going to start adding highlights to the S. Let's go into our S group. Let's start out by lightening our outline. I'm just going to take it from black to white really fast by tapping the Layer and tapping Invert, then I'm going to change the face, make it a little bit darker. Make a new layer above your Shading Layer and your Drop Shadow. Name it, highlights. Make it a clipping mask. Let's grab our bonobo chalk brush. Now let's make our highlights layer into screen mode. We can lower the opacity later. I'm just going start shading in on the top part of my S where the light would be hitting. These are the bright points. The brightest points where that Sun hits first. I'm going to once again duplicate my inner shading above my inner drop shadow. I'm going to raise the opacity up, because I forgot to do that last time for my E. Then I want to clear the layer, change it to Screen, and go ahead and start shading in that inner drop shadow. This is once again where the light would be hitting it. Then I can lower the opacity about 75 percent, and that looks good. Then same with the highlights, I like them where they are right now. So I'm just going to keep them and play around with it when we add color. I thought the white outline was a little bit too bright, so I went and looked at the brightness. I liked it white, so I just kept it there for now. Then I'm going to duplicate the highlights over the drop shadow, drag it down below the S and then give it a Gaussian blur, about 50 percent. That gives it a nice reflected light. Then as you can see, that reflected light from the really bright parts of the highlight would reflect back onto the darker areas. So you want to add some reflected light there too. You can do that easily by going to your drop shadow, make a new layer right above the Shading layer. Let's rename it reflected light. Then I'm going to shrink my brush. I'm using my bonobo chalk brush. I'm just going to add a little bit of light there, just very lightly start shading that in. Of course, if you press too hard and put too much, you can always go in and lower the opacity, I want 75 percent for me. I'm going to do the same thing on the inner shading area, because there would be some reflection going on there. I'm just going to duplicate the inner shading layer once again, with that mask and rename this one reflected light. Then in these really, really dark areas, I'm just going to add a really, really hint of highlight to make some reflected light on the face of the S. I can duplicate that highlight that I made, delete the mask, and drag it down to lie above the face. Then I'm going to give it a Gaussian blur. It's clipped to the face, so it's not going to show anywhere other than the face. It's like a little reflected light from those highlights bouncing back onto the surface of the S. 12. Organizing Your Layers: Now for this video, I wanted to take you through a little organization stuff. I needed to go in and change some of these to reflect what they were. So the highlight layer I needed to rename and highlight, and this other highlight layer I needed to rename it from inner shading to highlight. Then what you can do is group these inside of your group to make it a little bit more easier to find. So if you turn off your face, you see all that stuff in the face disappears, that's in the clipping mask. So you can see all that stuff is grouped together. Then what I can do is group these. So I'm going to take everything from the face layer, that's inside the face and just swipe right on all of it. You don't have to get the masks and tap Group, and you can rename that to the layer that is at the bottom face. Everything that's clipped to face, just renamed that face. It's all neatly tucked away inside this little group for you inside of a group. I'm going to do the same with the drop shadow and just rename it drop shadow. Not just kind of keeps everything little organized, so it doesn't look so cluttered. Everything else that doesn't have a clipping mask, I'm just going to leave it out of a group. Then you can turn things off and on. But it was cool to see what it would look like back at the beginning. Yeah, it's cool. You can kind of play around with some of the stuff that you want to take away and add. It makes it so much easier to go in and be like, I would just want to remove this highlights, so I'm going to turn it off. That's just some organizational stuff and you can do the same with your letter E over here. 13. Letter E: Color & Abbie’s Halftones: We're going to add some color to this and we're going to down to our E, drop down the face group. We're going to put the color layer right at the top. Go ahead and make a new layer and rename the color. I have this light blue color we're going to drag into here, drop it down and then we're going to make this a clipping mask. Then since we can't see anything under it, we're going to go into our blend modes, used contrast overlay because that lets the lights and the darks all show through. Now you can see everything. Now let's add some color to a drop shadow and do the same thing. I love the flair for drama, so I wait to the last minute to put the clipping mask on. You could leave it like this, it looks great. Then the clipping mass will allow you to put another color and the background. Let's grab our wiggling squares but look, abbeys half-tones are amazing. She has so many little patterns that I don't know how she does it but she made these little triangles I use a lot. When you press stages combined together and get darker, they don't exactly work like they do in the preview but this is a cool way to test out some of the brushes before you put them on the palate. Then we're going to go over and above the face layer this time, the bottom and you see it makes an automatic clipping mask and then rename it half-tones. Then we're going to make this into an overlay and then I use black. Let's try out those wiggling squares first and then when you go into the brush, you can play around with the size of the grain to have it fit your project because maybe your canvas size is full, that bigger or smaller than this one. Nearness to beautiful, lovely gradient just by having harder pressure at the top and lightening your pressure as you drag down. Then I'm going to do the same for my drop shadow. Label it half tones, [inaudible] the capacity a little bit so it's not super dark. This time I'm going to show you what these Japanese wiggles look like. Just color all over. Since it's a clipping mask, it stays right inside that drop shadow. Now we're going to do one over the outline, since we have a nice thick outline here, gives us plenty of space to put some half-tones. Then I'm also going to make another layer for the color and this time I'm going to make the half-term layer into a screen mode since I want it to get lighter. Then I am going to make the color layer my overlay because I wanted to pick up all the values. My color into a clipping mask, the drama and then in my half tones, I am going to use white this time. Let me show you these throwing stars and love for them. It's like [inaudible] Clipping mask, I have a little overlap here. No worries. I'm just going to go in and erase part of my pattern, color it back in and use light pressure where it would combine with him pattern already there, you can't really tell. 14. Letters S: Color & Abbie’s Halftones: We're going to do the same thing for the S. I'm going to drop it into the face. Add a new layer at the top for the color. I've spread this up so we can get there quickly. This is just a repeat of what we did before. Like that clipping mask, change it to overlay. Use that overlay mode. I used Multiply at first on the top layer just to see what it would do, but it made it too dark. I wanted those lights to show through. I did the same thing with the background. Then right above the face, we're going to put those Halftones. Let me show you some more of those Halftones that Abbie has. We go into the reduce saturation and brightness. I can lower the brightness a little bit, and then the Halftones will show through a little bit better. Here's that line. Looks so amazing. Look how it gets thicker when you add harder pressure, like right there. Then this pattern really cool. I don't know how she does it. Then let me show this one more [inaudible]. Another triangle one, I really like this one. We'll stick with it. Just going to duplicate that layer and drag it down instead of making a new layer off from scratch. That works. Makes things faster. I love this little raindrop. It almost looks scaly. Then it's a little too dark so I'm going to go in and just lower that opacity about 50, 40 percent. Whatever looks good. There's our S. It's beautiful. 15. Bonus Video: 3D Phrase Walkthrough: I wanted to show you guys what you can actually do with this inside of a phrase. So not just using just a letter, but multiple letters and words and how easy it is. What I did here, was just start off by coming up with a phrase and I love, you are enough because you are. You are enough, I am enough, we're all enough. I write it out. I thought I was going to do it that way, but then I was like, "No, I think I want to try some containers." So a cool way to make your words fit together is to draw some containers, and then fit them in there. I'm making even spaces for the letters themselves. Here I have you, and I decided let's go for a sans serif look, and then a little script, and then combine the two for enough. I'm using my flat brush here to draw the letters themselves, and of course, the quick shape feature is amazing and I love using it. Backspace is our friend or two-finger tap, and then I'm just writing out enough, and then we play around with some of the G squashes. I could have played around with this a little bit longer, but I wanted to get this lettered for you guys. I decided not to do a squash on the G, just to keep it all simple, since I did a real swoosh on the R, and then once you get those letters drawn with that flat brush, you go in and you erase any of the jagged edges, because sometimes it leaves a jagged edge. It's super easy to erase, and then I'm deleting all the extra layers I don't need. I'm just going to make an outline, and then I love that nifty trick of erasing, inverting and erasing, just to create such a nice crisp edge. Of course you want to make another layer duplicate your outline and fill it in, then duplicate your solid layer make your motion blurs and color it in with your hard airbrush, and do that again for the cast shadow. Make sure it's lined up really well, and then use that cast shadows as your guide. This is your guide, you all, it's so easy. You just see where it touches the letter, and that's where you're going to shade it in. Then you can also leave some highlights like I did there on that me and then I'm doing on the R. You want it to look like part of it is in shadow. The part that's covered by the cast shadow, needs to be in shadow. Anything that might get in the way of the sun is going to cast a shadow, then I'm making my inner drop shadow. For this, you want to be a little more subtle. You don't want it to be too huge because it would overpower the middle of your letter. It would mess with the readability, you want it to be legible. I had a little trouble placing the cast shadow, but I went ahead and figured it out. You just have to line it up with the right side, and then I'm going in and filling in any missing spots on my cast shadow from moving it. They're just tiny, you can't even really tell there there, but I can tell, so I am going to fill them in. Then I'm going to erase with my soft airbrush this time to give some soft edges, and whenever I need a hard edge, I can just shrink the size and get in there with the hard edge. I'm just erasing the places where the light is hitting. You can tell where that is, by where your cast shadow ends. Just really gives that three-dimensional look. I think form and light is what makes it three-dimensional. Our eyes would see everything flat if we didn't have shading, so shading is the key. I'm doing my little background trick with the highlight, and then Abbie has a bunch of paper brushes that you buy to make some textures, and they are amazing. Here I'm just playing around with some of her half-tones, they are so cool. I love them so much. I'm just going to put in some highlights and you'll see it really starting to pop against the background. Those highlights, man, don't forget the highlights, and then I'm going to go in and fix some shading errors that I did. Always okay to go back and say, "Okay, I did not shade there and I should have, I needed the highlight there and I didn't do it." Now I'm going to add that color layer right at the top. It's so nice to be able to make clipping masks and just be able to change that color so fast. Here I'm just putting the highlights for a little added touch of reflected light, and there you have a little phrase, You are enough. Hope you enjoy. 16. Project: That wraps up another class. I hope you enjoyed learning how to make an amazing 3D letter in Procreate. For your project, I want you to first create your favorite letter into an amazing 3D letter. Then, pick your favorite short phrase and draw your containers, place your letters into the containers and make some or all of them into amazing 3D letters. You can post your projects to the project section by uploading them here on Skillshare, or you can share them to Instagram. You can tag me, Lisa Long Designs, and tag Abbey because you used her exclusive half tone brush at Abbey_Uproot. Tag us so we can see your work. You get extra bonus points for posting your process videos, so make sure you're recording those on your Procreate app. Don't forget to download the brush set. I included the swatches that I used in the video inside of the project section. If you're watching this on your phone or an iPad, you'll have to login from your computer in order to download the files. Thank you so much for taking the class I hope you enjoyed it. Let me know, you can leave a review and give me some feedback. I'm always looking to improve. Also tell your friends. Be sure to follow me here on Skillshare so that you can be notified the next time I upload a class. I have lots in store for the future. See you guys then.