Dimensional Text Effect in Procreate - A Procreate for Lunch™ Class

1. Intro to Dimensional Text Effect in Procreatecamproj: Hello and welcome to this course on making a hand inked dimensional text effect in Procreate. My name's Helen Bradley and I'm a Skillshare top teacher. I have over 200 courses on Skillshare and over 86,000 student enrollments. In this course, we're making this hand inked dimensional text effect. I've jammed this class with a whole heap of Procreate techniques. I've also found a really nice commercially available font. It's free and you can use it for commercial as well as personal use. It looks as if you've hand drawn these characters, but we're going to add an extra dimension of hand-drawn look to this particular font. We're going to have a look at creating these multiple color inked effect and then layered shading. We're going to create a couple of brushes along the way that will help us out. By the time you've completed this course, you'll have some handy Procreate skills under your belt and you'll have a wonderful text effect that you can use for social media as well as for other uses. Without further ado, let's get started making this hand inked dimensional text effect in Procreate. 2. Inspiration for this class: Before we begin this class, I want to show you where the inspiration for this text effect came from. Now this is an image that I found on the Web. It's been kicking around Pinterest for a while and it's also appeared in my feed in various places. I really like the effect. So what I wanted to do was to show you how you could reproduce something like this digitally. For that, of course, we're using Procreate. I'm also cognizant of the fact that many people don't do hand lettering, and that's just fine because I found a wonderful font that we can use that's going to give us a effect without having to be able to draw the lettering ourselves. I'm really disappointed I'm not able to tell you whose work this is, it's not signed, I'm not able to find the author of it. If you do happen to know whose work it is, please let me know in the comments so that I can give that person the acknowledgment that they deserve. 3. Pt 1 Download the font: We're going to start this class getting the font that we're going to use. We're getting it from dafont.com. I've just typed the word Luna into the search bar here and gone and search for this font. Now there are a few fonts that are called Luna, but the one you want here is by Amanda Leeson. It's a font that looks as if it's hand-drawn and it's a really pretty font. What we're going to do is download it and we're just noting here that it is a 100 percent free. That is for commercial as well as personal use. I'm going to download the font. I'm going to open it in my Unzip application. If you don't have an Unzip application, go to the App Store and lookup Unzip. That's just U-N-Z-I-P. Look it up and download It. It's a free application, it works really well for unzipping files, so I'm going to open this in Unzip. Down here is my Luna file, I've downloaded a few times, so that's why it's getting a number on the end here. If I just tap on it, it will automatically unzip and it creates a folder. You'll tap on the folder and you just want to get this Lunar.ttf file. You're going to locate it, tap its i icon over here on the right. When you see this menu, you'll just tap Open In. Then you'll tap Open in Procreate and the font will now be installed in procreate so that you can use it. You can confirm that by going to the gear icon for the Actions menu. Tap Add and tap Add text. If you tap Edit Style over here on the right, then you get access to your fonts and if you scroll down here, you're going to find the Luna font. Now that you've downloaded and installed the font, we're ready to get started with the actual text effect. 4. Pt 2 Assemble the Brushes: Now, the first thing that we're going to do it in Procreate is to make a couple of brushes, and for this we need a squared document. I'm going to make a large size square document here, it's 2048 by 2048 pixels. I have black as my color and the first brush that we're going to make is a monoline brush. I'm going to tap on my brush tool and here I'm going to create a new set. I'm just going to create this as a set for raised text. With this set selected, I'm going to tap the plus sign and the first brush is this monoline brush. We're going to choose swap from pro library and I'm going to use this hard circle. Then for the grain, we're going to again choose swap from pro library and we're going to select blank, which is that black box. Effectively that means there's no grain on this brush at all. If your brush doesn't look like this at this stage, you can tap invert shape because if you don't have it the right way round, which is white in the center and black on the outside, then it's going to paint as a box rather than a smooth line. Go back to stroke and I'm just going to adjust the spacing down a little bit. Basically for this brush because it's a monoline brush and we're going to use it as a mono mine brush shortly, it needs to be just a single weight and it shouldn't have any tapering on any of the ends. Down here under Pressure Taper, you should adjust the tip all the way up to a 100 percent and that becomes blunt. If you're using your finger to draw instead of say an Apple pencil, then you'll do the Touch Taper and you'd set that tip too blunt. For all of the other settings, there's nothing much that we need to do here because there's no grain on this brush at all because it's just that blank black box. For dynamics we don't need to make any changes although I do suggest that you work with normal, not with glazed or wet mix. With the pencil, we don't want the pencil to do anything other than draw with this brush. We don't want any pressure sensitivity to make it larger or smaller because it's a monoline brush. With general, the only thing that you might want to do is just increase the size limits. What that does is it makes the maximum size of the brush just a bit bigger and sometimes you want your monoline brush just to be a little bit bigger. For minimum, I would usually kick those up to about 1 percent because that's going to be the smallest it's going to draw, so somewhere between 0.5 and 1 percent is a good value for that. That's pretty much this brush done. I'm just going to call it monoline and I'll tap "Done". We've got the first of our brushes here, and let's just make sure it's drawing fine, which it is. The next brush that we want is going to be a slightly rough edge brush. For this, we're going to use the monoline brush, so I have it selected. I'm going to draw out a relatively large circle here. I'm going to tap on "Edit Shape" and then tap on "Circle" so it's actually made into a circle, and I'm going to drop black into it. Think it's a little bit small so I'm going to tap the ''Transform Tool.'' I'm going to set it to Uniform and Magnetics and now I can just enlarge it a little bit and just place it where I want it. I want it to be large enough so that it's coming over the mid line through this document, so the far right edge of the circle should be over what would be a line down the middle of the document. Let's go and make a duplicate of this layer. Go back to the Transform tool and then just drag the duplicate across and this is the sort of look shape I'm looking for. I'm just going to bring it over to about there. Let's merge these two layers so I'll just tap "Merge Down" and now I can put my shape back a little bit more centrally in my document. This is the shape I'm going to use my brush, so I'll go to the actions palette. I'll tap "Share", and I'll tap "JPEG". Then I'll tap "Save Image" so it's saved into my photo gallery. At this point, I can get rid of this layer so I'll just delete it or clear it. I want a layer so that I can practice with the pen in a minute, so I've got my layer now all sitting there ready. I'll bring my photo gallery in alongside my document to create my brush. I'll tap the "New" icon. I'm going to drag and drop the shape into the shape source box. Then for the grain, I'm going to swap from the Pro library and just choose the blank grain, which again is this black box. I don't need my photos any longer so I can get rid of them. For the shape I'm going to need to invert the shape so it's going to print more like a brush. I'm going to tap on the strokes so that we can make some adjustments to this. What we want is a slight rough edge on this and that's why we had those two circles, because if we rotate them and jitter them a little bit, we're going to get a slightly roughened edge. I'm going to increase the jitter a little bit until the edges just start to roughen up, and then I'll go into shape and I'm going to start increasing the rotation because that also will roughen up the edges. You just want the beginnings of some roughness, it doesn't need to be too rough. It's just going to give us the impression that maybe some of the ink that we're working with has actually bled into the paper. At this point we can test that and see how it's looking. I think it's probably a bit too rough so I'm just going to take down the roughness on the edge there. You can fine tune that brush until you get just the edges that you want. Pretty happy with that so I can just clear that. I'm going to call this brush rough edge. Now, because we're only going to be using this to color things in, it probably doesn't need streamline, and it certainly doesn't need tapering either. But if you wanted, you could add a bit of taper to this, Touch Taper of course, is what's going to appear if you use your finger to draw so I might bring a little bit of tapering in to the ends and Pressure Taper, well, that's for the Apple pencil. If you do want tapering, then you can also go to General and turn on the classic taper, you might get some better results with that. You'll also probably want to adjust the size in the pencil area and just increase that so that you get a difference between the tape it ins and the middle of the brush. This is drawing really well. I'm going to like that as a coloring in brush. Now there are a couple of other brushes that you may want to add to the raised text set. I'm going to the brushes that are already installed with Procreate and I'm going to the organic brushes and the sable brush. I'm going to make a duplicate of it by just dragging over it to the left and tap "Duplicate". Then I can drag it up and drop it into the raised text set. I'll just grab it, hover over the raised text set until it opens up and then just drop it into position. I'll also go and get the Hard Rain brush, which is in the Elements collection. Let's just locate Elements, and here is Hard Rain so I'm going to drag over it to the left and tap on "Duplicate" to make a duplicate of that brush. Then I'll pick it up and drag and drop it into my raised text set. If you just hover over the set, wait until the set opens up, then you can drop it into position. Now I'm going to make some minor changes to this brush so I'll tap on it. I'm going to the strike. I'm just going to decrease the spacing to about 15 percent. That's just going to make it spaced out a little bit better, and then I'll go to General, I'm going to wind back on the minimum and maximum just make it so that it can be brushed over a bit smaller. Once I've done that, that's pretty good. We've got most of the brushes that we'll need for this project in a set already to go. 5. Pt 3 Paint the Text: To create a document, we're going to create a document the size of the screen. I'm just going to select screen size here. We're going to add our text, so we'll go to the actions button, then add, and then add text. I'm going to type the word dream. We'll tap edit style over here on the right. We need to go and find our font, which of course is Luna, so I'll tap on that. I'm going to enlarge my text because I wanted to take up pretty much most of the page here. I'm going back into edit my text, where I can see it because I need to look at how much space there is between characters. Ultimately, I'm going to put a shadow effect on the left and slightly to the bottom of each of these characters. I need plenty of space between them, and I don't think that there's enough space between the D and the R. I'm going to put my cursor in there and then adjust the kerning a little bit. I might want a little bit of extra space between the R and the A, perhaps not quite as much as between the D and the R, and again, between the A and the E, I'm also looking at a little bit of extra space there, and between the A and the M. Kerning is a tool that you can use to adjust the space between two adjacent characters, so I'm just looking at that now, I think I've got pretty much enough space to work with, so I'll just tap done. I'm going to place my text a little bit more centrally in the document just using the transform tool. The idea with this is to make whatever it is that we're creating look hand-drawn, and of course it's not hand-drawn because this is a font. To get a more hand-drawn look, we're going to actually draw the text. It's just that we're going to use this as an indication as to what we're going to draw. I'm going into our last palette, I'm going to tap on the letter N, I'm going to reduce the opacity of these letters so that I can see clearly on top of them as I draw. I now have a spare layer just sitting here, and you'll have a spare layer if you just add text to a brand new document. Because each brand new document has a layer, and text goes on a separate type of layer, so you always have a spare one just sitting around. You can just move it up above the word dream, and then we're going to choose a color to work in. This is going to be your base text color, if you like. You can choose whatever color you like. I think today I'm going to work in purple, so I'm going to start with mid purple. Doesn't really matter too much what color purple you use at this stage, because you're going to add some extra highlighting and shadows a little bit later on. I'm going to zoom in, so I can see where I'm working. I'm going to my brushes and, I'm going to select my rough edge brush, and just going to say how it's drawing, it's looking pretty good. I don't want it to be particularly big at this stage, so you might need to scale it down. If as you draw, you think it's a bit too rough, then you can come in and make changes to it, so you would, for example, reduce the rotation on the brush a little bit, and that's in the shape area. In the stroke area, you could also adjust the jitter and just take that down a little bit if you think it's too rough, and you'll just need to say as you draw, how it's drawing and whether you need to make any changes. I've got something happening here, so just erase that. Let's continue on with this. What I'm going to do is use the letters as a guide to put in my own layer of color, and if it's not perfect, that's just fine. But you know what, it's going to look as if you have drawn it by hand. Basically what I'm looking at is getting the outlines of the letter because then, I can just fill it. If you didn't want this totally hand-drawn look, you could skip this step, but I think it looks better with this. I think it's well worth doing. I've got all my outline's there. I can just drag my color into fill my shape. If I think I've over done the rough edge a little bit, I'll go to the eraser, I'm going to make sure that the eraser is working on the mono line, and I'm just going to adjust its size. Obviously it's painting way too big. I can just come in here and erase a little bit of the area if I wanted to do that. Having done that, I may want to just re-ink just around the edges, so it doesn't look to smooth. I'll also fill in any areas where I'm saying that the ink hasn't gone perfectly. 6. Pt 4 Create the Paper Shape: Now that your text is [inaudible] have a good look at it and say if you want to smooth everything out, I really wanted a hand-drawn look here, so I'm really happy with what I have. I can get rid of the original dream texts. I don't need that any longer. I'm going to take a duplicate of the texts that I have painted. I'm going to focus on the layer underneath. I'm going to turn the top one off. Now for this, I want to paper color, but because it is going to be a little bit difficult to work with a quite light color at this stage, I'm going to overestimate my paper color. I'm going to the colors and I'm going to value. Ideally my paper color would be somewhere up the really high levels here. A high numbers may be 250, something like that. I'm going to make it a little bit more colorful than that right now because I can change it easily later on. I'm going to make these values somewhat equals. I'm getting a gray. If they're even numbers, then they are going to be pretty close to Grey. Well, if they are even numbers, they are going to be Grey. If you get pretty close to it, that is pretty good. I have got my color, I'm going to use, I'm going to the layer, I'm going to turn out for lock on. Then I'm going to choose fill and that fills it with this color. Now I'm going to turn the other text layer back on. I have still got my gray last selected. I will go to the transform tool and I'm going to knock this out of alignment. This is going to be my paper color for my cut out effect, if you like. I'm going to disable magnetics and I really wanted to drag this into position. I want to make sure that what is going to be paper layer later on doesn't go too close to the letter next door. I certainly don't want it to overlap the letter next door because that is not going to be the effect that I want. I want these quite separate from each other. I'm just double-checking to make sure that I have got that. When I'm pretty happy with my placement, I will just tap the transform tool again. Thinking that even at this stage, I could probably dark and that paper color just to make it a little bit easier to see what is going on. I have got alpha lock turn on. I have just chosen a slightly darker gray, going to fill it with that color. Now I'm going to look at how these two layers are interacting with each other. I'm going make sure that I'm on the layer that has the gray on it. I'm going to my brush and I'm going to choose again my rough edge brush because what I'm going to do is join these areas up, but I'm going to need to turn alpha lock off before I do that. Otherwise, you won't be able to get any paint down. I'm going to focus on any areas where I can see why it between the Grey layer and the purple layer. I'm also going to round off these corners as if I would come in here perhaps with a pair of scissors. I'm going to overestimate where my paper is going. It is not going to be as if I have done a really good cut necessarily around my design. You can build up a little bit of extra of this color. I think that I like that effect. I'm using the gray text layer as an indication as to where this effect should go. But I'm actually making it bigger and a little bit different in shape as I go along. Now if your word has the letter I on it, you will probably find that this paper effect is way too far away from the dot on the letter I. You may want to entirely redraw that. Just be aware that this is not rocket science, it is not supposed to be accurate, it is supposed to be acute little effect. You can erase paper if you don't want it to be somewhere and you can build it where it wasn't before. 7. Pt 5 Create the Ink Lines: Now that we've got our paper layer, let's have a look at putting some pen lines in. I'm going to create a brand-new layer and it's going to be actually under the paper layer, so I'm going to take it under the paper layer. I'm going back to my Pen tool. I'm going to use my Monoline this time. I think that's going to be probably the best brush to use. I'm going to use black or at least a very dark gray. You might be happier with a dark gray than black because that's probably a little bit more realistic and probably a little bit more subtle, not quite as obvious if you like. I'm going to use a dark gray. What I'm going to do is do a very fine line. I'm just checking this line, it's absolutely huge and I don't want it to be that big. What I'm going to do is come along the paper line. Now, because we're working underneath the paper, the line that we're going to make is going to be hidden in part by the paper so you can actually thin your line down. You can also get more like a ragged pen line by doing it this way because some of your line is going to be over the edge of the paper and so it's going to be cut off by the paper so you're going to get something that looks a little bit more organic. I'm going to stop this before I get to the edge of the paper, I'm going to think that this is a line that I have actually drawn in ink and I want it to stop. I might have stopped the ink line not all the way to the end. You want to stop with a good pace of ink. You want a definite stop. You don't want it faded out too much. It's also possible to draw this line above your paper line so if you wanted to, you could do that. You'll just need to watch to make sure that you get pretty close to your paper line but you can see that I can fudge this a whole lot better if I'm working underneath the paper, it suits my style of working a little bit better. You're going to go all around each of these letters along the edge of what is the paper line. If you go along, you can make minor alterations. For example, if you see that there's something wrong with your paper layer, you could just switch to that and go to your eraser and just fix it up. When you finish drawing your ink lines around your sheet, you just want to check and make sure that everything looks good and just touch up any areas that you think need adjusting. 8. Pt 6 Add the Shading: Now that we've got our paper cut out effect and our ink down, it's time to put some shading in. So we're going to add another layer and it's going to be beneath everything that we've been working on so far. We're going to get sort of gray color. I have sort of gray palette here, I don't want it to be particularly dark. So I'm thinking this sort of gray would be pretty good. We're going to go and use that hard rain brush that we had selected and moved into this position. For the hard rain brush, you want it to be really small and it may not go small enough. You also want it to be very light, so probably bring your opacity down. I'm just going to start putting some coloring and it's way too big. Let's go and get the brush and see what we can do with it. In the general area, we get a chance to adjust its size limit. So I'm going to bring its minimum size down as small as I can possibly make it, and its maximum size down pretty small too. Now that will mean that the brush size is now a little bit more manageable and I can see it now on the screen. I'm getting a bit more mileage out of it. Again because we're working underneath the layer above, it doesn't matter if you sort of paint into the letters because that's just fine because they're being covered up. The layer that you're working on is tucked under everything else and so it's going to sort of make the cut edge for you automatically. You're going to come round and just put some shading in here. Again, it doesn't have to be totally correct. You just want to get the sort of shaded effect. You want to get this dimensional effect. So this brush is kind of nice because you can paint multiple times with it. It sort of builds up and it's got quite spread out sort of little particles in the brush. So you can actually enjoy coloring this quite a lot. Certainly anywhere where you have your incline, you'll probably want to add a little bit of shadow at least. This is of course why we needed to be really careful to make sure that our letters weren't too close to each other cause there's a lot action happening around the letters. There's lots of layers to build in here and you want plenty of room to move. Let's continue around and just draw in the shadows. You'll find that if you did as I did and blur all these effects. So you're continually painting under the layer on top that you don't have to worry too much about lining things up. It just automatically lines up. It's a lot more of a giving situation than if you're trying to actually stack these layers on top of each other, the other way. But do make sure that you get your shadows right in next to the pen line that you drew. Don't add any white space in there, that's not going to look quite so good. Having done most of my shadowing, I'm just coming back and just fixing up the shadows closer into the letter, just making sure that they're attached really well. Once the shading is completed, the next step is to come in and add some dimension to the type itself so that we're going to turn it from just a solid purple or solid whatever color you have into something a whole lot more interesting. 9. Pt 7 Add Some Color Variety: To add some variety of color to text, we're going to sample the color that we actually used. I do that by just holding my finger down over the color and that samples it as the current color. I'm going to open up the color panel and go to the disk because I want some colors that are sort of close to this but not exactly this. I'm going to walk my color picker around into slightly more magenta and I'm going to go a little bit lighter. Now, we'll go into our layers and I'm going to work on the exact layer where my text is. Now if I make a mess of this, it would be hard for me to make a copy of this before I start. I'm going to duplicate it and just turn off the duplicate. I can tuck the duplicate just away at the bottom of the document. I probably won't need it, but if I do make a mistake, then I've got a copy of it just sitting there. I've got my layers select. I'm going to work on this layer. For that reason, I'm going to set Alpha lock on. The reason for this is that my painting is now going to be isolated so can only be within the area of the letter itself. I'm going to my brushes and let's just see what we've got. Well, I've moved a copy of the Sable brush into this set. That should be just a fine brush to use. Let's just go and check it. I'll add a new layer because I won't be able to paint on the dream layer with it because it's Alpha locked. I'm just going to test and see what it looks like. I don't want it to be fully opaque and I don't want it to be really huge. I think that's a pretty good size for it, perhaps a little bit less opaque. Now let's go back and select this text layer so that I can paint on that. What I'm going to do is just rub some color into some key areas in this letter. For each letter, I'm going to leave untouched the area where two lines are sort of intersecting which is at the top of the letter D and between the stem and that sort of arm on the letter A. I'm going to make sure that they are not covered in this color because I want to make that a bit dark later on. I also want to make dark at the very ends of each of the letters where the ink might conceivably pool if we were using ink. There's a little bit of ink left over and so it might sort of pool in those areas and so I want to bring attention to those. I'm just adding in some lighter color here. I can go even lighter and add a little bit of even lighter color in here, too. Then we're going to blend that in a minute, so don't worry that it looks a bit splat right now. Then I'll go to my actual color and I'll go darker than that. This would be where the ink had pullled. I'm going to put a little bit in these key areas where presumably when I draw with a pin, they would have been some ink left over either because I'd gone over the same area a couple of times or its at the end of a stroke and so there's going to be ink potentially pulling at the beginning or end of a stroke and perhaps even at the bottom of a letter, if you think in terms of gravity pulling the ink down. Even though we would be inking on a flat surface, we might conceptually get ink at the bottom of the legs of the characters. Once I've done that, I'm going to the Smudge tool. The Smudge tool is going to let me blend these colors into each other. I've got the Sable brush selected as a Smudge tool brushless see how that's going to work. All I'm going to do is just work this color in. I've got a fairly smallish sort of brush which is allowing me to sort of push this color around. Now if you drag a dark color into a lighter one, you're going to actually drag the dark paint in over the top. You can sort of determine whether you're going to drag the lighter colors or the darker colors, or just move them around as you feel is appropriate. But you're looking to sort of smooth out the color elements that you've just added to make it look as if it could potentially have been hand inked. Now after your first run through with this effect, you may want to have a second go at it, maybe add some lighter colors or some darker colors or just say what it is that you think that you're missing. But I do a blend first and just see what you're working with and then add some extra bits to it if you need to. I'm thinking I want some lighter bits. I am going back to the Sable brush because of course that's the one that's going to put down paint. It's going to add some of these lighter bits into my letter forms. Then I want to erase sample the color that I was using. Let's just go and grab that and let's see if we could just get that same tone, but perhaps a little bit redder. I'm going to add a few bits of that in as well. As soon as I've added the color, then I can go back with the Smudge tool to just smudge that in. By the end of this step, you should have a whole heap of variety in the colors that you're using in your letters. 10. Pt 8 Darken the Edges: It's time now to add a little bit of a darkening around the edges of each of these letters. This is the way we're going to do it. We're going to add a brand new layer, but we're going back to select the dream layer. We're going to select the content on this layer. So you can just tap on the layer thumbnail, and choose, Select, and you'll see that shaded selection. Now, I'm having trouble recording my screen looking at that so I'm going to turn the visibility of that off, but just know that that area is selected. I'm just going to turn off my selection mask here. It's just going to make things a little bit easier from the point of view of recording this. So I'll go back to the layers palette. I know I've got that selection already in place, I can tell because the selection tool is selected up in the top left corner. I'm going to target the layer that I want to put the color on, and that is of course, this top-most layer. I'm also going to set its blend mode to Multiply. Now the color that I'm working with, is the original color from the text, and that's just fine. The brush that I'm working with is my rough edge brush. I'm just going to dull down the size of it, and I'm also going to dull down the opacity. I'll zoom in, and because the selection is on the text, so I've got a selection that's actually the shape of the text. I can just paint over the very edge of the text. I'm painting mainly off the edge, but you're only seeing the paint come into the very edge because of that selection, and the selection is acting as a mask, even though it's a selection made based on the content of one layer, but we're painting on another layer. It's just a really handy little technique to use, and so I'm going around just with this paint, just making sure that I'm darkening the very edge of every one of these letters. I'm looking for a rough look. The concept here is that if you were working with ink or paint, there's a chance that it would pull along the edges. So you're going to get extra ink if you like, at the very edges and when that dries, it has a darkening effect. This is what we're trying to reproduce here now. I'm doing a really rough job of this. You probably want to be a little more careful and try and just get the very, very edges of the top. My effect is probably a little bit bigger than it probably needs to be, although it would be easier for you to see. If you do go too far, you can always just come in with the eraser and just erase off the bits that you don't want. If we weren't using the Multiply blend mode, we just wouldn't be seeing this effect as it goes on at all. So you would want to be aware of that and make sure that you have Multiply blend mode on. Multiply blend mode is one of those darkening blend modes, and so what's happening is that the color that we're painting on, is blending in with the color on the layer underneath and it's intensifying. Because it's Multiply blend mode, the colors are interacting, individually. So it's going to look darker on dark areas of this lettering and it's going to look a little bit lighter on lighter areas of the lettering. Multiply blend mode is better than painting with just a single dark color because you get more variation. The kind of variation that you would naturally get if this were ink pulling, it would be pulling in the color that the ink was in. So lighter colors are going to pull, but the final result is going to be a little bit lighter than where the darker colors had pulled. So this is a more realistic blend mode to use, if you like. Once you get all the way around your letters, you might want to touch up a little bit if you think you've been a bit over enthusiastic. But the next thing that you're going to do is come in here and tap on the M, which is indicating Multiply blend mode. I suggest you dull the opacity down to zero, so you totally remove the effect. Then just move the opacity slider up so that you're increasing the effect and stop when you think you've got enough. I think the sweet spot is probably at about 50 percent. It seems to be. I've done this a few times and it seems to be a really good value for getting a subtle edge effect, but without making it too obvious. So let's just see what that looks like. I'm going to turn it off and then turn it on again. I think that you'll agree that, that dark thing at the edges just adds another element of realism to this text. 11. Pt 9 Finishing touches: At this stage we're almost done with the design. Now you will note that I added the shadow to the inside of the letter A, which I had forgotten to do. But let's have a look at the final step, which is to add some texture to the paper. For this, I'm going to be using the old skin brush. You will find it under Touch Apps, and it's called Old Skin. The reason why I've chosen this is that applied to a white background, it's going to look a little bit like really heavy paper. I think it's going to really work in these circumstances. We'll have a little look at the brush and you can adjust the spacing. I don't want it to be particularly dark, so I'm increasing the spacing a little bit. We're just going to use it in a really large size. I'm just sizing my brush to a relatively large size. I'm going to locate the paper layer, which is this layer here. Do remember that we colored it a little bit darker just so we could see it. Well, what I'm going to do is add a layer immediately above it. I'm going to select this paper layer. I'm going to target it, and then just tap on Select, and that selects the contents of the layer. Now if I go and select my empty layer and find a almost white color to use, let's have a look at the color I'm using. Well, it is white, it's 255255255. I have white selected. What I'll do is use this brush to just brush over my new layer. As I'm brushing on the color, I'm actually brushing on that texture, and so when I'm done, I'll just target the selection tool and just deselect that layer. If I zoom in, you'll hopefully be able to see the texture in the paper area. That's just adding that little bit of dimension there. The final thing that we need to do is to add some text around it. Now let me just see how big this document is. If I want to move the word dream down, I'm going to the last pallet and I'm going to select every single layer that contributes to this text effect. To start off with, it's this one at the top. Having selected that layer, I'm going to very quickly swipe to the right on every other layer that is contributing to this text effect. Then just select all of those layers. Now if I go to the Transform tool, I can move the text down and everything that is part of that effect will travel with it. Now the other thing that you could do at this stage in the last pallet would be to group these. Same thing, if you add them all to a group, then you can just target that group and move everything. Just makes life a whole lot easier. To finish off, I'm going to write the words, Dare to, and I'm going to draw those in a font. Before I do that, it will behoove me to pick up a purple color. At least I'll be able to see my text. Then I'll go to the Actions menu. That's that little wrench icon, tap Add, and then tap, Add Text. Now I don't want to use this same font, so I'm going to find an alternate font to use. I think Sacramento is going to do it for me, but I'd like to use a lowercase D. I'll go back to my keyboard, place my cursor just after the letter D, and I'm going to come in and in a lowercase letter. I'll go back to Edit Style. I'm going to make the type quite a bit larger, and let's just have a look at it in place. Now I'd like to color my text using a color from my actual art. I'm going to target the art and just sample a color to use. Now, to use it for the text, it will help if I actually save. I'm going into the color area, and I've just got an untitled palette here. I'm just going to tap on an empty spot and that just saves that color. So I'll be able to use it again in just a second. I'll go back to the Layers, and I want to edit this text. That's how you can change the color. I'll tap on its icon and go to Edit Text. You can say that the color has now changed to the color that I was using for the actual text while I want to change that. I'll just tap on the Color and go and select the color that I just saved. Now tap again on the Color, and then tap Done. You can actually change the size of the text here using the transform tool. You won't have uniform selected at the bottom but you can change the text size by just changing the size of the box that it's in. Now this is a quote by anonymous. I'm just going to type anon just to finish off, I'll add some text. Let's type our text. I'm going to do it in all capitals. It's going to be really, really small. I'm just going to move it to where I can start to see it. I'll tap Done, and I'll just move it into position. If you find that your text just insists on re-sizing and not moving, then just tap the Transform Tool to stop it from doing that, and then re-select the transform tool. You'll generally find that you break that vicious cycle of things going wrong. There is our completed text effect with the dimensional elements added to it. If I had my time again, I would have made it dreams plural because there are a lot more quotes that you can use for the word dreams. Perhaps be aware of that and get your quote ready before you actually do the text so that you make sure that you've got exactly the elements that you need for your finished product. 12. Project and wrapup: We've now completed the video content for this class so it's over to you. Find yourself a word to use and a quote that you can put around it, and then create this dimensional text effect for the word of your choice. When you finish the design and added your quote, post an image of the finished product as your class project. I hope that you've enjoyed this class and enjoyed learning these procreate techniques. As you were watching these videos, you will have seen a prompt which asked if you would recommend this class to others. Please, if you enjoyed the class and learned things from it, would you complete that recommendation. It really helps other students to see that this is the class that they too might enjoy and learn from. If you see the follow link on the screen, click it to keep up to date with new classes of mine as they're released. As always, if you'd like to leave a comment or a question, please do. I read and respond to all of your comments and questions and I look at and respond to all of your class projects. I'm Helen Bradley. Thank you so much for joining me for this episode of Procreate for lunch and I look forward to seeing you in an upcoming class soon.