Draw Doodle Typography

1. Intro: but it started. I'm German. I'm an artist and teacher based in Wellington, New Zealand. I've been teaching up for the last 13 years to high school students. And over those years, I've worked out some really great ways of explaining the techniques in skills that students need to develop their own style work in this course doing typography. I'm gonna show you how to create a really interesting piece of up out of a piece of wood, some typography and your doodles gonna make a stencil for your word. And I'm gonna show you how to draw your doodles through the state so onto the piece of work . So if you'd like to create a piece of I like this and role in the course today and let's get doodling 2. Preparing the plywood base: just want to find ah, nice piece of plywood that you want to use for your during. Um, you want Teoh? Just figure out the size that you want. You're going to be in shape and just rule that up on the first pizza and being just using a school sore and some clamps just trim the edges down. Now it's good if you can use a light plywood because the contrast nicely with the black entropy in we're gonna be using, just send it off. I've got an orbital sander here, but you can do it with hand sending as well and just saying the beaches down nicely. So it's just nice and smooth. You're not gonna give me splinters or, you know, kind of ugly. Each is on it. Say a little down until you're happy with how it looks. If you prefer. You can use paper for this, but I quite like the look off the wood grain, the wood teak chef behind the drawing. And I just think it contracts really nicely with the black lines what we're gonna be drawing later on. If you do want to use paper, then just find a good quality piece of paper that you can use Catterick paper for printmaking paper and just get that caffeine and reading for the size that he wanted to do you join. 3. Choosing the word and font: All right, now we're going to create their takes that we're gonna use for our design. So we want to do is open up photo shop or if you don't have fellowship, you can use Mark. Stop were Or what if you like, create a new document. And we want the document to be the same size as the piece of wood we user. So mines 50 centimeters wide, 23 centimeters high, and it can just be a grayscale image. So just call it what you like. Um, and this is the size of the size of the world. So the next thing I want to do is you wanna excuse a textile type in the word that you want to use, you can use anywhere you like in my example may be useful. Wouldn't make it. So, um, just on largest that like this in the middle. Now, if you want to use a really simple, clean, bold font being aerial black is a really good fun to use. This is the fun off right here on. Do you want to think about using a form? But here's a little bit of kind of weight to the leaders because we're gonna be drawing the doodles into the space in the letters and so we don't want something that's too kind of skin your fiddly. And now I decided I wanted Teoh have a bit of, ah, Western sort of style front to this design. And so I didn't have any fun side. That s Owen Teoh, one of my favorite websites that font dot com and is a great place to get free funds. Um, you can just search down on just just kind of have a whole look around A with the different themes. But I went to the Western theme here and just searching down, sitting down, and I came across this really cool one doctrine. I really like the swish on the K. So I've downloaded that false already dropping into your front book. I mean, really, to go on son a shop. So all they want to do now is just select the text you've got type in the name of the front . I'm doctrine and cool thing about this phone is that when you use a capital K, you end up with swift. I want something was really cool. And what's he once you've got that right. Just resize it to kind of get it looking the size that you want to look on your piece of work. Um, don't make it too small. Otherwise, it's gonna be quite hard to draw in. Um, just kind of lining up in the middle of that. So that's looking really good. Now, I'm ready to print that out, and I'm just gonna printed out on a couple of a four pages, but you can print it out. How have you, like, really to cut out stencils? 4. Cutting the stencil: All right, So now that we have printed out would on paper, we really to start cutting the stencil. So for this job we're gonna need you can use one craft knife or you can use a couple different tools. I like to use this scalpel for the round of areas, and I like to use a straight craft night for the straight years. So there's lots of ways of doing this, and it depends a bit on the fault that you chose it. But if you have lots of straight years, you can just use a ruler like this and you can just work your way around and just cut all of the, uh, straight lines like this just kind of going around and coming like this. Now, this particular one, none of the lines that that's right, they're quite coolly. So I'm just gonna use a, um, the scalpel for doing this job. So the trick to doing this really is just a kind of hold on to the paper and just to pull down kind of towards yourself and just use it like a like a p important, like a pain and just kind of twist it and you can move your hand as well. So easy going because it's quite thin paper. You don't actually need to press very hard in order to get get a cut and hell sort of kooky . You know, you do your cuts really up to you. It doesn't mean it if it's not perfect. But obviously, the closer you can get to the takes, the better it's gonna look in the end. All right, so let's get cutting out, Okay? Now, when you get to one of the leaders that has a closed off pace like this, obviously if we cut all around the litter, then we're gonna end up losing that peace in the middle. So what you need to do is just to cut a little, commit the peace. So here's how you do that. And you basically want to connect to the Serie here to the outside here. So you want to cut away down one side like so? And then you want to just leave a little space like this so that when we come to do the drawing in the stencil, we're going to actually, um, kind of draw around that area and then when we get to this peaceful just fold it back and we can draw the details in there. All right, let's cut out the rest of the world. Okay? So small, enclosed areas like the A in the hour are fine to just leave one connector. But the problem with this large theory here is that if we just leave one connector here, then it's easily gonna kind of beans or break. So the best thing to do is to have to connect. Is it opposite ing's? And I think it looks good when the connector is sort of part off the existing line. So if we don't like that and then we leave a decent cut in there and they were also going to just make one up over here, we'll just do a piece across like they're. So when we cut it out, this white powder in the middle is gonna have to places where it's connected to the outside . All right, let's keep cutting. - All right, so now we have cattle of the letters, and even if a few of them sort of flicking up like this, it doesn't really matter, because when we draw over it, we're gonna be kind of holding it down as we go. So now we really Teoh get a piece of wood and line up the ticks Line up the stencil on the wood 5. Thinking about doodles: all right. So here we have our state soul just taped onto the wood, and you just want to think about the positioning and just make sure that we've got kind of even spaces around the littering, depending on you know, the exact location of your your word on the paper and kind of how you wanna lay it out. But it's where I wanted to be. So just before we crack into doing the patterns, I just want to think about, um, about doodles for a few minutes. So what we'll do is gonna push that aside for now. We're just gonna start off with a piece of paper and we're going to think about the kind of doodles that we want to use now does can be anything they could be anything at all. But I have a few kind of rules or guidelines that I follow in my work that you might want to use, or you might just want to make up your own pitons as well. But one of things that I like to do is I like to have movement inflow, so I like to have all of my patterns kind of flowing from one to the other. So what I often do is go to start off with a line like this, any kind of line and then all developed things from that line. So what I like to do, one of one of the patients that I like to do, is kind of an arm and shape. It's good like that. And I like to draw the draw lines going along in the same direction in going to the same point on this kind of like toys. But then with different kind of points alone here, and I like to kind of make the corner bits a bit darker. Just bring it docking sad, a little bit carried on my bed. Okay, so then I have some other shapes. So, for example, I might have a shape that was, like, this kind of a teardrop shape. You might have another teardrop shapes flowing from that one. And then I might also have lines that come off the other anglers as well. So kind of flowy lines like that, um, and I'll kind of draw these shapes in the in between. In the in between spaces, I might fill worth, um, a little just imagine that that one was carrying on through there Fill with some little half circles like this. Now, I try not to let I try not to over left any lines so I wouldn't want to go across the line like that. Um, I always want to kind of flow on from a line or, you know, go upto a line, but not kind of go over it. So sometimes in these sort of shapes, I might head and you know, some contour lines at this and then finish it with some straight lines so you can do anything you want. Really? You might want toe have some kind of flower shapes like this, but you might say that from each of the spaces in between, out of there comes another shape or, you know, out of their flows another line like that in that turns into another piece of hitting. I don't like Teoh use different patterns and actually that like to have one pen. It's kind of flowing behind the whole word and that just makes the whole kind of would fit together really well in quite and look quite good together. The other thing that I like to do is to have a start point. So say this point here in the in, build all the petals coming out of it in a kind of, you know, like raise or or that's like the epicenter of the Piton, And then everything flows from there. So for this one, this example, it might be a point over here somewhere with, you know, things are flowing around here. I mean, that kind of coming out of here, But they all sort of coming from this one, this one point. So maybe have a little play around with some patterns and and see what you couldn't come up with. Um, I usually have about four or five patterns that I stick with for the whole design. And you might want to just sort of come up with some ideas on the paper before you start working on your piece of wood. Okay. All right, let's get started. 6. Planning the patterns on the wood: So for this design, I've decided that I'm going to start with a point in the center of the word, and I'm gonna use that point to kind of have all of my pets flow out of. So I'm gonna start off on the K, and I'm just gonna choose a point right there, and what I'm gonna do is I'm just gonna draw some shapes that flow out from there. So now one of things you need to do one of things I do is it is I draw over top of the paper as well, and you may need to hold the paper down a little bit so that it doesn't move around. All right, so just put a bit more masking tape on there because Stinson was moving around a bit. And now I'm continuing to sort of plan at my Petain's. So using the central point there wanting to kind of developed some lines that are gonna if other, you know, the pitons will be based on these points. Okay. So as you can see, the point in the middle is going to be quite built up. It's going. Teoh is going to be quite dark were in the center because we're gonna have heaps of lines coming to it. So it's going to be a really obvious kind of point that everything is flowing out of. 7. Drawing the doodles 1: So now that I've got my basic out fine, I've got some sort of structure for my design. I'm gonna now start filling in some of the shapes and you'll see as I go that I have kind of some different different pens that I like to use. But I'll just kind of work organically through it. And then when I kind of have done most of the shapes, then I'll start to build smaller shapes around it. I mean, in the indoor filling, with some smaller patterns as well. All right, so let's do it. 8. Drawing the doodles 2: So one of the things that you need to think about when you're doing your patterns is that there's not gonna be an outline to the lettering. It'll so the Aegis wants are the ends of the lines are going to create the line of your work. So what you need to do is as much as possible, you need to try and have the lines ending at the age off the liters. So this is a really good example here because when we lift up the stencil, you deceive lots of straight lines, lots of beans which will create the line off the edge. You want to avoid this kind of thing here, where you have sort of a line that goes along the edge and then up to the each just because it doesn't look as good. So it doesn't matter if you have some of those, but as much as possible, try and work your lions to the edge off steam. So all right, let's carry on during 9. Drawing the doodles 3: All right. So once you've done ah whole area around the piece where you have the convicted bits, then what you need to do is grab you. Uh uh, scalpel. And you need to just make a really fine cut here. Just be really careful not to kept the wood. And you just bean that up. Actually, you can just cut both of those. Oh, and then you just need to finish the pattern around there. Uh, especially on the inside part. And same with over here? No, a double over here. And the trick is just to hold this in place, so just make sure that it's lined up and they finished off. The patient here kind of goes right on that line. I mean, we can take it away. Well, uh, we have a judge, and it's quite cool because you get to have a little preview about what the each is gonna look like when the whole thing is finished. So now we just want toe. Just carry on the key to that, but it is just before you do the connector. But you have to do kind of all around here and then cut it and then finish off that little bit while you're holding it. All right, let's carry on. Okay, 10. The big reveal: all right, So now that we've finished all the pattern, we can take the stencil off for the big reveal. And there we are. We have doodle typography on. Would you can see how it's quite easy to read on day. One of the things that I think makes it look a bit better is if you do have some kind of dark areas or some more built up areas, and I actually think that was quite good, because it just gives it a bit more weight. And the areas that have the lions that sort of, you know, that don't really define the eat Three. Well, that doesn't matter too much, because, you know, it's it's kind of made up by the restore the lines as well. So gives it quite a an organic sort of feeling. Each thanks for taking this course. And I hope you enjoy during your doodle typography cheese