Wortspiele in Procreate: Gestalte witzige Schriftzüge

1. Introduction: Do you want to learn how to create something that combines illustration and lettering? I'll be teaching you a quick and easy way to combine illustration with lettering in Procreate. We'll be going over the simple steps I take to turn an idea into an illustrated pun. My name is Claire, I'm an illustrator and lettering artist. I create things by hand and with the IPad. And I've been working with businesses on custom illustration for the last six years. As an illustrator, I use puns and wordplay to communicate an idea in a short and sweet way. Puns are a great starting point for communicating an idea to your audience because they're memorable and fun. That's why create illustrated puns for greeting card designs, chalkboards, art prints, and more. I've learned a few things along the way, so this class gives you a sneak peek into my creative workflow. Turning a pun or wordplay into a visual is really good practice for illustrating and a great way to work on your lettering skills too. We'll transform your ideas into a unique polished illustration, and follow a plan that you can reuse for other artworks. We'll start with our inspiration and references, and I'll also share some essential tips for building your composition in parts. We'll finish off our illustration in a technique of your choice. I'll use Procreate for this illustration, but you can totally use a tool or technique of your choice. The steps are gonna be really similar since we're less focused on tools and more on the step-by-step creation process. The end results will be unique illustration you can use as a greeting card, give as a gift or share on social media. Each step is short and sweet, so you can quickly build up your illustration and reuse these steps to come up with your own ideas, quick and simple. The purpose of this shorter class is to go through steps quite quickly, so if you're new to using Procreate, I will suggest having a look at one of my other classes where I explain a bit more about composition, and specific Procreate techniques. If you want to learn how to turn your ideas into fabulous illustrations, this class is for you. Whether you're a professional or a beginner in your illustration journey, these steps will help you to communicate your ideas effectively. So let's get started! 2. Gather Ideas: Firstly, let's pick our inspiration. What are puns? A pu is a joke that makes a play on words, and they rely on words that sound similar despite having different meanings. Puns and wordplays are perfect for creating fun illustrations with a short but sweet message. There are different types of puns and wordplays. we're going to focus on the visual ones. These are best for illustration because they're easier to visualize than longer wordplays and usually, they're memorable and fun. That's why they work so well on greeting card designs, as stickers, on chalkboards, or as part of a bigger design. My choice is 'you're the bee's knees', The bee's knees is a delicious classic 1920s cocktail, but it's also a saying, the bee's knees meaning that something is excellent or someone is excellent. I love cocktails and everything retro, So this one is perfect for me. You're the bee's knees, I think, will make an adorable greeting card design or as part of a cocktail menu, for example. You might actually recognize this piece, I did this before and I changed it around a bit because I want to make sure that we can do it together with the custom brushes that are part of this class. They're not a necessity, but if you want to follow along, make sure to download those in the resources. You can follow along with creating this pun, or pick one yourself, I would suggest a pun that is short so we don't have too many letters to draw. Make sure that you have a look at the project resources. I've added a bunch of inspiration there, especially puns that are all about food and drinks, those are my favorite. Now that we have our starting point, we need to visualize that pun. So we want to do is turn the sentence into something visual and make it fun for the viewer to look at. We're communicating an idea, so for that, we need both texts and illustration, and they're equally important. And we need to think of how to communicate this well to the viewer or what they're going to see first. So we're going to start with brainstorming some ideas and looking at inspiration. 3. Sketch It Out: Let's start with our canvas. Make a new one. And this one is going to be 2000 by 2000 pixels. That's what I usually work in. So these are the brushes that we'll be using. There's a sketch brush to start with, then a shape pen and a few lettering brushes, texture brushes, and a few stamp brushes. Let's start with brainstorming some ideas. Firstly, I'm going to write down our text and write down a couple of words that come to mind and some ideas that I have. So for example, a bee, it's a really good opportunity to add a nice character. Of course, the cocktail and then something maybe about the 1920s, the time from this cocktail and this saying as well, maybe something in the lettering that we can add there. At this point. If you maybe want to use Pinterest as a reference for a few ideas, maybe look at some 1920s inspiration or some ideas on how to actually draw a bee and make it look like one. I'm thinking of a bee that's maybe holding a cocktail, for example. I'm also just having a quick look at this 1920s Art Deco style of lettering. Maybe we can add that as well. At this point, I think it's also a good opportunity to make some thumbnail sketches to visualize this pun in different ways. Maybe there is a certain layout you'd like to work with, or maybe you already have something in mind that you want to put in a little sketch. Make sure to add that here as well. So think about how you can visualize this pun in different ways. This is all up to your interpretation. Going through this short design thinking process will help you practice coming up with ideas really quickly and to think visually. And of course, we're going to only select a few things from this, but you'll always have some more inspiration to look at later on. I would love to see what you came up with so far. So sketches, mindmaps, maybe you have a little mood board with some inspiration. Those are all really insightful and they show a lot of character already. Especially if you're working on your own pun, this would be a nice time to see your sketches and your mind map. So you can at this point already create a project in the projects and resources tab and add your sketches to your project. Since this illustration is not gonna be too complicated, I'm gonna give you a quick summary of how I build my compositions. in the next lesson. I want to talk a bit about building up your illustration in parts and using basic shapes to make a composition. So make sure you have some sketches to work with in the next lesson. 4. Create a Composition: The stage where we're thinking about composition is where we're planning, where things are going to go, and how are we going to communicate an idea. Making a composition is about placing and arranging elements in a space and make sure they work well together. So you can use this to guide the viewer's eye and tell the story. So we're going to use simple shapes to build our composition. Shapes like squares, triangles, circles, rectangles and more, can be used to guide your eye in a certain direction, to give a sense of movement, to create contrast and frame your subject. To make sure that we can build our composition we'll turn every element of our illustration into shapes. For me, this helps to build my composition because I know where things are going to go and where the negative space is. Secondly, it also helps me to imagine all the bits the audience is going to see and in what order. This is also going to be really useful when we're working with a lot of lettering. If you took my chalkboard lettering class, you might remember this is how I build up my compositions. I usually build it up by using those blocks, especially when there's a lot of texts involved. So our artwork consists of three parts, we've got our illustration our lettering, background, and then also our canvas or our frame. Let's select the parts that we like most, and that's what we're going to use for our illustration. So before we get started, I also want to turn on a guide. And we're going to divide our canvas into nine parts. This helps to see what is central in our canvas. Firstly, we've got our square frame. Because it is square, it leads the eye to the center. And it also means there's not a lot of empty space. And next up is the oval shape. This is where our illustration is gonna be. I'm kinda going to place it off-center because we need to leave some space for our lettering as well. Placing it off center like this is also quite pleasing to the eye. Next up we've got our text. This is gonna be placed next to it. It's also the same size, but in a different shape. So we're going to use this block, to place our lettering inside later on. I'm placing it diagonally to give our illustration a sense of direction. And it can also elevate the movement in a composition, it just feels a bit more dynamic. It also gives us a bit more space to fill in our lettering, and it fills out the frame nicely. And lastly, we've got an oval shape as the background. And later we can fill this in with color. This kind of also helps frame our composition, and it makes it feel like the lettering and illustration is gonna be more connected. And as you can see, we're playing with some contrast between different shapes. And I like that oval, soft shape in the background compared to the sharp diagonal direction of our lettering. Another benefit of adding a background separately like this is that we're not really going to use the square frame. So we can later on maybe change the canvas size for a greeting card design if we need to. And it won't really change the rest of the composition. Keep in mind that a good composition consists of an effective use of contrast. The more contrast you create the more dynamic your composition is gonna be. So now you've got these abstract shapes and at this point, you can move stuff around a bit if everything is on separate layers. Don't forget to look at the negative space around your object, instead of just focusing on the shapes themselves. I'm also going to make a rough sketch, at least, of our illustration and see how this looks so far. 5. Sketch the Details: Now we're going to use these basic shapes to add in our lettering and a few more details. I'm just writing down this sentence again so I know what letters I have to work with. In this case, 'bee's knees' is the most important in this pun. And 'you're the', can be a little bit smaller. That'll also create a nice contrast. And that way we can put some focus on the B and the K in this case, make that a bit bigger and make sure that everything fits together as a puzzle. So I'm going to sketch these blocks and use the capital letters, make those a bit bigger and make sure that everything fits nicely together in that diagonal shape. I wanted to make these letters quite playful, maybe use a script. But for that, we also have to make sure that all our letters are the same height to make sure that it's still legible. So what I'd like to do for this is use a combination of guidelines and the grid as a guideline as well. If you go to the brushes, you see this letter guideline brush. And I use that to make sure that when I'm making lettering, all of my letters are going to be that same height. I find that really useful to use as a guide. You can even make this round or maybe use this in a perspective. I'm just adding those guides to our shape. And I'm also going to turn a drawing guide on. Use a grid to help you with the spacing and direction of your letters. Your letters can be messy, but as long as they're all on the same slant or the same thickness, it will look intentional. Make sure that your letters are consistent. I find a guide really helpful if you, for example, want to make your letters a bit slanted. This would be nice for a script, for example. In this case, I want mine to be straight, but you can use that as a guide to make sure that your letters are all going in the same direction. I'm just quickly, on a new layer, going to fill in my text. It doesn't need to fit this box perfectly. It's just a guide really to make sure that everything kinda fits well. Script lettering might seem a bit daunting if you've never tried it. But one tip is to leave a lot of space between your letters. This makes them look wider and gives them a lot more space. This always comes out looking a lot better in my opinion. Another tip here is that your round letters, so for example, the S or an O, they can go over the grid a little bit. This optically looks much nicer. I'm putting a lot of emphasis on the B and the K here. And I'm kind of giving these a very art deco feel, with big shapes. And I'm just placing the script here. You can of course use more reference photos or inspiration for your letters here. Especially if you're a beginner, that might be useful to do. So, make a couple of sketches here to see what works best. I'm also using the K to make a flourish and follow the roundness of the letter to make everything fit nicely. I'm starting here with the most important word. So 'bee's knees', that has to fit first of all, and then I'll make some more space for 'you're the' and make that a lot smaller. I'm also going to do that in a slightly different style. You can cut and paste your layers at this point and make sure that your letters fit and they're a bit more compact. So at this point you can add flourishes, serifs to your letters, some more decoration. You can add some visual interest to the most important words in our pun and make them more prominent if you want to. Keep the rest quite simple to make sure that the viewers eye is drawn to the most important words on our canvas. I'm quite happy with how the letters look so far. So what I wanna do now is make sure that the line thickness of my letters is exactly the same. I really like using a Monoline Style for letters. For that I'm using this double monoline brush, which helps us to create the same width in the letters. One more thing I'll say here is that if you find that when you zoom in and out, that the width of the brush changes. Go to the wrench tool and to Preferences, and then turn on your dynamic brush scaling. This means your brush will maintain its size relative to the screen. So it's not going to change the size when you zoom in and out. As you can see, it's not perfect, we still need to clean up the edges. But at least it helps us with the consistency of the thickness of the letters. I'm cleaning this up as well as possible because later on when we're making our final illustration, we can just use this layer and we don't need to do this again. But you could also decide to use this as a guide and maybe use this as the bones of your letters and add decoration, add serifs, whatever you want. This is a really good starting point for your letters either way. When you are ready with your lettering, makes sure to clean everything up and see if you're happy with your composition. Turn off all your other shapes and sketch layers and make any changes if you need to. Remember to keep things simple, the audience needs to understand right away, because we're also going to add some more shading and a few more details later. So we're filling up this canvas. Make sure that the text is legible and think about how things are placed on your canvas. Next up we're going to look at color, so make sure that your final illustration sketch is ready to go. 6. Plan Your Colours: So now we're going to have a look at color. And I want to think about where this is going to end up. I'm thinking of a greeting card design for example. And that's quite small, so we don't want to use too many colors because it's not going to show. So I think two or three main colors will do. And then maximum one or two for extra details if necessary. I'm not going to color them right away. I'm just going to put a palette on the side. Firstly, I want to think about what we need to show information. We definitely need yellow for the bee. So that's the most important part, so I'm going to pick a warm yellow. And then as a contrast, something dark, either black or blue. I like this dark blue, so that's what I'm going to pick for this. And I also want to reuse that for our lettering, so we can bring back that same blue somewhere. So when you're looking at your colors, think about warm and cool tones and use a contrast between warm and cool and dark and light. And lastly, I also want to pick a soft color for the background. I really like using pink in everything. So I'm going to use this baby pink because we don't have a lot of shapes here or a lot of shapes to fill in with color, I want to make sure that we reuse these three colors in some details to be able to bring it back in balance or illustration a bit. This also creates a harmonious composition. So what I really like to do is use lighter and darker tones of the same colors that we already have. So for example, this blue, I want to reuse in the wings maybe and turn them light blue. And then this light pink we can use for details, maybe the background, and then possibly a lighter yellow for something else. There's also helps to not add too much noise by adding lots of different colors. And I think it's quite pleasing to the eye. And at this point, if you're not sure about your color palette, I also really like using the color balance and change the colors around slightly and experiment and see what works best. I'm happy with the colors as they are now. So this is the palette that I'll be using. And next we're going to start on our final illustration. I'm going to use the shape pen, and then after that we're going to use these texture brushes. At this point, don't forget to add a sketch to your project. I think at this stage it's really fun to see your final sketch, what that looks like, and your final color palettes. So make sure to add that to the project gallery. 7. Layering Your Pun: Now we're ready to start on our final illustration. And I'm going to start with filling in the big shapes first with the shape pen. So we're starting with yellow. And I'm just turning the opacity down so we can see the sketch layer underneath. I'm going to use that light blue for the wings. And I'm going to put the blue stripes on a separate layer. For the bee, I'm not going to use a clipping mask with this because I want to use a clipping mask for our textures. So instead, I just draw this on a separate layer. So I'll just select the yellow layer, invert, and then on the blue layer cut. This way, our blue layer is contained within that yellow, and we still have the opportunity to use a clipping mask in-between. I'm using this shape pen so that we can easily fill our big shapes in with color. If you're using a really heavily textured brush, even though I like using those, it will be a lot harder to fill in your shape because most likely there will be lots of gaps left. Next, we're going to fill in our lettering. And because we cleaned up this sketch quite well, I'm just going to use that exact same layer, so I'm duplicating this, and then on Alpha Lock and I'm filling this with blue. I'm going to color this in by hand quite roughly so that you get this kind of texture inside our letters. I think this will create a nice contrast with the shapes that are filled in perfectly and smooth. You can also trace your lettering layer again and just use our sketch as a guide. If you've been moving around this sketch layer, a lot of you've been cutting and pasting or scaling parts of that layer. It might end up looking blurry because we're working with pixels. So you might just need to redraw this. Next up, I want to add some texture to our character. I'm just going to use white for that. And then our stipple brush. Wherever we're adding these textures or highlights to our shapes, we'll also create some depth at the same time. I usually like working with flat shapes, but I think we need some visual interest here. So that's why I'm using this stipple brush. And on top of our blue as well on a clipping mask, I'm also adding a bit more of that white. And on these wings, a bit of white. And I'm selecting one of the wings, to add a bit of shading. That way we're separating those two simply by using textures. I'm using clipping masks for all of these to clip all the textures to the shapes. Adding texture to these big shapes also makes it feel less blocky or bulky. And it makes it a bit softer. And I like the contrast between the texture and the smooth lines. I'm also adding that background in pink, actually in the light paint. And with blue, I'm going to add some details to this bee. I'm also adding a few more highlights. And to those wings I'm adding these dotted lines it's from the dotted line brush, just to make it a bit more interesting, to break up that big shape as well. I'm also adding some of that same texture as the lettering to the bottom of our bee. So it creates a bit of shading and it doesn't feel like it's floating. You can also still change the colours at this stage if you want to. This should be pretty easy to do since everything is on separate layers. If you're struggling at this stage, obviously ask your questions in the discussions tab below so I can help out. I also want to make sure that our background isn't completely white, but a bit beige or a bit off-white to make it feel a little bit more retro. So at this point you can turn off your sketch layers and clean everything up. Next up we're going to add a few more details. 8. Finishing Touches: Before we finish, let's add a few more details. Details are what make this illustration shine and it gives it more personality. So let's see what we can add to make this a bit more fun. Firstly, I mentioned before that we want to add some shading to this lettering. So I'm duplicating this layer and then on alpha lock, fill it with our dark pink. And then I'm just going to add that layer underneath. And I'm going to shift it slightly. And this is an easy way to give our lettering some depth and some shading. The further you move this shading layer, the more dramatic your shading is going to be, It's an easy way to add some interest to your lettering and bring back some of that pink as well. The only thing that's left to do is connect your shading, the pink lines, to the blue. You could even add some more line work to your lettering, some details inside the letters if you wanted to. But I'm going to keep it as is. Now I also want to use a bit of filler elements around our bee and our lettering to fill up the canvas a little bit more. For that, I added a few stamp brushes in the brush set. You could also do this by hand by maybe adding some flourishes around your lettering. I'm just going to add a few stars, make it look a bit more retro, and then use the dots stamp brush to add just a bit more texture. This is a really nice opportunity to add a bit more of your own style, bring back some more color and set the tone of your illustration. At this point, we haven't added a whole lot of textures because I like to do that at the end. So on a new layer with that speckled brush, fill your whole layer. And on a second layer, exactly the same thing. This is an easy way to add some more texture to your illustration without having to apply that to all these different layers. So I'm going to change one of these texture layers to overlay and the other blending mode to divide. And then I'm changing the opacity slightly. By changing that opacity, you're changing the intensity of your texture on top of your illustration. You can see that one of these creates these white speckles and the other enhances the colors a bit more. If you've taken my texture class before, you'll recognize this type of speckled brush and this technique. Another reason that we can add this texture in the end is to get a more uniform texture on top and make the image as a whole look a bit more aged or grainy. This is also going to look really nice as a print. You could even use texture layers and blending modes this way to change your color slightly or change it to a different tone. And lastly, of course, don't forget to sign your work. I'm adding my signature just right outside that pink oval. I usually end with just checking my canvas, flipping it horizontally, then checking if everything is in the right place and if I'm happy. And at this point don't forget to export your work. And remember that you also have a timelapse replay that you can export as well. So this is the final result! And here's what that looks like as a print. This way, I can also hang it up for maybe give it as a gift to someone. I really like the texture that you can see. It's very subtle, but it really adds to the illustration. And I think it works really well as a greeting card on a smaller size too. I love making prints of my Procreate illustrations like this. Because if I wanted to print this on a bigger scale, for example, this is what I would take to printer to show what I want it to look like. Now that this pun has been turned into a final illustration, I would love for you to continue making more. I love working in a series. It's a great way to practice your process, but also to show something in a series of, for example, three puns, is so much more powerful than a standalone piece and it's really valuable for your portfolio, for example. So in the next lesson, I'm gonna give you some quick tips on how to create more puns and use this creation process again. 9. Your Next Pun: Pick the puns that are totally your jam! Illustrating is not just about how you draw, but what you draw. You're curating your own world, so you're showing your unique perspective. How you choose to interpret wordplay and how you visually communicates something is what makes your style unique. So pick the puns that interest you, and that you can turn into a little story. You can even create your own or pick ones in your native language. What you decide to use as a starting point, and how you decide to include your ideas in your art is part of your style. Secondly, it doesn't need to be perfect. When you're finishing up your illustration, remember that you've done the most important part already. You've created the concept. The beauty of puns or wordplays is that they're silly and they're usually easy to understand. So don't over-complicate your drawings. If that's difficult for you to do, I understand, I'm a perfectionist. Keep the following rule in mind: When you feel like your illustration is 70% done, stop! Don't aim for 100%. Most likely those finishing touches will polish it further, but it's not going to make the results any stronger. If you're not comfortable with stopping a 70%, just take a break. You can always go back to your original illustration later. At least you have a fresh perspective on things in that case. Lastly, don't give up! As I mentioned, try this creative process again. Committing to your creative process is just as valuable as creating a final piece. Working on a passion project like this is never a waste because you tried something new and you're learning on the way. You practiced the skill of committing to an idea and learning how to filter down your ideas, which is really valuable. If you give this process another try, maybe turn your puns into a series using the same colors, the same lettering style. Maybe it could be a collection of funny Valentine's Day cards or a series of Taco themed illustrations for Taco Tuesday. I like to work in a series of three or five pieces usually, to be able to create a theme. In the thumbnail sketching phase from the beginning, maybe sketch three different puns at once. That way you've got three different starting points and that will make it much easier to start later on. Making three versions of the same idea or a series of three shows you're thinking skills and your ability to recreate a concept in different ways. 10. Bonus: I Love You to Reese's Pieces!: In this tutorial, I'm going to show you how to make this pun illustration and a few simple steps in Procreate. We're going to follow the same steps as our Bees Knees illustration, but with a slightly different theme. You can follow along with this pun or pick another one and give it your own spin. As I shared in my tips in the previous lesson, practising this creation process again will help you to come up with collections and practice what works best for you. Let's get started. We're going to start with a new canvas and we're going to use 2000 by 2000 pixels. So we're going to start with this sentence. And in this case, I love you two pieces reminded me of Reeses pieces. So this is a really nice way to maybe add some food into this design. And I think that would look really fun. So we can then add those Reeses pieces. Those are the really small chocolate ones, but also the peanut butter cups because those are just really recognizable. So we're going to start with some thumbnail sketches and see how we can incorporate this lettering into our canvas. I want this to end up as a greeting card design. So it's going to be quite small. That means that the lettering has to be quite clear and legible. So not too much information on this, I'm going to keep it quite simple. So here, I've got three examples, and I just wanted to show you these sketches. We're going to work on the middle one. But here you can see how you could use either lettering on its own, or maybe do a combination of lettering and illustration or incorporate the lettering into the peanut butter cup, for example. So there's many different ways that you can do this. And when I'm making small sketches like this, I'm always thinking about the direction of the lettering and what shapes things are going to be in. So at this point, we can have a look at references. I'd like to use Pinterest, but you can use Google as well. So I'm going to save an image of the Reese's Pieces logo so we can pick out those colors. You could also create a color palette directly from a photo or a file, but this way and we're not going to have all the different shades. I just want a couple of these colors. So we're going to pick out the colors from this packaging. If you want to skip this part and just download the color palette, that's totally fine, too. So we're going to use that orange and then that warm yellow and a slightly darker orange or red. And then this dark brown. I also want to make sure we add, like, a lighter brown that we might be able to use and some kind of light orange as well. And I think that's enough. Usually what I keep in mind to create a color palette is to work with a cool tone, a warm tone, a light tone, a shader tone, and a neutral tone. We've got a bunch of warm tones already, so I want to make sure we contrast that with something a little different. So we're going to work with this thumbnail sketch that's in the middle. And I really like to just put everything in the corner of my canvas. But of course, you can just use a reference window, whatever you feel most comfortable with. And I'm adding a guide as well. I usually like to work with a guide that's in nine squares. This way, we kind of know where the middle is, and it helps us to put our composition into place. So we're going to start with the most important shape. This is a big circle. That's what our lettering is going to be placed into, and those little rhesus pieces are going to be placed on top of that circle. And then the most important lettering es pieces, that's the most important part. It's going to be placed sort of diagonally. This helps to create a more dynamic composition, and that also means we can make the letters a little bit bigger. And then we're also going to add the rest of our sentence that's going to the top. I think we might just stick to one peanut butter cup and that's going to be placed sort of underneath. So at this point, I'm kind of thinking about where the biggest letters, the R and the P are going to go. So the reason I'm using these boxes is to make sure that our letters are actually going to fit. And I'm not thinking too much about the lettering style yet. I'm just looking at the spacing between the letters and making sure everything fits on the canvas and the composition makes sense. And then I love you too. That part is going to be a bit smaller, maybe in a slightly different font or style. So I'm just placing that text quickly in there. I also want to make sure that we add a frame around it so that we can create that round shape. So those are the Rhesus pieces that are going to go around. And because this is such a round shape, maybe we can contrast that with something sharper in the background. And there will be a nice opportunity to add some more color. If you want to change up the colors or change up the composition here, feel free to do that. I would love to see some different versions of a Rhesus Valentine's Day card, that would be really nice to see. So get creative and try other options, too. At this point, I'm just moving stuff around a little bit and making it a bit smaller too to make sure everything fits. My sketches are usually really messy, as you can see, so feel free to clean this up a bit more or just start with a new sketch if you want to. I usually like to zoom in and out quite a bit at this point to see if I'm happy with the composition. Also on a smaller scale. Make sure that your letters at this point are a bit centered and that you have enough space around it to maybe later as some shading or some other filler elements, for example. I'm going to make sure to add another sketch layer on top later to clean this up. But feel free to use this as your sketch for your final illustration. So for this lettering, we're going to use this letter guideline brush to make sure that our letters are going to fit. I find this really helpful, and I think this would be really helpful for beginners too. So your letters can be quite messy, as I said, but make sure that you stick to that he so that it will look intentional. And then for the smaller letters, I'm just changing the size of the guideline a little bit. I'm making it smaller. And then I'm going to use that as a guide to try our letters again. But this time we're going to use the other brush. This is the monoline brush, the double mon ly bruh. As you can see, this is kind of the same but a lot thinner. If we're going to use this, make sure to turn on your dynamic brush scaling. If you don't have that turned on, anytime you zoom in or out, the width of that line is going to change. So make sure that is turned on so that you can zoom in and out without that changing. The point of this brush is that the width always stays the same. So I'm just going to follow the lines of my sketch. I'm not going to do anything too complicated. I'm just going to do a kind of simple script. And I'm going to stick to the height of our letter guides and make sure to give your letters enough space at this point. This might take a bit of practice, but try it out a couple of times and see how it goes. I'm going to stick to this basic script style, but you can easily try something else. This could just be a base for maybe adding serfs to your lines or change your letters up a bit. The most important thing with lettering is to start with the skeleton, I guess, or the bones of your letters. As you can see, and moving stuff around quite a bit. Because we're working with pixels, that scaling and moving stuff can affect the quality of your lines a little bit. So I'm going to make sure that afterwards with the final illustration, we're doing this again. But if you don't want to do that, just make sure that you don't need to move stuff around just in case. That way you can use this as your final illustration. And then the smaller text, I'm just changing the style. I'm still going to use the same brush, but just change it up a bit and use capital letters. The only thing you need to do when you use this brush is finish it off and make sure that you close all those gaps at the end of your lines. And that's our letters done. And next up, we're going to work on our peanut butter cup, and I'm going to pull up a little reference. I know what they look like. I eat them all the time, but sometimes it's difficult to and make it recognizable. And then we're going to add those es pieces in a circle around our letters. And that's our sketch pretty much done, I think. You're adding a few more lines to make our composition a bit more dynamic. And I'm also redoing that frame, so everything is on that one sketch layer. And I don't think we need our drawing guide anymore. We can turn that off. I'm just making sure that everything is placed the right way. And as I said, we'll probably overlap this a bit. Whenever you're happy with your final sketch, we can move on to making the final piece. So on a new layer, we're going to select that orange. I'd like to start with the letters. Those are the most important part of our design. So I'm going to use that monoline brush again and just trace those letters the same way. Another thing that you can do is if your sketch is really cleaned up already, you can just put on alpha lock and then fill it with orange and then you can fill up those letters yourself. And I'm just dragging that orange to our letters and filling everything in. And you might need to clean things up a little bit. It also becomes much easier to see what parts of your letters you need to clean up a bit more when they're filled in. And I want to make those other letters white, but we're not going to be able to see that on our canvas, so we'll just fill in that background. So I want to do that star. And for that, I'm not going to use a brush. I'm just going to select it because they're all sharp edges, so that's really easy to do. And I'm going to use the pink for that as a nice contrast with all the warmer colors we're going to use for our letters and illustration. Remember to put everything on separate layers at this point. If we want to change any colors, lets run, we can do that really easily if everything is on separate layers. I'm bringing down the opacity a little bit. We can change this later as well. We just need to be able to see those other letters. So I'm doing all of that same thing with our monolin brush and filling all of that in with whites. And next up, we're going to make those Rhesus pieces. And I want to use three colors for that, so we're going to have our yellow, our orange, and brown, just like the actual Rhesus pieces. Hopefully, this will make it pretty recognizable, even though they're just little ovals, basically. Okay. And next, we're going to draw this peanut butter cup, and I'm just going to draw a perfect oval and duplicate that and then move it. And with the eraser, I'm just cutting out those little Zeg sac. And with our peanut butter color, I want to color in that bite, basically, so you can see the inside, and we can add that color there. And I'm now going to add that under our letters. And I'm actually going to use that monoline brush again for those white lines that we're adding so that they're all the same with And next up, we're also going to add our back ground. So this is behind our pink. And for that, I want something very light. But we can just use one of the colors in our color palette and just make it a bit lighter and see how that looks. But for now to finish off these shapes, I'm just using a simple, smooth line. This makes it easier to color everything and to fill in shapes. And we're going to add that texture later on. Now we're going to finish off this peanut butter cup. So I'm going to add a layer on top and then turn that blending mode to multiply. I'm just going to merge these two layers 'cause we're not going to change anything there, so they don't need to be separate. I forgot to turn on the clipping mask. In that same brown, I'm just going to add some shading because it's on multiply. It will be a little bit. And this is what I mentioned before about keeping colors quite simple. If you need a darker color of something you already have, try to use multiply on top as a blending mode or try other blending modes too. Instead of separately adding a darker version of all these colors on top. Okay, I think that is finished. And then we're going to do the same thing with those hess pieces. I just want to add a little bit of shading there as well. And I'm also making these just a little bit darker. I feel like on top of they're pink. They're quite bright. And now, I think we don't need our sketch anymore. And let's go back to our lettering. We're going to finish that up now. And as I mentioned before, we're going to add some shading to this. So I'll show you a quick way to do this. So we're going to multiply that layer. And then on Alpha lock, and I'm going to try white, fill this layer up, and then just move it slightly. So instead of shading, the letters, we're adding some white as if the shapes are sort of cut out of the background, which helps to create some contrast too. And I'm also going to set the blending mode to multiply of the orange layer. This also creates some more depth. So now you can see you've got a little bit of a different shade of orange there, and this was really easy to do. This is kind of like how you would create some darker lines and some highlights and kind of like as if you were printing where the layers of the screen printing don't quite add up. And I want to do exactly the same thing with the other layers too. So let's do exactly the same with our rhesus pieces. So duplicate that layer, alphac and I'll fill it with some white and just shifting it slightly. And that also makes it much easier to see those colors on that pink background. And the same with a peanut butter cup to. It's adding a bit of white. I discussed this specific technique a bit more in my finding your style with textures class on Skillshare, and there we talk a little bit more about how we can make something look like it's actually printed. And the same thing with that pink star underneath. Now, everything looks just a bit more interesting to look at a few different shades of all those different colors. Next up, we're going to add just a few more highlights. I'm going to add a layer on top of the aces pieces, and with a really smooth brush, just add a few stripes, just a couple of highlights on the opposite side of our shading. And we're going to do the same thing with our peanut butter cup, just a few lines there. And the last thing that I'd like to add is some filler elements to fill up a bit of empty space on our canvas. And I'd really like to give my illustrations a bit of a retro look. So I'd like to use stem brushes for that with different little dots and stars, little loops, whatever I can think of. This doesn't only help to balance the composition a bit more, add some visual interest, but also add a bit of your unique style. So if you really like certain elements, you can add that by just using a stem brush. This really helps you to set the tone of your work as well. If you wanted to make something like extra retro, then filler elements are a really great way to do that. And these temp rushes are pretty easy to make yourself. You don't need to do any of this by hand if you already know exactly what you like. You can just reuse those elements in your other works, too. So I think this is looking pretty good. And as I said, the last thing that we would do is add some texture on top. I didn't want to add this separately to all our layers because we might want to make changes, and this is just way easier to do. So I'm using a speckled texture. Any kind of big texture for this will do some sort of grainy texture, maybe, and I'm going to fill a full new layer in black with this texture and do exactly the same with another layer. And now we have two separate layers. So we're just having these two separate layers on top, and then we're going to set one of them with the blending mode to overlay and the other one to divide. And the reason we're adding all this texture in the end is because it creates a bit more of a uniform texture on top of our illustration, and it makes the whole image look immediately, a bit more aged or grainy. And it's a lot easier than adding those textures separately to all your layers or working with texture brushes. And then you can change the opacity as you see fit. If you want something really intense, opacity to maximum, if you just want a little bit of a grainy texture, just set the opacity all the way down. So here you can see that we have these white speckles, and then also a few darker spots, and that's just basically taking the color you already have and making it a little bit darker and that creates those imperfections. And lastly, don't forget to add your signature somewhere. And now I think we're finished. What I'd like to do as a final check is flipping my canvas horizontally, zooming in and out, see if I'm happy with everything. And you can use your drawing guide as help here as well to see if your letters are actually centered if everything is in the right place. And lastly, don't forget to export your work. So you can save your image. I remember that you have a video time lapse of this as well. This would be really fun to share on social media, for example. So these sketches in the beginning, please don't throw them away. Don't delete your layers because the kind of compositions we came up with are useful for maybe other pieces in the future. I'm a big fan of doing stuff in series. So if you want to do, another piece in the same style with these brushes, that would be awesome. So I did a little print just a test, and you can see the texture a little bit better here as well, which is nice. Sometimes it really helps to print your work and to see if you missed any details. It always looks different on paper. I hope you enjoyed this tutorial, and if you have more ideas, please keep creating. I would love to see your results, so add it to your student project or tag me on Instagram with your work. 11. Thank you! : You made it through! And hopefully you have a fun little illustrated pun plus some motivation to keep creating and make your next eg-cellent pun. Thank you so much for being part of this class, I really appreciate it. Before you leave, Id love to see what you created and give you some feedback. At this point, you should already have a couple of sketches uploaded to the project gallery, but don't forget to share your final illustration too. I love sharing student's artwork in my newsletter and on social media. So make sure to find me there. Don't phoget to leave a review below. This really helps me to create new classes in the future, but also helps for other people to see my class on Skillshare. If there's something specific you want to learn more about, please let me know. And remember that if you have any questions, you can ask those in the discussions tab. And I also added a few links there with extra resources for you to read, use, and look at. If you're interested in learning more about my creation process, compositions, croissants, cocktails, puns and lots more, don't forget to check out my other classes. If you want to stay up-to-date with new tutorials, live sessions, and procreate brushes, subscribe to my newsletter. See you in the next class. *Blooper time* I need some sugar and coffee.