Elegant Monogram Lettering: From Hand-Drawn Sketch to Digital Styling | Kelly Thorn | Skillshare

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Elegant Monogram Lettering: From Hand-Drawn Sketch to Digital Styling

teacher avatar Kelly Thorn, Letterer & Illustrator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction & Project


    • 2.

      Inspiration, Resources & Materials


    • 3.

      Sketching Your Concept


    • 4.

      Drawing Digitally


    • 5.

      Collaging in Photoshop


    • 6.

      Collaging in Photoshop II


    • 7.

      Wrapping Up


    • 8.

      Explore Design on Skillshare


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About This Class

Join lettering artist Kelly Thorn to design a monogram marrying the tactile, imperfect look of handiwork with the polish and refinement of a digital illustration!

Perfect for graphic designers, lettering artists, and type enthusiasts, this 45-minute class shares how to seamlessly combine hand-done elements with vector drawings.

From researching and sketching, to painting by hand, to refining her work in Adobe Illustrator & Photoshop, Kelly shares her own full process so that you can design a beautiful acronym or monogram word of your own.

Note: For this class, students should have a basic understanding of both Illustrator and Photoshop — and be interested in developing their by-hand skills!



Image courtesy of Kelly Thorn

Meet Your Teacher

Teacher Profile Image

Kelly Thorn

Letterer & Illustrator


Kelly specializes in design, illustrative lettering, and killing plants (though she loves to draw them). She's currently living in Brooklyn and working full-time as her own boss-lady.

From June 2012-June 2015, Kelly worked as Senior Designer at Louise Fili Ltd. She's a 2012 graduate from Tyler School of Art, where she majored in Graphic and Interactive Design.

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1. Introduction & Project: My name is Kelly Thorn. I specialize in illustrative lettering and design. I graduated from Tyler School of Art in 2012. Then, I started working for Louise Fili. Here we are in 2015, I'm working on my own in my Brooklyn studio. I would like to share some of my tips with you. I really love the imperfect beautiful tactile feel that comes with painting on a piece of paper, anything that I can do with my hands it's really fun for me to do but I also love drawing exclusively digitally. You got a really polished and refined look but there's not always that tangible feel to it at the end. So, one project in particular that I worked on that really got me thinking about combining my love of painting specifically florals and my vector letter forms was this book, Graphique De La Rue. I illustrated this cover while I was working for Louise. The reference that she gave me for creating this cover it was very, very florid and there was really no way for me to replicate that without actually scanning the reference in. We wanted to make something that was totally new and still had the same tactile look. This is the reason for developing this particular process. So, in this class, we will be developing a monogram, a monogram word or an acronym. So, monogram, you might know it's like a cluster of letters together. So, it could be your initials. It could be your best friend's initial. It could also be an acronym. It could be OMG. It could be LOL, YAS. You could also do a monogram word which is one of my favorites. It's what I am choosing to do for this class. So, monogram word is using all of the letters of one word and just mashing them together. As long as you are using one piece of handiwork, so that could be painting in my case or it could be embroidery, it could be drawing with pencils, it could be paper cutting, it can be whatever you want but as long as you are combining that with a digitally-drawn piece as well. In my case, I'll be drawing my letters on the computer and painting my handiwork part to create one uniformed piece. 2. Inspiration, Resources & Materials: I have several different books of monograms that I really love and I thought I'd share them with you. I'm providing a PDF of just a sample of these books but it's just a taste. You should absolutely expand your library if you can. You can always Google stuff but there's something much more different than actually leafing through a book. You get a feel of the history, old books smell, smells good. First, Monograms and Alphabetic devices. This book is a Dover book. It's really really helpful. Everything is copyright free. A lot of these Dover books in particular pull from pre-existing publications. This one in particular, I think has four different compilations in the same book. Sometimes with Dover books they overlap so we have some monograms in here that are also in this next one. This one is the Encyclopedia of Monograms. It has over 11,000 motifs for designers. It's crazy. This book is really really great. Not only is it so vast and it covers like a really really wide range of styles but there's also a section in the back of coat of arms so this could be really helpful if for your project you wanted to do a family crest, and this is a complete book of monograms and ciphers. The styles are a lot less involved in a lot of cases. I mean, sometimes they're illegible. But a lot of these examples are just a tiny bit more legible than the ones say in these two. This book, Trademark and Monogram Suggestions by Samuel Welo, isn't pulling from pre-existing references or resources. This guy, Samuel Welo who's an amazing lettering artist in the early 1900s, it's really beautiful. This book is full of trademarks that he's done and so lockups, but he also has a lot of monograms in here. His work is really really interesting and much different than any of these styles in here, which are very decorative and very embellished. And then, this book Commercial Art Advertising Layout. This is also from the 1900s. This isn't primarily a book for monograms, it's mostly about drafting and layout and composition. But there are a couple of spreads in here that are just, I don't know, they're just so worth it to me, also very modern. This could be something to reference for your non-monogram part of the project. Now that we have gone over our reference books, we are going to go over materials. I always start out with tracing paper. I love tracing paper because you can go crazy with it, because it's such a cheap material, you can really not feel bad about the amount of paper you're using. You can do broad strokes and then like refine, refine, refine, until you're ready to scan it in and move on to the computer. Next, pencils. I have several pencils that I love very much, Blackwing 602. This pencil has really soft lead so it's really good for sketching. You can kind of be loosey-goosey about it. The Big Dipper. I love this pencil because it's nice and fat. It's got a nice fat eraser. Something about holding a fat pencil makes you feel like more like a kid and you're kind of less judgmental about what you're doing and it's more playful. Then, the Fabriano, double-sided colored pencil. This pencil is especially good for this project because what I'll be doing is drawing with the red to show what I'll be drawing in vector and then drawing in blue to show what I'm going to paint in the future. Another thing that I really find invaluable is a light table. It's not a necessity because you can always do tracing paper transfers, what have you. But I love it because I don't have to think about like switching anything around, I'm not getting lead all over my hands from rubbing the transfer. I just find it very simple to just take my drawing, put it down on a light table, and take my other paper and start painting on top of it. It's just a very simple straightforward process that I prefer. Even though not all of you will be painting, I'm just going to show you my materials for painting since that's what I'll be doing. So, when it comes to painting, I always prefer quash. So, quash is a really special type of paint. You can decide how opaque you want the paint to be, depending on how much water you use so it can be super opaque or it can be completely transparent like a water color. A mixing palette is really helpful and I like to use this enamel one because it's really easy to scrape off with a paint scraper, like I have over here. You can just scrape it. You can also use these paper pallets. You can just use it, throw it out, whatever. If you're painting, you'll also need a good thick watercolor paper. You'll need a good apron or a towel. In my case, it's an apron slash towel and I've been abusing it for five years now. I love this guy. You'll need paint brushes. I have flat paint brushes, I have round tops, I have crazy ones if you're feeling crazy. Since this isn't strictly a painting class, we will be bringing our handiwork into the computer to draw with. I have a Ivan F7 scanner. You can use whatever scanner. Of course, it's nicer to have a nicer scanner. You get just better images. And you will need a printer. Unless you're planning on having nice prints of your final piece, you don't need a good printer, we're just going to be using them for sketching purposes and tracing purposes. You'll also need access to Illustrator and Photoshop. 3. Sketching Your Concept: So, once you've decided on the monogram or monogram word or acronym that you want to use, again whether it be WTF, or I don't know, your dog's name, whatever, you really want to pour over your references. So, you can go over the books that I showed you. You could also find your own books. You could google it. There's inspiration everywhere. You can look at a lot of contemporary examples. It's really important to look at a lot of different references because that way you're not too influenced in one way or the other. So they end-product always feels true to you. It doesn't look like a regurgitation of something else. I looked at this book, and I really love how this monogram in particular, it plays tricks on the eyes. It's MMH. It's really not important for monogram to be legible in my opinion. I think it's more important for it to be beautiful and make the viewer have to take a double take to see what it actually is. As far as my hand-drawn element goes, I know that I for sure want to do something based on the artist Joseph Huffman's work. He was an secessionist. He's really, really great. You should look him up. But, once you found your inspiration, you should definitely upload it so that we can all see your complete process. I'll upload mine too. So, here, I have just lots of pieces of tracing paper that I've cut up. Usually, when I start a new project, I like to start small like thumbnail size. That way, you get a really good feel for your composition without putting too much time in. So, the monogram word that I'm choosing to do is hello, H-E-L-L-O. The reason that I chose this word is I wanted to have a really generic word to be able to print out on cards, mostly for my friends and family because I like sending cards. But anyway, yeah, so, it's just a really generic thing. I could be like, "Hello, I love you. I hope you're having a good day." It could also be like, "Hello, I'm so sorry. I killed your cat when I was cat sitting." It could be anything, very generic. Like I showed you, I really loved the way that one monogram was overlapping, and really fun ways, they're mostly vertical and horizontal lines. So, the word hello has vertical and horizontal lines. It's really important to be thinking of what kind of a composition would be good for your letterforms that you're using. Everything informs one another when you're working in a monogram. So, maybe I want to overlap like this, maybe I want serifs. So, again, when you're working really small like this, you don't have to commit to anything, maybe I want it in a circle. So, the O is containing the entire word. Here's my E through H, then my E, and then maybe L, then maybe I do a backwards the O. There's no rules with monograms, you can do whatever you want. So, I know that it sound like a camp counselor saying this, but the only rule is have fun. I really like things that are small, succinct, recontained. So, yes, maybe we do it in a square. Right now, I'm not really going over the actual letterforms. I have a vague idea that I want to use serifs, but I'm not locked into anything right now. Or maybe I use a script letter. So, I've got like a nice big E and then maybe the L is going this way. Now, they're all going that way, and then a nice wide O. So, it has a symmetrical shapes. So, after exploring a couple different options, I think that the script direction could be fun, but I've done a script monogram before. So, I really want to try some new things. So, I'm going to go with this really horizontal and vertical interweaving of letters. I really like that direction. I'm pretty sure I want serifs, maybe a slab serif, maybe a more subtle one. I think more subtle. So, I really love this direction because of the interlocking aspect. I think it almost going to look like a basket weaving when I'm done with it. Maybe something like that, but then the O is all by itself. You see that. That's not good. He wants to be a part of the party. One fun thing is that the E and the H can share a crossbar. That might be really interesting and then down here, I'm going to use a serif style. Here, the serif at the bottom leg of the E and the bottom leg of both of the Ls are going to stack on top of each other which I think might be really neat. Now that I have practiced roughly with this, I'm going to move on to my Fabriano Pencil, so we can really see what we're going to be drawing in the computer and what we're going to be making outside of the computer. I know that I want to be drawing my letters in the computer. You might choose to make some parts of the letters in the computer, some painted or cut paper or what have you. Again, you can do whatever you want. So, I'm just finishing up my sketch. This doesn't have to be perfect. Yes, you can make it perfect if you want. But I usually just get the basic position when I'm sketching, and then really perfect everything in the computer, so the widths are all off here. Okay. So, here we have a super rough sketch of the monogram itself and now we're going to add in bits of blue. So, now I'm adding the parts of the piece that will be painted. I'm really excited about painting these really angular leaves that are really fragmented. I think the flowers that I'll be using, I love making really graphic roses that are like chi chi. An artist that uses a lot of graphic flows like these is Dard Hunter. He did a lot of stained-glass work. So, a lot of his work had to be geometric anyway. So, yes, I'm just really playing right now. Maybe this leaf swooped down and caps the O. It's really important to get nice broad strokes before you refine too much. Another thing that I like to do when making a new piece is in my own way relating the painting to the letterform. So, but since I didn't do a script letterform, I like the idea of making something more rigid instead of so organic like this, like maybe I'll make this a little bit more rigid, like the letters themselves. So, I've refined and refined and refined, and I feel like I've come to a good spot with this. I've blocked out where all of my pieces are going to go, all of my letters are. I think we're ready to move into the computer. You should definitely upload a scan of your first sketch. Feel free to include maybe some ideas that you didn't go with, like for me, I have thought about doing the script monogram but decided to go in a different direction. But if you upload all of your ideas, maybe it'll help someone else if they're stuck. 4. Drawing Digitally: Since we finished our sketch, I scanned it in and I did most of the groundwork, so now I'm just going to walk you through what I've done. Right. Now, our goal is to draw our actual forms that we're going to be then painting or cutting paper around or drawing around, whatever you've chosen. So, again for me, I'm drawing my letter forms in the Illustrator and I'm going to be painting my flourals outside of the Illustrator. Here, I have scanned in my sketch, and over here, I've placed it onto a new art board just for illustration purposes. But you want to take the opacity down on that, so I'm just going to assume that you all have a basic grip on how to use Illustrator and the pen tool and lettering in general. If you don't have a good grasp on that, you might want to consider taking my husband Spencer Charles' class, his sculpture class. It's just a very informative class and even I ask him for tips all the time, and since you all aren't married to Spencer, you can watch his video. I'll show you some of my tips for working with serifs though, because that is what I am working on. So, now we're really worrying about the width of all of our letter forms, we want them to be uniform. When creating a serif letter form, one trick that I use is to make one side of the serif that I can flip, like I've done here, that I can reuse and use in pieces. So, I've just drawn these in this way to illustrate how I create my letter forms. Then over here, I started out with this really exaggerated serif, those are always really fun. Same up here, it's very very pointy, the leg is like just reaching up towards the sky as far as it can go. But as you'll probably find out and as I found out while I was working on this project, you're not always going to love your first direction, and there's no reason to hold on to something that's not working. So, once I had started making these letter forms and using this really exaggerated serif, I felt like really threatening almost, too spiky, too much. I decided to take it down a notch over here, and I changed a couple of things other than that from the sketch. Once you're in Illustrator, you can really see what's going to work and what's not going to work. This is just an example of that, and because we are going to be painting or cutting paper soon, we're going to be using color soon, our next step is to make some color studies. As you can see, this is not a final piece, these are simply forms that are based on what I'm actually going to be painting. So, you see them there, just very angular and graphics circular roses. So, let's go back over here. So I've made these each their own value, over here, I started some color studies. The way that I do color studies is I start out with a couple colors that are really together. I don't really have a specific process of finding a color palette, I usually think of something random and then create color palette around that. So, I was in a tropical swampy mood when I made those palette. You might want to add a little bit more meaning to your piece like if you wanted to make something that felt very cool or very warm or, I don't know, like Christmas, you might want to think about that. So, something that I have found not a lot of people know about that's really helpful tool in Illustrator is called Recolor Artwork. You can select whatever colors we're going to be changing, go to Edit Colors, Recolor Artwork. So, this is a really handy tool if just playing around with color and a very loose way, can either switch around the colors like this. You have a lot more control over it that way or you can use these tools down here, it just randomly changes the color order. If you're feeling really adventurous, you can use the one next to it which is randomly changes the color and the brightness which you get, in a lot of cases, uglier results, but it's fun to just go forever because you can go for infinity. But we're not going to be doing that, we can change the saturation down here for a specific color, we can change how bright it is and we can change the actual hue. So, we wanted to make green to be a little bit more yellow instead of so blue, just switch it very easily here. It's just a really helpful tool. So, I've done this over and over and over and over and over until they found something that I really liked right here. So again, this is not the final piece, this is a very loose representation of what we'll be painting, but it really blocks the colors and which is what we want to be doing. Now that we have our basic colors, even though you can always change the colors and you'll probably end up changing the colors in Photoshop, it's always good to be at least in the realm of what color you want. So now, we're going to take that all the away. Since my letter forms changed a lot when I was drawing them in Illustrator, I'm going to re-sketch over them. So we're going to take this just black and white and print it out, and then re-sketch, and then we're going to paint. 5. Collaging in Photoshop: Now that you have scanned everything in, make sure that you do it high res. I always like to keep my images really big, like probably too big, but you never know. I've scanned in this blank piece of paper, this watercolor texture. I've also scanned in the shading that we'll be using and the actual painting itself. So, what you want to do is make a new Photoshop file. Here, I have just made a nice big square to work on. So, here I've made my art board just nice and square because that's what my design is. I've brought the painting and my scan and as well as my letters. Yeah, maybe you'll have to use your sketch to appropriate where things were. But I know that this is basically where it was. Anyway, it looks good. Once you scan your painting in, you might find that you don't really love the colors that you painted in or drew in or the color of the paper that you loved, which is why Photoshop is so great because you have your select of color tool and also hue and saturation. I found that these two adjustment layers are the most hopeful ones in editing color. Selective color is really, really helpful because you can go into your reds, you can add more cyan, so that they get more and more muted. You can go into your let's do green and you can make them extremely saturated. Okay, that's not extremely saturated because it is really, really muted. But you get the idea. It gives you a lot of control over what you want to do. You can make it blue. Anyway, that is just a brief synopsis on editing your colors and bumping them up. All I've done here is I've put the letters on multiply mode so that I can see where they'll overlap. Like I mentioned before, I'm going to have to mask out all of these pieces. There's no good way, there's no easy way to go about this. Yeah, you're just going to have to just buckle in and go for it. But if you don't want a dark background, you don't have to do that or you could have drawn or whatever you're doing on a dark colored background to begin with. So, if you did that, you would just be masking out the letters to go with your full painting. The next step is to mask out your painting so that you can integrate it with your vector, or used to be a vector now that it's in Photoshop, with your vector piece. So, there are multiple ways to mask something out. I prefer using just the paintbrush. I think that while it's not as exact as using the pen tool, maybe it gives it a much more organic feel. Also, like I said before, don't use the magic wand because watch what happens when you do that. It's just okay. Yeah, let's see how that looks. That looks awful. Don't do that. I mean, maybe you could start with that and then smooth it out. But what's the point? I have masked the painting out. I've omitted a couple of things. I've also added a couple of things. I'm probably going to keep doing this. As you can probably see, I don't do a very good job with keeping my files organized. I always think that if no one else has to work on your files, you're not punishing anyone because you know where things are. I, at least, have things in groups. But one of the things that really saves my ass is this, Auto-Select. Not set up to Auto-Select Layer, which doesn't make any sense to me because I can't select anything. This way, I have to know exactly which each layer is probably by doing this or like labeling it. It just seems like a whole mess to me, so I always have it on Auto-Select Layer. If I'm looking at it, I can select it. Simple as that. I'm using the group masking tool, the vector mask. I have all of these different little pieces in my group, and I'm actually masking them out using this. So, if I disable the layer mask, you'll see the painting mostly in full. So, yeah, you can always go back to, for instance, I decided not to use this, but maybe I want to use it later. I know it's there. I know that I didn't erase it forever. So, there are a couple things where I don't feel like they're totally resolved, I might want to add some extra things. I don't know how I feel about this weird snake like thing. So, I might take that out completely. So as you can see, I did change that snake. It's now just another angular leaf. So what I did here was I kept just like a lot of these things are in pieces now. You'll see like this little sprig, it's on its own and it's named Layer 18 copy 2. Sometimes, I'll get to Layer nine copy 33 because I just keep adding and adding until I really like what I did. Right now, you'll see this form, one single block, and then we have the painting as one single block. But what we want to do ideally is to have the two pieces integrate. So, I have this basket weave kind of leather lock up that I want to have weave in and out of the leaves themselves. Now that we have really gotten a good handle on what the actual painting part will be, we really want to interweave the two elements so that they look like a unified piece. So, what we're going to be doing to do that is we're going to mask up the pieces of the painting. As you can see here, they're going in between, up and down, all around. They're really being intertwined with each other. Then also I'm going to show you how to, because these letterforms are so rigid, it starts to look like it's unnatural to be with this painting which is so textural. So, what we're going to do to help that out, and just so you know, here we go. This is before and this is after the masking. What we're going to do to help the letterforms have more of a texture and more of an edge, we're going to take that paper texture that we scanned in. I'm going to push command J to duplicate it, and then transform it over here. This doesn't have to be perfect because we're just using it as a texture. Command E combines them, command J to duplicate again. Okay. Then we're going to select those two, command E again. Now, if you do command and hover over two layers, you can create a clipping mask really quickly. So, we don't want our letters to be white, we want them to be textured. So we're going to put that on the multiply mode. So as you can see, it just gives it a little bit more of a tactile feel. Another thing that we can do is add a grain to the letterforms themselves. So I'm going to go to Noise, Add Noise. I'm going to add noise. Just a little bit. You can go crazy if you want. That's not our style over here. We're just going have a very, very subtle amount of grain. You want to, or I want it at least, I want it monochromatic. I'm just going to do two percent. You want it monochromatic because otherwise it has different colors in there. That's not good. Okay. So, that's, again, just a very subtle way to add a little bit more texture. But the actual form itself is very, very rigid. So, there are a couple ways to help this along. We can do a couple of different filters. There's Distort, Ripple. So, these are just like little packs to make forms a little bit less uniform, to roughing them up a little bit. Make sure you're on small. So this might be good for you. It's not good for me. I think it looks too, I don't know, it looks fuzzy almost, like woolly. The ripples that it created are really uniform. So, on something that has such straight lines, you can really tell when it's repeated. So, I don't really love that. The other filter that I like to use is, if you go to Filter, Pixelate, and Crystallize. I'm just going to show this to you because I know that it's not going to work. So, crystallize, it will only apply the filter to the actual field of the layer. So since these letters are cut out, it's not going to make the edge any different. It's just going to apply it to the grain that we just put on the layer. If you use the magic wand to select your vector form, and in my case, this is all in one piece, but you can always go to Select, Similar to select any other objects that are the same color and value. Then we're going to add a vector mask, and then instead of applying crystallized to the object, we're going to apply it to the mask that's around it. So it'll kind of like eat into the letterform. So, again, Pixelate, Crystallize. That looks crazy. We don't want that. We're going to go down, let's do three, that's the least it'll give you. That's enough for me. So, it'll just give a little bit of a tooth to it and it's irregular, it's subtle. It's what we want. 6. Collaging in Photoshop II: I think we're on a really good track. I think that it needs a little bit more dimension, which is why I had a feeling because that's why we scanned in our shading. So, I'm going to go back to this scan. I like this one. We're just going to use this to collage over. We're going to do under the leaves, we are going to do behind the letters, and we're going to do on the leaves themselves. Let's do on the letter first. One thing that's kind of annoying when you're doing this is something like a paper texture above it because even if you go to lock it, if I wanted to take this and and click Alt, hold down Alt while I drag the layer, it's going to duplicate the paper texture even though it's locked. So, I'm just going click off that for now, click up the visibility. So, now because we're going to be duplicating this a ton of times, now, I can do Alt, hold down Alt, and then duplicate the layer really easily. So, we're going to put this on the multiply or darken I think is better for us, blending mode. The shading for a pink clutter wouldn't be green. So, I'm going to change the hue. It's pretty good. This is how we're going to do this hue. If you just put these two side by side, this is just what I'm doing. I can just get a really nice depth to this, and I really like that this makes the letters kind of look like they're blushing a little bit. So, we're going to be doing that for every instance that the leaves might be overlapping on the letter form. You might not have the specific thing that you're doing. I'm just showing you because it's a fun thing that you could think about doing if you wanted. I want to make sure that these letter forms are weaving in and out of each other. So, what I'm going to do, just going to cut that off, and again I'm not using a mask to mask this out. I don't care about cherishing these pixels because we have such a small thing and these are starting to look a little bit too uniform. You can kind of tell that it's the same layer duplicated over and over again. You see that as over there. So, I'm going to take my clone stamp. So, if I cloned this, you would get all of the white pieces as well. We don't want that. I want to just change the dark parts. So, I'm going to put the constant mode on to darken, and clone that way, so that I just add a little bit. So, yeah. That's how we're going to go over with the letters. Then, we're also going to add some of this shading to the leaves themselves. So, I'm going to bring one of these. I'm going to click on this layer over here, push down Alt, and then bring it all the way up here. Again, hover over the two layers, and now we're inside of the plants, instead of the painting. Again, you wouldn't want a red orange shading for a green leaf. So, we're just going to change the hue again. Now we're getting somewhere. That's nice. We're going to add some some texture and some shading to the leaves so that you can really get a sense of the ins and outs of the forms. Whenever I am painting something like this or painting in Photoshop, and I'm drawing something that's really, really stylized, I always find it helpful to make rules for myself, like what I do in this circumstance, what I don't do. So, for this, I am going to have shading on these folds right here, on those folds just so you don't go overboard, and just so that you stay consistent in your stylization. So there's a shading right there. I am going to have shading for when these little sprigs come out. So, that's going to be right there, and then we're going to just erase. I am going to have shading for when this leaf comes out. You might not want to be this overattentive about things. That's just the way that I work. I think it ends up with a nice product. So, yeah. We're going keep repeating this process until we finish the whole painting. So, I have gone into my piece. I have added all of the shading that I wanted to. I adjust the colors that I wanted to. I think we're about done. So, as you can see, I went through on all of the little bits of the plant and I added the shading where I said I would. I didn't add the shading on the roses when they overlap with the letters because these are basically the same color and they ended up just looking like hairy roses, which no one likes that. Another thing that I'd like to point out is I added more grain to the background. Again, like it added a little bit of texture. Look at all these layers. These are all the little bits of shading. My final touch, one of my favorite things to do, I don't know why I find it so completely satisfying, is adding a vignette. It just makes it pop. I don't know. It brings it to like that next level. All I did for that, like you could, if you wanted to, you could do like layer style, inner shadow. But that doesn't really do a good job. It does, but this is as big as I can get it. I am not going to do that. I am going to make my own inner shadow by, again, command J duplicates the layer. I'm going to put this on multiply, set back the opacity a little bit, and then I'm going to mask it, go to my brush tool, if you click B and right-click. Okay. Your nice big, fuzzy brush. Yeah, just kind of carve out where you want your vignette to be. So, yeah, I think we're all done. 7. Wrapping Up: I really, really want to stress that you share your process. I, myself, have never learned by working in a vacuum. No man is an island, so make sure that you upload all of your process and all of your progress. So, let's see. First, we have our reference, I want you to upload your reference pieces. I want you to upload your sketches, your actual painting or paper cutting, embroidery, pencil drawing, I don't know, whatever, mud smear that you wanted to work with. Anything that you're working with, just share and make sure you upload. The extra credit is to make a GIF of all of the iterations of your piece until the final. So, for my GIF, I did the painting overlapped with the letters, I did the masking of the painting, the painting interweaving with the letters, and then the final shaded piece. So, it's just really interesting way, it is quickly see your progress, and I think it would be really cool for everyone to see yours, as well. Thank you so much for taking this class, I really hope that you enjoyed it. Until next time, take care of yourselves and each other. 8. Explore Design on Skillshare: way.