Transcripts
1. Introduction: Hello and welcome to this class about food illustration and Julia and illustrator and designer from Germany. I enjoy drawing letters almost as much as I love drawing food, and I think it's perfect to combine the true in an illustrated hand lettered recipe. Lettering can help to give you illustrations, a hand made personal touch, and it's a valuable skill toe Have, as an illustrator or designer in this class, we're going to create a food illustration with hand lettering elements from your favorite sweet recipe, So keep the deserts in the back off your head. We are going to draw the ingredients for a recipe. Choose one or several fitting lettering styles for a recipe texts, and we'll arrange everything into a coherent layout. After drawing and writing the single elements and ink, we're going to take them into the computer for adding color and texture. Lastly, we're going to upload the finished recipe to Vedran Cook, which is an entire website full of illustrated recipes made by artists from all over the world. It's a great place for foodies and illustration lovers. I've recently published my own book of illustrated recipes with them and all of them are completely hand lettered. Creating this book was an awesome experience for me, and I really love the result. So in this class you're going to see how I work with analog and digital tools. What my process for an illustration like this looks like, and you will get some useful drawing and lettering tips on the way. In the end, you'll have your own finished illustrated had letter recipe ready to be uploaded to the bed . Ron Cook community. And I hope you'll join me in this class about drawing lettering and cooking. Let's get started.
2. Tools you need: So first, let's talk about the tools you'll need for this class. I've laid out a few off my own here, and I'll just walk you through quickly. Well, I I will use for this. So first we'll need a pencil for drawing and maybe an eraser. Then I like to use thes simple mechanical pencils. Then you'll need a dip, nip and ah, holder and some black ink to use. Along with this, I like to use the Sumi ink. You could use some simple black china or India, and if you don't have this, this doesn't need to be very fancy. It's just for getting a nice, clear black line. So black ink is the best that you can have. If you don't like to use, never pans. Or if you don't have these, then you can always use some normal black pens that are simply for drawing. So that's an alternative, then for the lettering part off our class. I have a selection off different brush pens, so some of my favorites are the Trumbo A B T. It's a very big brush pin. Um, I also like thes more smaller brush pans there. I think that also based on move, and they come and different different types off. I think one of them is soft and one of them is a little bit study. Um and yeah. Then I also like to use the pencil calabash, which is a very groups which is a very flexible brush. Pam really like to use this sometimes for making texture marks and sometimes for making actual lettering. So depending on what kind of brush pen you like, you could You can change these tools, of course, So you could also use if you want to experiment with real brushes. It's really fun to do lettering work with a round brush. So I talked about these normal pens you can use for drawing and, you know, use whatever you're comfortable with and what complements your style the best. Sometimes when I'm experimenting with lettering, then I like to use thes really unconventional tools like big pencil Marcus and something like that. You could make a lot of fun marks with this. And yeah, I really want to encourage you to to try out different tools and see the kind of effects they make. You'll also need some nice paper and usually for thes steel nips that I've just shown you the only paper that doesn't bleed too much when you draw on it. So lay a paper or Bristol board would be a good choice. This layer paper is really smooth and really thin kind of paper. And, um yeah, you can. There are some kinds of printer papers. I think I have some here, Some kinds off printer papers are also very nice, but you'll have to try it out before you use it because it can bleed of you. Use it with these kind of steel names so you could as an alternative you could use Bristol board with, which is a slightly more expensive. There are different kinds off Bristol paper. You can also use this kind off watercolor paper, and what I would use is this kind of hot pressed watercolor paper, if you can get it. But as I said, layout paper or some kind of laser printer papers are fine for drawing. And if you use these normal pens for drawing, then really just any kind of paper will be fine. So and for the different stages off your lettering, a light box is also very useful as well as a ruler. This light box is a simple led light box. It's very thin and I don't know. It's it was inexpensive. I kind of like it. It's very practical for the second part off the class, we're going to switch to the computer, so you'll need a computer with photo shop or a similar software and a way to digitize your drawing so you can use a scanner or a cell phone camera. Best should be fine. That's what I off news. We're only talking about digitizing here, black and white lines here, so you don't meet nothing too fancy, and I use a welcome tablet that's a digital drawing tab large just because it's part of my process it I like it for digital painting, but you don't have to to use that if you don't have it, so it's absolutely not necessary. You can do your drawing with a mouse or with something else. I like to use digital brushes, which are included in photo shop now, so that's my combination off achieving the look that I want with a drawing tablet and those digital brushes. But you could you can also create your own textures, and I will show you how to do this and include this in in the illustration. So and, of course, we'll need a recipe. So take your favorite sweet recipe and printed out. It should have a title and the list of ingredients and the directions. So for hand lettered illustration like this, you don't want it to be too long. Are too complicated. So consider shortening it. If it's too long. Now let's get started with the project.
3. Exploring ideas & drawing thumbnails: So now that you have everything ready, you can start and you'll need your recipe next to you and a pencil and some paper. My recipe of choice is for a very and orange ice cream or Citrus ice cream, And the challenge for recipe like this is shortening the direction so that if it will fit nicely on the page and finding good food, I can. So for me, those will be mainly fruit and Berries and maybe, um, nice bowl of ice cream, something like that. So right now we will start with pencil sketches and just to decide on a good layout for the illustration. Usually at this stage, I think about the main ingredients, the title and what comes to my mind visually. When I think of this recipe, I also think about what I want the page to look like. So this can be a table scene or just a tumble like a pattern, with the ingredients so really organized neatly are certain you could go for certain look like a chalkboard lettering. And these are the kinds of things that I try to think about when I'm at this stage. So so I sketch it all down in little thumbnails with my recipe next to me and just drop down. Whatever comes to mind right now, we just need to get the creative juices flowing. So don't be afraid to drop down silly ideas or once that don't really work, so you don't have to pursue them later. It's just to get them out of your system. I usually draw between five and 10 some nails and then decide on which direction I want to take. Sometimes I do have a great idea right away, but often it needs a bit more thought. So it's actually good to play through different versions on paper and not just in your head . So I'll tell you a little bit more about the they draw and cook layout, which is a very wide, double spread layout. So think of it as two pages next to each other, and I think in pixels this will actually be 5000 by 1000 875 pixels and at 300 DP I that's for laid her about. Keep that in mind and that's that's you that's roughly like this. So, yeah, let's just get started. Um my directions for this recipe are written out in a way that I have the title and the directions, and I don't know that there is a list off the ingredients. But since this isn't a very long list, I might included directly into the recipe text into the the directions. So that's something to think about. You other have two or three elements to work with in your recipe illustration. So let's just start and see were This will end up. And at that stage, it's all about being burial whose doesn't have to be perfect, you know, just getting the ideas out of off your head. So since we since I do have a lot off different Berries and fruits and maybe some Citrus, maybe I may change this toe orange berry and orange ice cream. I don't know yet, but since I do have a lot off single elements, I do like the idea off just arranging these in a tumble throughout the page. So I'm really This is not a very tight layout, but let's see. And I also like the idea off having a cup here, maybe at waffle to the mix. Spoon may be nice and then try to mirror the lettering with the rest. And at the stage, you can start thinking about finding good food. I can so nice and clear images off the the ingredients that you want to depict. And, um, you could go for an illustration off the finished recipes. Or maybe it played with I don't know, a piece of cake O R. Something like that, and you could also decide on just depicting the the ingredients have to say that the raw materials for your recipes so there are often a bit more easy to draw and nicer to look at . So that's something to keep in mind, too. Let's see. One thing to is to keep in mind that they drawn cook layout needs a bit off space in the middle, where you can't include any text. So that would be the gutter space, because there is the possibility to have your work being selected for print later. So and they draw and cook sometimes make these little books out off your recipes, and they can ask you to do that. So if you want that, then it's best to leave this space free so that There's no no text when you open the book, so and you can always go to places like Pinterest for inspiration, maybe you'll google some recipe photos or some food photos. Just make sure to give these to Do not copy those photos directly and give thes your own spin and your own interpretation. So my text is not very long. You can see that the recipe checks is really quite shortened. I shortened before I wrote it down here. And so I have a little bit more freedom if I were to if I had to include a large block of text, I might set aside, I don't know, maybe 1/3 of the page for only that hex, and I'd have to work around this and make the illustration work with that. So let's see what else is there? I'm really liking the approach off the the A bell off buys cream, so I want to see if I can take this a little bit further and refine it a little bit of also start thinking about the kind of lettering that I want to have. I think I might go for very loose, kind off brush littered style here that's really flowing and looks, you know, summary and really nice on. Maybe let's have slice off orange years since we're having a very Citrus Don't know, Mary. Maybe Berry and orange ice cream. Yeah, that sounds nice. Maybe another slice off or in sheer and some bigger ones men, The recipe text. I think I will make this in to chance because I do have this actually sort of like to recipes because you have the the directions for the very ice cream and the directions for the orange ice cream, which are made basically the same but with a little bit off difference. You know, the one uses or in just the one the other one uses Berry. So I think I have to chunks off text here and and I love to have thes little pieces off bear reason fruit just floating around freely on the page. Um, what do you have? Maybe strawberries, rasp, Berries, blueberries. They're also BlackBerry's. I'm not sure if all of these should go into the ice cream, but maybe not the BlackBerries, but these three are really nice. Will really make for nice ICANN's and just to try out a few things I will well doesn't look very nice. So I'll just sketched a few different buries to get me thinking about peace, these shapes and how I want to approach, making these strong these in ink later. And that's our next step. So the orange it's a round shape. I'm not sure we could maybe have a riel whole orange here. Maybe that's too big. May. I don't know yet. Maybe some leaves would be nice to to add a little bit of greenery to to all of this. Some smaller leaves, too, now that blueberry leaves are very small usually, and strawberry leaves and respiratory leafs actually look quite similar. They are thes noise, three part leaves. But I don't know if these will fit into the to the drawing. You have orange leaves that looks something like this, and you don't have to do these realistic if you don't want to. I kind of like them see me realistic so they should resemble the rial thing. But you don't need to include all the details, so but I always like to to look at reference images and kind of go from there. So when thinking about oranges and actually looking at them. You have this out of area. That's the peel off pit. Not sure, really. Men you have thes smaller segments. This that make up the inner part of the orange and it's will look very nice when you Troughton Inc Maybe at these little dots to indicate the the cells off the orange and, yeah, the ice cream I'm going to leave the ice cream for No, I'm going to figure it out later when I when I do my next stage off the sketch, basically it will be a round shape no for the maybe another slice off off orange and this just trying out different two front chives off how you could draw these different food objects. So I think I'm happy now with this concept. So the title and a nice cream bowl on one side with a little bit of fruit floating around this and on the second page, the directions in a loose lettering style and more food, more fruit and Berries in a loose tambor on on the second page. And maybe I'll also ab, um, some kind off a table or indication off a nice tablecloth. So that we will have something where this ice cream ball will stand on. Also some gration for the bow, which will look nice. So, yeah, that's my layout choice. I'm kind of happy with it. And I'm excited to take this to the next stage so we will proceed refining the sketch in the next lesson.
4. Drawing your food icons: So now that I have a general idea off my layout and my icons, ah, that I want to use, I will draw them again a bit bigger and more refined and with ink. I usually don't spend so much time with for the pencil sketches except when I have a layout that's really tired, and I need to follow really closely. So that's when I spend time withdrawing a bigger layout and actually going through each stage again and making sure that every everything sits right. But with this kind of ah tumble layout, I don't have to pay too much attention. I just want to have a nice single food icons so that I can place them into the layout later . So that's why I do have my my little shoddy someday sketch. Yeah, I've actually drawn this again, So this one was getting a bit busy, so I thought I'd do this again quickly, and it's just to show me where the general idea and I will now take a little bit of time and have a look at my at my ingredients at my Berries and fruits and also the leaves. And I also need this ice cream mold So and the ice cream balls, I think I don't know what they called, but I will also maybe add I thought a little waffle would be nice and maybe a spoon. And, of course, our table. But maybe I will at that in the computer. So right now, um, it's all about drawing some nice food. And I have filled my ink in these little kind off, um, containers. They're called dinky dips. And I think you can get these and online from calligraphy supplies. That's where I got mine. So these are kind of practical when you don't have to do very much thinking when you're having a big a big job ahead of you, where you have to use a lot Off Inc. And you find yourself refilling these all the time. But for small drawing jobs, they're really nice. So now let's get started with drawing some some fruit, and there are different techniques for this. You can either draw these all in one piece all you could take the single elements and, um, combine them in the computer later. I actually like to work like this. Sometimes it doesn't make for a very nice page off drawing, but it makes it a little bit easier to to assemble your illustration. And one thing that's important for this technique is to keep your lines closed so that we can easily work with this on the computer later. So I use a dip to create my drawings because I enjoy the the line quality that that it gives me. And it's a bit more modulated than a standard line up, and so are quickly show the U The possibilities that you'll have with these kind off of pence and there sniff is I think it zebra Gina. And these are also used for Japanese mango drawings. Eso comic drawings and they do have a very nice thin quality can make very thin lines and also fairly thick line. So this quite a bit of contrast you can achieve. And they are also used for calligraphy, which is also nice if you want to do your lettering with ease. Steel net pen. So that's something that you should think about trying if you want to experiment with tools and I really like these pants. So I used them a lot with most of these Aikens We will remove the outer line later on the computer, so don't be afraid of this isn't really perfect. I like my drawings to be a mixture off, being realistic and a little bit quirky or a little bit naive. Maybe that's just the way I like it. And you can, of course, drawing your own style. - And I've also shared a lot of tips around writing and drawing with dip nips on my blogging on my YouTube channel in the past. So if you want to know more about that than feel free to to check those ref that those resource is out. - And if you find that your nib has a little bit off Lent Ah, fuel paper five us, then just remove it because it's easier to draw that way. Can off course turn the paper while you're drawing. I really loved this effect, so I'm I'm excited to see how this will turn out. Let's go for around slice and one thing again that I find very helpful is to really have a look at some really food if I want to draw or at a reference fertile to make sure that I understand the the way that it it works, and you can always make an obstruction off what you see and sort off. Work out your own version. And that's the fun and drawing and the great possibility of illustration to that. You have to be a little bit careful. If you turn the page all the time, then you attract some. I think that hasn't dried to your hands onto your fingers. And so you'll have to be a little bit careful with with that, I think at another one here, and I think I also I need a piece off cloth to get rid off this, And one thing that's very important to to for the handling off the nib is to have some old piece of cloth nearby and a water container because you need to clean your nip from time to time and I quickly show you if you want to pause your drawing or if you have finished, then you need to swiped the nip in the water and then clean it with with a soft cloth. And this will prevent that all the ink that you have on on the nip will dry and form a crust and this will help you to keep your nip, um, sort off good for for a longer while, and you can continue to use it for for longer period of time. So Oh, yeah. And I did want to add a waffle piece off Werfel. And of course, no. Maybe I'll add a 2nd 1 to see which one is nicer. Remember to keep the utter shape close, so it will be a little bit easier for you later in the computer photo shop, right? So I felt my pages with drawings, and I think I'm finished for the moment. And now we will take the rest into the computer and scan everything. And I hope you've had a lot of fun doing these sketches and these drawings, and please remember to share the different stages off your process with me and with the class, and you can upload your sketches and your thumbnails and also your ink drawings. And that way we can see your steps from the idea to the finished illustration. And that's always the cool part where you can see the process off how an illustration came to life and I'd love to see what you come up with you can. Also, if you make a project, you can also edit it later and at more images when you've completed the next steps, so you will have a finished project in the end.
5. Creating your lettering: So now we're taking a look at our lettering, and when writing the lettering parts, I'm usually a little bit more pre size, especially with longer texts. In this case, we know I know that I want to text locks that have to look fairly like a block, and I know that I want some big brush lettering on this side for the title and some smaller lettering for the two different. You know, they're two different sorts of ice cream, so I want to indicate that by adding a little bit off smaller brush lettering to this and when I am already thinking about how I want those lettering bids to be written. As I've said, I want this big lettering and brush lettering and the text depends a little bit, maybe with a dip nip in a loose, calligraphic style or also with ah normal brush pin, or maybe even with a simple line up in. I'm not really decided on that yet. And I'm going to to try out a different things now in experiment and and you can, of course, choose any technique that you want as long as you create all the lettering yourself that's fine, and we don't want to use any funds for this project. Really try to explore the different possibilities for lettering techniques that there are in this class. So for the title, I'm using this big brush lettering pen, and I'm using some a printer paper that has a little bit more tooth to it. So it's not a smooth as Bristol board or the layer paper has a little bit of a structure, just a tiny little bit. So for the title, I want very loose style and airy brush lettering style, and you may have seen this in other work that I've made. So let's see. So the title will read Berry and Orange Ice Cream, and I think I'll keep that plus sign. And at this stage, it's all about warming up and getting lose with your tools and not worrying too much. I think I will have to make this a little bit smaller, and of course, you'll have to be able to read all of this at the end of the day. So that's always the most important thing about lettering or doing hand lettering. The readability is key. With this you you do want to read this. It's an illustration, but it's a recipe to, so you have to think about how you let us look like huh ? And you can see that I'm trying different styles here. So I thought it might be nice to have some block lettering at the bottom. So for ice cream, I'm trying out this different kind of lettering, and so far I'm really liking it. So even when you have had a different idea in your layout, then it's good to try out some different techniques because those minds work out better for what you had in mind. You can always if you use thin paper, you can always sort of trace your own lettering to make it a little bit easier to match what you already have done. So I will try to do that here. And, of course, it's always great to have something like, um, the guy cheat underneath if you want to keep your lines straight, but can also adjust it later just a little bit easier that way. Yes, I'm really liking the direction that this is taking. I'm not a perfectionist when it comes to lettering, so I will stop at some point, but nevertheless, I want to achieve a certain look. And I still have to go through some little orations off this to get a look right? So even if it looks very lose and care will, it's still a little bit off off effort in this and actual work. And at this stage, I'm thinking about the letter forms, but I'm also thinking about readability. So, for example, in this a, you can see that I made the crossbar slightly lower than with s with the other versions. And that's better for readability, actually, So yeah, I think I might leave it at that for now. So now we will work on the smaller text blocks and the actual directions for the recipe. And as you might remember, I do have my recipe text, and I will actually work on this with a guide sheet. And you can download this in the resource of section. And I will. I need to write the whole text for the directions in and a loose kind off off hand written let rain. So I will tape this down and this is just some kind off the swash she tapes ho. It can be removed easily. So for this part, it's also good to know what you can leave out off the directions. So I usually boiled down my recipe text very short sentences off what needs to be done and what order s so I can fit everything on the page and don't have to write out long paragraphs. And my recipe here is very simple, so there's not a lot of text. But if you have a particularly long recipe, you could leave out the ingredients block and highlight them later in the main text. So and what I sometimes like to do to is use a layout dummy in the actual proportions off the illustration. So in the actual size that it will be later so that I have a better feeling for the size off my sketch. And you can, of course, resize some off your elements later and Photoshopped. But with the text rep, it's always best to get it right to get the actual text block that you want to have so that you don't have to write it again later. - So now we have a fest text can, then we have to to match our second text two to the 1st 1 so that everything well look nice on again. I'm fixing my paper on the guide sheet and at this stage M. If you use paper that you can't see through, then you will have to use the light box. So that's why I am mentioned the the the lightbox earlier. - So now that I've finished my main in my main directions texts, I want to add some smaller lettering to indicate the type off the ice cream. And I just want to have the's tool of words orange and bury to show someone who wants to make it. Which kind of ice cream this is. And I'm using this smaller brush Panitz, a Tom bow to, and I really like these kind off off brush pens. They come and two different varieties. Oneness more softer, and one is a little bit more more injured. I'm serious. We could do this for hours in search off the perfect lettering, but I will stop soon. I think I do have some versions that I will be happy with. All right, so now we have finished our drawings and we've finished our lettering and let's move on to creating some textures
6. Creating different textures: so that comes a very fun and messy part of the process. I wanted to show you how to make your own custom textures, and though I haven't done this in a while from our own illustrations, because I also like to use digital brushes for my for adding texture, it is a lot of fun. And if you have the time, then please try this because it's it's really creative, really great method to to add texture to your illustrations so you can do either, so you can create your own illustrations in an analog way. Or you could do. You could just use the digital brushes that will add a little bit more tooth and little bit more texture and more interest. So for this class, I'm going to show you how to make your own text just by hand. Even if you might use the digital brushes in the end or in the future, that's that's nothing to worry about. It's definitely more fun to to use this method, so you need a bit off space, some paper as some ink and some some tools, like old brushes or old markers that are a little bit dry or maybe even a toothbrush. I don't have one near me about. That's the classic method off splattering on the page. And you could also try out different drawing mediums like pest, tell or drag wash and paint like this. And usually the rougher the texture is, then the more interesting it is in the end for using in your digital illustrations. So most off the time, I just try to apply different pains and thanks to my paper and do it in a way that seems that might seem interesting for using in my illustration. So this is actually too much think so, We have to get rid off a little bit. And as you can see, the less ing is on the brush, the more interesting these text textures are getting. Since you can't really so you can't really plan what what happens. And this is the difference to the digital brushes that are out there. You know what kind of affect you you're getting from these? But this looks like like a lot of fun. Maybe this looks like I actually might use it in my illustration later. So this a great page What? I also like ISS, and I'm not going to use think for this because it's horrible to get out of your clothing. So when I also like, are these little kind off better rings better thoughts. So these are always great to add for a little more dynamic in this watercolor. Just the best thing to get off surfaces. I'm going to make another one. Maybe with a little bit more concentrated betters, you can see this is really a lot of fun. So I should definitely do this more often. Right to beautiful pages. Another red thing to use are these stepping pants. And I think this will give kind of, ah fabric e feel that you could use this for the tablecloth. Let's see. Looks like a really cool effect. Kind of like a printing like 1/2 tone effect. So, yeah, I really loved this. That's great. Another one here and then we have a few that we can experiment with. I'm not sure about this marker. I haven't used this in a while, but then again, I'm not sure about long lines. Maybe we'll need them. Maybe not. It's always good to to make these textures with your your actions and your overlay out in mind so that you know what you can use these for and whoops. And you can see this is a little bit chaotic. Some bristle stems, and please only do this was with a bristle brush and not with a regular Ron brush, because this is only for brushes that are already ruined. So please use your old precious for this. So I think we do have some nice textures Textures here, and I hope you're you will find your own tools and you'll be doing the same. And yeah, once you have filled a few pages than well, you can let everything dry, and then we're going to digitize everything in the next step.
7. Digitizing your work: In the next step, we will digitize all our drawings, the lettering and the textures that we have produced. And it's perfectly fine to use a high quality smartphone camera for this, as I'm sure most of you will have. Just make sure that you have in our flight and that it's even so that you won't get any weird contrast issues on if you have a scanner than you. You can also use a scanner like I'm doing it. Should you should scan were in grayscale with at least 300 d. P. I or 600 peopie I. If you have particularly small skins or drawings and we I will scan and tiff, you can also scan into J. Peg. Tiff is usually higher quality image. So what I want to do now is removed the white background from all of these images, so we will have to adjust the contrast and the levels a little bit before doing this. And there's a fast way and a slow way to do this. I am sure knew the past way, and I'm going to make a copy off my background just to make sure that if something else wrong I can bet. Come, come back to it later. And then I will just the contrast my layer, which you can find the menu and image dressed men's and brightness. Um, I will just crank up rightness and the contrast a little bit. And then I will go into the same man. You on just the levels just for a little bit on this left slider. Um, just the other two. So you can see how the black has become more crisp than the white iss more wide. And that's what we're going for here. I can show you the difference. That was the original. And this is the the heightened contrast. So now I want to get rid off the black background and all I want. All I have to do for this is go into the channels Pillette, hold command and click into the Great Channel right into this little item. Then I go back to the last press commands that or go to at it coat and you can see it has removed all the white parts off the image. And this is just what we need to work with. The black lines and the black lettering only so essentially you go from this to this. That doesn't said it's best to keep a copy off the background layer in case you need to go back. So I pressed safe and then I will adjust all the other images in this way to, and then we can start to copy the loan, work into the layout and at some color to it.
8. Creating the layout: Now I'm ready to assemble my layout. I'll do that by copying the single elements from my scanned image into a document in the actual size. So let's create a document with big grown cook measurements. And for that I'll open a new document, and I do have a document preset for that. But the with on the hateful this 5000 pixels by 1875 pixels at 300 BP are in color RGB color. So let's create the document. And right from the beginning, I'll add the ruler in the middle to 2500 pixels so that I know where my got a space is located. And now I can start and copy every single element over from my other documents and placed them, and I usually start with the lettering and place that in the size that I want to. So I'm choose the lesser of two, and I do want to exchange a few off the letters here so that I have a more pleasing lettering result in the end. So we're going to Frankenstein are perfect lettering and just exchange a few off the letters that I think will work better, and you can just do this by copy and pasting those letters that you want for the final lettering on some letters just have to be a little bit smaller. - So now I'm just copying the parts that I want and paste them in the new document. And what I do immediately when I have paced that my lettering into this is make this smart object so that I can resize, erred and edited later without losing quality. So I do have a short cut for this, but you can do this by clicking on the menu on layer, selecting smile objects and convert to smart object. And you can see that I have. Do you have, um, shot cut for this? So now every time I want to edit the Slayer, I have to click on this little I can hear, and I can edit it all. I want change the color, change the letters, you know, make adjustments and then every time I save it, that will update in the original document where it was placed. So now I can change the size without losing and equality, and that's very important. So we're going to loosely place this year. So I will continue copying the other layout elements that I have scanned into this one and assemble a lay out this way. So I have no grouped all my elements into, uh, layout that I like. And I've also group the fruits and their own groups so that I can easily access them when I'm editing them. So the text is on its in its own layer group with only the elements and the fruits and yeah , now we can proceed to bring a little bit off color into all of this.
9. Adding Color: So now I can add color to my layout and I will select the single elements in my drawing and fill them with color on different layers, and I will show you the technique I'm usually using. You can also add your color shapes and lay in your single color elements and illustrator or with a different way. But I will just show you the way I usually do it. And for those technique, it's important that the outer shape on all the shapes you want to have a single different colors in that these are closed. So remember when I told you to draw in a way that all of your important players are close. This will seem a little bit limiting when you're drawing in a very loose style where you have very lose lines and open forms and shapes bird. And unfortunately it will not really work with this kind off style, and I will show you the way I color my objects now. So I have selected this orange, and what I want to do first is select everything outside the orange, so I will press W to get the Magic one tool and I will simply select all off these form outside paths. So now I My selection is in these white paths and you can see I I got into this quick mosque selection that shows me where my selection is by pressing que enough up rescue again . Then the squiggly lines were reappear so that now I want to inverse my selection, which can be done by choosing select in the menu and then in verse. And now, if I rescue, which is my quick quick mask or quick selection button, then I can see that all off the the white parts are being selected. So everything inside this this round shape now I will make a new layer because I don't want to draw on. I don't want to paint over my my lines because I still need them. And then I will select bit of a light orange and select the brush and you can experiment with different brushes and photo shop. I think down oh, many, many years for brushes and photo shop on. And if you have older Photoshopped versions, you can by those brushes that a lot off different brushes available. Dan and I will just color in this area, and you can see it's not a Paige in all of the areas, and you could achieve basically the same effect by choosing your color. Move it to the background by pressing X and pressing. Come on back stays to get, um, and opaque round shape. So that's possible, too, if you don't want. I like to paint this all in like I would do in on paper on a real painting. So I like this approach. And I also used this graphic tablet this week home tablets. So that helps me to keep the the surface a little bit more interesting. So now that I have my basic shape, I will move it to the background. So simply drag it to the background that I can see my lines again and I won't know. Go back to this lines layer, delete my selection by pressing commode deep, and now I want to think about adding a little bit more darker color. So I'm choosing again with the magic. Want to about pressing? W. I'll choose this out apart. This this appeal part and I too warm to Calera in these. Oh, and you can see what I described earlier that you have to close all your life. So this has selected this an iPod, which I don't want to have in a doctor color. So I have to close this little gap here, and I can simply go in, delete my selection first the at this black color and I will simply choose a very normal pink brush and close this gap so we will delete these lines later so it doesn't really matter how looks. It's just important that you close this gap. So now I can go back to my original plan and select this outer layer. You can see I have no selection off this the pier part off the orange, and I want to color in these inner segments to so with the magic, want to activate it. I hold down the shift key and you can see that this little plus sign appears. And that means I can add new parts to the selection. So I do that by clicking into all the segments had I have here and when I have these selected a quickly press Q. To see if everything is how I wanted press Q. Again to leave this quick mask mode. And then I make a new layer because remember, you don't want to paint on your lines. And then I have to just select my starker orange color. Andi, select a kind of a bigger brush and color this. And as I said, you could achieve roughly the same effect by pressing command backspace. That would add the color, too. I quite like it this way. When I can paint a little bit on my tablet, my graphics tempered so we will add a little bit more, um, texture to all of this later. So now comes the magic moment where we can see what happens when we turn off these dark lines. So isn't that beautiful? I quite like it. The only thing we'll have to do IHS making this background layer. You can see that the light layer is a little bit bigger, so we have to make it. Chad smallest right that it fits behind this orange, the stock Pierre part. And now what happens when I remember all of this was done within the smart object, so that has not been applied yet to my main layout. And what happens when I press command s which is the safe. Come on, now this. But this will get updated. So everything you change in this smart object this is opened as a PSB file. And when you're done with your changes and trust, safe and close it have. The main layout will be updated. And the beauty of this is if you have copies. If you make a copy from this, then it would look the same essentially. And you can make changes toe all of your copies by simply editing this smart object again. So that's a pretty good way to fill a lot of space than little time when you only have a few objects. So I will continue no coloring in more off mine beautiful fruits and Berries and also this ice cream bone. And yeah, I think I will leave the lettering and black for now because I want all of this to be a very light and loose and airy. So, yeah, let's see where this takes me. So I will continue covering this in, and we'll add some textures in the next step. - So I want to show you how you can fill the elements with color when There is an object that has two colors next to each other, and there will be a little gap on Let's look at this bar looking a strawberry. So we have to two areas here that can be filled with color, and I will just quickly select the first area and apply a lie. It read to it. So I think it's really beautiful. And then I'll go back to my lines and select the second part off the green part off the strawberry, and you just make this slightly warm dream on. I will add a new layer, move it on top because the green part will be on top. Maybe this should be a little bit more dark. There we go. Maybe have, uh, a bit more off yellowish green whips that sometimes happens. Mary. Oh, so now when I turn off the line layer, you can see that there's a gap and we don't want it at all. You have to do yes. Select the layer that you want to move on, then have the selection tool with B. That's this little arrow tool here, and then you can simply move your layer closer to to the main part of now you can see that the strawberry looks a lot closer. Looks very nice on we can do. This was with all of this, those parts that don't seem to fit that well when you first element. So I've now had a basic color to all my food elements and to the ice cream into the bowl. And I quickly wanted to show you how I changed the color off the writing off the lettering . So what we will do, as always, is to go into the smart object that is the text. And you will then pick color in the case off this one. I'm just pig, a dark orange tone and still in the layer off the smart object. You select this little check board this lock item. That means that the that it won't change the background if I do what I do know. And now we'll have to get this orange color into the background so that it's the background color. And this can be done by pressing X on your keyboard. So you see, these colors have changed now and now we will simply fill the black with the background, color and that can be done by pressing command backspace. Then you can see the orange is orange now. And when I press command s to save, then you can see it will be changed in the main layout. And this is how I changed the colorful the lettering. And let's do this for the ice cream layer. I will open the smart object, then pick a color. I think I will go with us. And by the way, color picking can be done by pressing I on your keyboard. Then you will get this little I drop out and you can pick whatever color you want. I think I will go with this dark pink. Now, back on the smart object layer, we will press, look and see it's already in place. Then you have to bring the pink back pink color into the background by pressing X and commanded backspace to fill the layer and then safe. And you can see that the lettering is now in a beautiful, bright pink. Now let's see, what would I do about this other part? I'd like to try the same thing here, so let's just see how this looks. It's a little bit pink? I think so. You see what happens if I actually make this slightly darker? And I think unlike this on, actually, I think I will do this for this fire scream, too. Yeah, I think I like this. So now that we've added color to all the different elements to a layout, I will quickly show you how you can a texture in the next lesson.
10. Adding texture: you can see that I changed the lettering again a little bit. I brought in a lighter version off the first part off the title, and I did this with a very fat pencil, Met by and wrote out the words with it. I really like this a lot more. The ice cream lettering it is now matches now the color off the ice cream. And I think that creates a very nice and summery feel about everything. So now I want to show you a little bit about textures, and now and we're going to bring our lovely handmade textures into the picture. And you can see here the file with all the textures I've done, the same thing that I did to my other elements. I removed the background, and what you see here is a wide background layer that I applied so I can see the actual texture elements better. So when I look at this artwork in this stage, I think I'm already quite happy with the fruit part, so I don't want to add any more texture to this, but I think I just want to have a little bit more in these white areas. in the background and the tablecloth. We already had this idea to add this texture that I did with the stamp it. So I'd really like to try out what happens when I apply this. So I'll just copy that by using the less O. Toole. And then we have to find the right layer for this one. You can see this is also a smart object, and I added a wide layer behind those lines to make it a little bit more visible. Also, to have it as a solid space when I add something different in the background. So we will simply copy our texture into this and you can see I have to change the side a little. So I press command t to transform. And then I hope the shift key because I don't want the proportions to change. I actually like the size off these little dots on and and I will adjust and you don't have to cover all the areas. It's at this point. It's just about getting their part off off this tablecloth. So I want to change the color so I'll look the layer and see Think this yellow might be nice. So let's try this are click command deck space and you can see this. Ah, a lovely texture that actually looks a little bit like a riel piece off tablecloth. So what I'll do now is change to my lines layer and select the outer parts. And then I'll go back to my texture, Leah, and delete the parts that are outside the tablecloth so that these won't interfere with the rest of the artwork When I go to save and close it, and now you can see you have some nice bits and a little bit off yellow, and I think that's very nice. Doesn't have to be much. All right, then I think I want to add a little bit off spatter to my background. I think that eggs, a very nice summary feel so this better might be a bit too much. So I think this more regular space is a better solution. So I go back to the background layer and add another one, and you can see we have quite a few last year already, and then I just paste this better into this and it's a little bit too big, so I'll adjust it a little bit on, and now I look in the layer and let's see. I think the light blue might be nice. Maybe something like this not too dark because we don't want to dominate it. The rest off the space Let's try out what happens. I'll bring the color to the background dress command, backspace. And then we have some very nice spatters in the background. And I think this I will just copy this too the to the other side. So I've made a copy by dragging our layer onto this little square I can. And now I can. By pressing b, I can just move it around and you can see somewhere here it all make for a nice companion to the other side. So one thing that I don't like is how the bettors interfere with the lettering. So this very small, delicate lettering and I think I will actually just delete this betters from this area. And when you have the news textures like this, it doesn't really matter if you didn't lead a part of it. So let's see. Yeah, that's much better. So I'm really pleased with how this turned out and I think it's finished, and then the next step, we will upload our image to the Vedran Cox side and also to the Project gallery.
11. Uploading to TDAC: Now I have my finished illustration and I'm going to upload it to the they draw and cook site. And first we need to save this as a J peg because the working version is off course Photoshopped files. So I'm going to click file, save us, and this will give me that. I Look what I can choose Jay Pek, and you're I don't have to change very much. Make sure the quality is the largest that you can have. Now our image has been saved and we can go to the They draw and cook side, and you can see their own sorts off Lovely images, really a cool variety off illustrated food. So to upload an image to submit a recipe, you're going to click on this button that says, Submit a recipe and we have to come up with a total and a description. Doesn't have to be anything literary. Just a nice short description that Sally can see when she I was looking for. That's now we choose the J pic fire for upload on, and then you would wait for roots to be fully uploaded And, yeah, you have a selection. You you can choose to let the they're drawn Cook side displaying merchandise your artwork. So if you want to be included in a book on and some other form off sale, then choose this. And if you only want your heart to be displayed on the site, then choose the better one. And in the end you just have to kick submit, and it will take maybe a day two until your image shows up on this high. So he on the right side you can see that there's a little more general information that I already told you throughout the course he is again the image size that you need on the file type and just a few other general pieces off advise for making artwork for this such. And I hope that this was a fun exercise for you. And I also hope that I will see many images on May drawn cook from you for this class suit
12. Final thoughts: I hope you've enjoyed this class and learn a few things by observing my illustration process. I don't have a lot of tips and tricks about lettering and painting, an illustration that I have acquired over the years, and I'm happy to share them with you. I hope in this class you've become more comfortable with creating layouts and creating custom lettering as well as digital illustrations. I want to thank Sally and made from a drone cook for supporting me and countless other artists. And I'm deeply grateful for their awesome side and the book projects, and for allowing so many talented artists to be a part of it. And I hope that you will join in and become a part of that, too. Let us see the illustration that you created for for your dessert recipe in the Project Gallery and on the They Draw and Cook website. Please Ablow your work here for everyone to see and share tips and constructive critique. Thank you for taking this class with me. I hope I'll see you around on skill share, and I hope you'll have a fabulous day by
Julia Bausenhardt, Nature Sketching & Illustration
