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hi i'm molly suberthorpe i've been a lettering artist for a little over a decade and i love working with ink on paper calligraphy and digital lettering on the ipad in addition to making art i also love making tools and resources for lettering artists like procreate brushes and downloadable practice sheets i've also written three books for calligraphers today i'll be showing you how to make a calligraphic flourish layout design in procreate using two of my brush packs working with a short quotation i'm going to walk you through my own technique for making organic interlocking flourishes that result in a really beautiful fancy layout design the first pack is my calligraphy composition maker which is a powerful tool containing 65 brushes and layered files to help calligraphers practice their technique and learn new styles it contains letter guide brushes grid patterns practice sheets and more i'll be combining the composition maker with my calligraphy nibs pack a set of realistic brushes that emulate pointed calligraphy pens i designed these brushes for myself originally and they're still brushes that i use in my own work on a daily basis so without further ado let's dive right into our layout designing our first step is to set up the canvas so let's make one from scratch together i want to make a square canvas here just so that this can become a drool-worthy design that we can post on instagram but of course the technique i'm going to show you can apply to any layout size so let's keep this at 2000 pixels by 2000 pixels and a dpi of 600 i know that's really high but when i create compositions where i don't know yet if i'm going to be enlarging it a lot one day i like to boost up this dpi really really high the maximum layers here are 130 and i know i'm not going to come anywhere close to that so this file size will work great and let's hit create the first brush pack that we're going to work from is my calligraphy composition maker and this brush pack is really powerful it has 65 brushes but i'm not going to go through all of them today we're going to stick with one component of the brush pack which are these bar brushes okay and these are calligraphy letter guides that come as stamps with the pack and there are a number of them these are all very large and as you can see they adhere to the size of your brush so depending on your canvas size and resolution you can make them bigger or smaller to fit but you'll see that each one has a different slant it has a different ratio and they're named according to the style that they're closest to so for example this is a more modern one that has a slightly less steep slant we can you know you'll have a lot of fun being able to go through these and experiment yourself with different styles and different ratios and different slants but for today i'm just going to select one and i'm going to use these stamps that i have below each individual bar these stamps are simply the bar right above it times four so let's use let's see let's use one that's pretty fun like this modern 72 degrees there we go i tapped roughly in the middle of my screen but i'll come up to my selection tool and eyeball this to be more centered on my canvas now if i zoom in you're going to see that this letter guide i selected has a relatively steep slant and it has four different letter guide bars i want to just very quickly explain what those are so some or many letter guides that you're going to see have only three bars it doesn't include this top one they have a center x height and descender this one has a cap height which is a more traditional letter guide traditional by traditional i mean more old-fashioned and all that that means is that the capital letters remember it's called cap height the capital letters are going to sit between your cap height line and the baseline and your ascender letters which are things like l t k h b those are coming up to the a center line so this is a way of creating lettering that has uppercase letters that come up higher than your ascender letters but all the rest of the guides are the same ratios that you would normally expect x height letters such as a x m n those are going to sit between your baseline and your x height line and descender letters are sitting between your x height line and your descender line if that doesn't make a lot of sense to you don't worry because you're gonna see as we go how i utilize this in my work you can see that i chose a very contrasting bright color this bright purple and that's just because the lettering that i'm doing today is going to be black and i want to have a lot of contrast so here in my layers palette i'm going to create a new layer in fact let me slightly turn down the opacity of my guides and for the sake of you watching at home i'm just going to start naming my layers so that when you look at my layer palette it'll be easier for you to to parse so now i have a new layer called sketch and i'm going to come down to a darker color black and now i'll switch over to the second brush pack i'm demonstrating which is my calligraphy nibs brush pack this comes with six realistic nibs that emulate pointed pen calligraphy and at the bottom i have this bonus monoline calligraphy pen and among other things you can use this for finished compositions but among other things i like to use it for quick sketching so i'm tapping it and i'm just going to make sure that my streamline is somewhere in the middle and this means that i'll be able to sketch relatively realistically without having to sort of wait for the very tiny lag that exists when streamline is turned all the way up so making sure i'm on my sketch layer i'm just going to start writing out my quotation in a very very loose rough style the point here is only to get a sense of how many words per line i'm going to have how many lines i need and what the general spacing of the composition will be the quote i'm using is a great one by maya angelou she says you can't use up creativity the more you use the more you have so that's a pretty good length for the size of composition that i have here and i'm just going to start quickly drawing it out whatever lettering style you are most familiar with already you can just use here even if it's just basic cursive and remember i am adhering to these grid lines from the cap height all the way down to the descender as i already explained to you previously and i'm trying to adhere as closely as possible to the slant lines so for example the downstroke of this t adheres to the slant in the grip in the guide so we have here you can't use up okay zooming out i can already see i like this number of words per line however i'll select it and move it over to be more centered and now i can see that yes this number of lines is going to i'm sorry this number of words is going to fit perfectly on the top line now i have one motto in all of my layout designing and it's new line new layer so this makes it a lot easier to move around your composition later so i have my first line done and i'll tap a new layer and keep going the word creativity is really the the primary subject of this quote so i'd love to get it on a line of its own and conveniently it is a longish word and with flourishing we can make it even longer so again i'm just using such a basic lettering style here i'm going to be adding the flourishes later so let's see if we can eventually get creativity on its own line make new line new layer and keep going here on creativity this needed period at the end so the beginning of the next sentence has an uppercase letter of course which means that it comes all the way up to the cap height if you don't feel confident yet in even your most basic lettering styles that's okay you know honestly this is a great way to practice one reason that i made the calligraphy composition pack is so that i can create these guides that are going to make it a lot easier for professional calligraphers and beginners alike to practice different styles so really don't feel intimidated by this step i want you to feel like this is a great way to to learn and practice your lettering in addition to your flourishes and layouts so new line new layer here new layer the more you have we're saying here and the fun part is going to come next when you start adding all of the flourishes the more you have and see again while i am adhering to the bass lines and slant i'm doing so you know relatively roughly i'm not being a stickler and doing a lot of erasing but when i do see some very um poor spacing like between the letters i'm sorry between the words here i did come back and select that word and move it really quickly all right i actually think that the number of words per line here is excellent so i'm going to come and turn off my guides layer and i'm going to move around or rather move up and down these layers so that they're roughly centered on the canvas and they are closer together i'm not going to make them too close for example i don't want to move this word this close to the line above it because then i don't have space to add my flourishes so i'm going to i'm going to move it roughly like that and of course if you had more lines than this all you would need to do is shrink down your grid layer and throw another bar underneath it and you can you know you can create an endless number of lines that way so let me keep moving my layers and this is what i call optical centering there's no mathematical centering involved in this in fact mathematical centering with things like script calligraphy that have a lot of curves and uneven edges mathematical centering can actually look uncentered so optical centering is the way to go you want to just make it look to the eye like it is centered now i'll come and turn on my guides layer and make a new layer here and i'll just add the byline for maya's name and again really quick i love to create by lines that have a contrasting style just because you know it separates them from the flourishing and i love having contrast between lettering styles uh even in one single composition okay selecting oops turning off guides selecting this it's roughly centered already but i will i will adjust the spacing between lines let's move that up a little bit more by line again slightly up all right i like this for now but again more tweaks are to come now that i've done my movement i can flatten these so um i can just tap my layer once and say merge down and i can do that a few times until my one single layer contains my entire composition now i'll reduce the opacity on this a lot because i want to come back into a new layer above it in a much brighter contrasting color i'll choose pink and evaluate the the gaps and the opportunities for flourishing so what do i mean by that first i'm going to just roughly fill in for myself the real blank spaces of the composition where flourishing would ideally fill them or at least would come in and create and then sort of and fill up those gaps and make the composition look more full and rich don't forget to fill that in on your top layer as well and maybe even down here we'll see what we can do about adding flourishes there so that if we fill this up with flourishes in these spaces the ultimate composition will look more square it'll have you'll have just a really cool fancy look to it so that's our goal and after filling in uh these blank spaces so that when we're zoomed in later we'll have a quick and visual reference of where we want our flourishes i'm going to come up and i'm going to just mark for myself um some places where opportunities for added flourishing exist for example i know that i can do a lot more with crosses of teas i'm not doing my actual flourishing yet i'm just sort of telling myself for the next step where i might be able to add flourishes you can even skip this step if it's not intuitive to you where to add flourishes because in the next step we're going to do that refining even further all right yeah let's move on to that next step now and i'm going to dramatically reduce the opacity of this pink new layer now and a new contrasting color let's use bright purple so this is actually my favorite step and this is where i come in and play around with flourishes to to add them and fill up the space still i'm on my monoline brush my sketching brush because using a real calligraphy brush the final brush takes a little bit a little bit longer and again i'm just sketching out the basic shapes of the letter forms at this point so let me see here let me see what i can do for example here with this y let me reduce the opacity even more on these layers too just so that there's no competition between the colors all right i'm going to roughly see what i can do with these flourishes in terms of filling up the space and as i go i'm going to keep in my mind the most important principle of flourishing which is there are two actually contrast you don't want to flourish every letter because if you do then none of the letters will appear unique you want to have pops of big flourishes throughout your design contrasted with letters like this o and this u that are relatively unflourished they provide a stark contrast to the flourishes and the other important flourishing principle that that i always tell my students is that just because flourishing is decoration doesn't mean it should be small in fact a small flourish like look like this and this y this flourish looks a little bit amateur it looks a little bit childish doesn't it it doesn't look formal and elegant if you make it larger though like i did here on this y you immediately have a sense of openness lightness um formality that you know that is really going to add a lot to your final composition so keep that in mind it is decoration but it should still be pretty big so let's keep going here with the principle of contrast in mind i'm not doing any added flourishes to these letters and i am going to try flourishing the cross of this tea a lot i'll keep zooming in and out regularly to see how i like what i'm creating but we can always go back and change things once the final design is done so that we can make sure that the whole thing is cohesive from line to line okay i think i almost like that now okay keep going here by the way i can look ahead and i can see that yes i have a blank space here that i want to fill but i'm going to look ahead and note that i'll be able to use the opportunity of the exit stroke of the p to fill this space so i'll continue with the word use here being unflourished and this u being unflourished because i know that down here i have an opportunity to fill that space and up here i have the opportunity to use the p for that space so these do not have to be flourished let's extend that descender slightly too now one way that i think a lot of beginner flourishes uh flourishers don't think to flourish is to flourish above their design we think often that only acender letters like an h or a t can really be flourished in that way but that's not the case whenever you have a letter that has an exit stroke leading out of it you can actually always do a flourish like that for example maybe i want it slightly smaller because it should complement the y on this side and i want to keep this spacing relatively optically even yeah another great letter you know in the english language a lot of letters end in e so that's a great opportunity um but you know you can do it with any letter that has an exit stroke you can make it flourish like that so new line new layer let's come over to our word creativity again contrast is key in my mind i'm not going to cross this t until i get to this t though because i don't want these flourishes to intersect the connection between these flourishes is almost as important as each individual flourish shape itself so i want to use up this space a bit in this space with these two flourishes so let's just play around a little bit here see what i'm going for is a kind of interlocking look you see right here um in english again you'll often find two t's in a word that are separated um if envelope addressing for example is your bread and butter then you're gonna have words like street quite a lot and so you'll have a lot of opportunities to practice double t flourishing within a single word okay i like this for now and i happen to know that when i do this in the real calligraphy pen it will look so elegant so we're keeping this for now so now i have this amazing opportunity with the descender of the y and i know that i can use it probably to fill up some of this space and looking down i can see that with this e when i get to it i'll be able to use it to fill up some of this space too so i don't have to worry about that space with my y but i would also love to fill up a lot of this space too because again looking down on this line there aren't that there aren't actually any ascenders there's not going to be much opportunity to have upward flourishes in these words so if i can get my y to fill up those two spaces that would be ideal but that'll take a pretty big flourish but i think we did it and here now new line new layer on the t i have this space to fill but i can just easily make that initial entry stroke on the cross part of the t much bigger and there i have filled in the space i can even make the initial stroke of the t a bit lower so that i can begin to fill up the space a little bit now in a lot of letters we have what's called an overturn and that's this shape in calligraphy you have overturns which are this shape and under turns which are this shape and those two are found in so many letters even the m has both an overturn and an underturn every overturn is an opportunity to move upward a little bit and create larger rounded uh strokes so here on this m i can create an overturn that's a little bit higher than the x height immediately that adds a lot of elegance again another overturn where i can have a lot more fun okay let me see on this y i have a feeling i'm going to use this y as well to fill up the space and this space but i want to wait till i get to this h to see how much space i need to fill here so for now i'm just going to make this y as usual knowing that most likely i'm going to come back and do some erasing oh and look before i said that this e might use some of the space up here but in fact i don't know if that's going to be necessary no i actually like the flourish that i did on this y so i'm going to leave the e unflourished and move on to new layer new line now here i can fill up some of this space for sure with the top of the h um so let's see i'll make that as large as i possibly can and then this is only the amount of space to the left of the y that i'll have to fill there we go still moving and thinking about all of my overturns and in fact an underturn like on this u can be extended to a more rounded circular shape which again it's a great way to end a word um to make it look a bit fancier okay so i am going to immediately enter this h with a lot more flourish in fact yeah it's going to be great to be able to fill up this whole space above the h with a flourish so the y flourish will only have to move to the left above it yeah i'm going to make this e a little bit more rounded since it's not only the last letter of this word it's the last letter of the entire quote so why not finish with a bang okay coming to the previous layer i'm getting my eraser tool and i'm just going to erase that y there and come back in and what we're going to do is create a faux connection um it's not that common but in script calligraphy you don't always have to have every letter connect in a natural way so long as the viewer's eye can still move smoothly across the line so what do i mean by that i can make my y d center come down sort of like this yeah and then the o connects to it with this technically unnecessary connector stroke okay and the viewer honestly isn't even going to notice it's adding a sense of cohesion without it there would be a gap in the word the viewer would be able to see so we want to create that little faux connection there all right and then just to complete this particular purple version i'll just go right back over maya's name i'm not going to even add i'm definitely not adding any flourishes to this style and i'm not even going to add any sort of adjustment whatsoever okay great so now i can turn off the two previous layers meaning the black lettering and the pink notes and i'm left here with this this beautiful design that i'm going to quickly look over and make sure that there's no instance where words have wonky spacing or the whole line itself is uncentered on the canvas i can immediately see that maya's name is not exactly centered and the line above it is not optically centered either sometimes it's helpful to turn off magnetics here so that you have the freedom to move around without any snapping okay now i want to group all of these layers so that i can move them together as a unit i don't yet want to flatten them because i still might want to do a little bit of movement so the easiest way to do that is to very quickly swipe right on all the layers you want to group together this will turn them all blue and now up here in the top right i can hit group and i have one group where all of the lines are together so now if i hit the selection tool when my group is selected i can move around my entire composition now i have optically centered every line and optically center the composition as a whole so long as it does not impede the legibility of the design i'm going to say that i like it and i do so i'm coming up to maya angelou's name and oops i'll have magnetics on now i'll slightly decrease the size of it there we go so that there isn't really any um tension on the left and right side there's enough breathing room and now i'll select the whole group and i'll move it very slightly up so again it's optically centered great now i'm actually ready to do my calligraphy i'll start by flattening this group finally i don't need it anymore to be separate layers so i'll tap the group once and say flattened now this is all on a single layer and i'll reduce the opacity because i'm going to trace it with my calligraphy pen i have a new layer and i'll come down to pure black in my brush palette i'm going to use the very first brush in my calligraphy nibs pack which is my fine point calligraphy pen with a smooth stroke tapping it once i'll see that streamline is turned to max which i like because it makes it a lot easier to create really really smooth rounded curves all right now you see that i personally don't use any baselines at this point if you know me and my work or you know any of my teaching you'll know that i'm not a huge stickler for adhering closely to grids i use them the way that i showed you in the beginning here i use them to start my composition to to get a sense of ratios and slants but by the end of the composition i have taken liberties that create an optical flow that may or may not adhere to the original grid so new layer uh calligraphy nib brush selected and a black color in my palette i had someone recently email to ask me is there a setting on the ipad that turns um the up and down strokes of calligraphy pens into the appropriate thick and thinness and the answer is no but she was asking because when she watched calligraphers do this it looked so easy and you know especially pressure sensitivity is not something that can really be shown in a video so it's very hard to understand maybe where i'm exerting pressure and where i'm not so if you're unfamiliar with pointed pen styles that have this thick and thin type of strokes i just want you to understand that every place that has a thin stroke i am releasing pressure and every place that has a thick stroke i am exerting pressure and this is exactly the same principle as real ink on paper dip calligraphy pens but it is possibly the technique that takes more practice than any other with pointed pen calligraphy this has taken me a long time to master and if you remember when you learned to drive a car what if you ever learned to drive a car when you were first learning the brake pedals of that car were probably pretty hard to get used to right you probably stopping and starting quite abruptly and it took you a while to learn that car and learn the exact pressure needed for a smooth stop and a smooth acceleration well it's the exact same principle in calligraphy okay before i keep going with my commentary i'm making a new line new layer so since it's the exact same with calligraphy i just want you to know that you know if you can't achieve these same exact um transitions from thick to thin as i'm doing this is what your practice is for this is why you need some really pressure sensitive brushes that have a realistic pressure sensitivity that are going to allow you to practice and get you know really realistic results i always say that no amount of talent and skill can compensate for bad tools so if you don't have a brush that has really good pressure sensitivity it doesn't matter how well you know what you're doing or not you aren't going to be able to achieve the results you want so again just know that this this takes time and practice but you can get it um don't be afraid to make ugly calligraphy don't be able don't be afraid to make artwork that you don't love because that's part of the process that is absolutely necessary you can see too that as i go i am adhering only relatively closely to my my sketch for example very often what happens is that ultimately you start where your sketch started and you end slightly to the right of it sometimes a lot to the right of it because you're connecting letter spacing as you go and in real calligraphy you often expand the connector strokes between letters too so you sometimes or often end up to the right of where you started and that's fine but that's another reason why new line new layer is so important because now we can up we can go back and optically re-center our lines if you're practicing flourishing there are it's really important to practice small and large flourishes when you're doing a large flourish like this y you want to do it in one smooth stroke you don't want to lift your pen and you don't want to slow down you don't want to go too too fast but you you want to do it an even speed in one stroke that's why i had i'll do it again that's why i had zoomed out to this point i didn't want to start at this point because i wouldn't be able to flourish it all the way to the right so i zoomed out to this point and i really i really moved my arm in making the flourish i know you can't see it that's why i'm describing um a lot more than i move my hand or my fingers the larger the flourish the more the movement comes from your elbow and your shoulder rather than your wrist that's true of ipad calligraphy and ink on paper calligraphy if you're looking to master your flourishing honestly working on the ipad is one good way but using analog tools is equally good because it's about building muscle memory and that's going to apply to any medium that you use with a pen so honestly my number one recommendation is taking out a sheet of paper any paper printer paper it doesn't matter and getting yourself a soft pencil and just flourishing like crazy across your page just make huge patterns like this and get that arm moving and get that those continuous smooth strokes flowing because if you train your arm to do that with a pencil it's going to come a lot more naturally when you use a pen that has more technical considerations whether pressure sensitivity or ink flow what have you when you build up those movements in your arm it's going to benefit you just like a piano player learning scales okay new line new layer looking also at the work of calligraphers you love like following them on instagram and instead of um just loving their work the next time you see calligraphy that you really love take a moment and ask yourself well why do i love this what specifically from a technical standpoint from a layout standpoint what do i like about it is it the colors is it that the artist adhered to a strict baseline or didn't adhere to a baseline at all um is it that there are really thick strokes and really thin strokes or maybe it's because the strokes look relatively uniform all of these questions that you can ask yourself are going to help you in your own work when you're making aesthetic decisions about your own designs it will also help you to learn how to critique your own work very productively so that if you create designs that you love you can figure out what you loved about them so you can replicate it but you can also figure out what you don't like so that you can change it i think it's very easy to compare ourselves to other artists that you know we admire and easily forget a couple things forget that it took them most likely a long time to get to that point and forget that artists don't show their ugly work publicly they don't show their mistakes um here i'm going to come in with my eraser rather than undoing that whole word i didn't like the entry stroke of the you great uh new line new layer so it's easy to forget that you don't have the benefit of seeing the artwork that the artists you love rejected and you know that's understandable artists aren't going to publish the work that they don't like but every artist makes work that they don't like you know you you're not the only one so if you are suffering from what i suffer from too a lot of people do which is the the negative side effects of comparing yourself to other artists just try to bear that in mind it took them a long time to get to the professional level that they are at and they still make designs that they aren't happy with and that you'll never see okay almost done here you can see i keep zooming in and out in and out a lot of the reason for that is that when i make a thick stroke as i did here this downstroke i'm just zooming out and quickly making sure that no stroke is much much thicker than another i'm looking for relative uniformity if i wanted complete uniformity i would use a digital font right part of the beauty of hand lettering is those slight imperfections actually i hate that word is those slight variations that really let people know that a human created this from scratch so here again you can't see it but i am using my arm to move to make that flourish okay and now just oh i forgot this entry stroke great so now i'm actually just going to turn back on that guide and i'm going to hit my selection tool and move this down oops selecting the guide layer uh move this down to my maya angelou line because for the first and only time in this composition i really want to adhere very strictly to these lines and to this height because this lettering style i chose for her name is a lot more uniform and so having wonky slant lines and heights is going to be much more visible to the eye and look like a more whimsical amateur style and that's not what i'm going for in this particular composition so new line new layer up here zoom in quite close and i haven't changed my pen even though my initial design here was a mono line when i make up strokes that are thin and down strokes that are thick i can achieve a much fancier look okay i'm going to make my thick strokes appear i'm sorry adhere to the slant line yeah i like that better so these thick strokes adhere to the slant maybe it'll do something kind of cute here yeah okay i like i like that okay i've defined my general style so i'll make my down strokes adhere to the slant i'll make my horizontal cross strokes like that one adhere to or to be parallel to the baseline i'm going to change this y style here making precision uppercase letters is uh deceptively difficult with calligraphy before i move on to the next word i'm going to change the spacing on this somewhat to be a bit more even because you can already see that it's uneven it's deceptively difficult so when i see a an ink on paper calligrapher who has created gorgeous quote-unquote perfect calligraphy um in an all lowercase style using an ink on paper dip pen personally because i know what a skill is required for that i'm pretty blown away um you know flourishing and fancy letters takes a lot of practice too but there's something about you know making these super parallel lines oops maybe an n which starts with an upstroke uh there's something about these these parallel lines that are perfectly straight um that are really hard straight lines are harder for sure than curved lines always you know people talk about how it's really hard to draw a perfect circle by hand and that is true freehand circles perfect circles are hard freehand curves much easier than freehand straight lines uh if it's important to you by the way to create perfectly straight lines in procreate all you have to do is draw your line and then not lift your pen and it will snap to be a perfectly straight line same goes for circles so let's say i want this there to be a perfect circle all i did was draw my circle and didn't lift and it snapped to an elliptical shape okay now i'll turn off my grid and turn off my purple layer and i'll come back and adjust with magnetics on adjust the spacing between these letters so i'm going to group all these again quick swipe right on all of these layers and tap group in the upper right so now i think that i want more margins on this i think that i want to take my selection tool having freeform and magnetics turned on that means that when i resize it from one of the corner nodules it snaps to this 45 degree angle so i'll make it i don't know what that is 10 smaller and then re-center it on my canvas i'll turn off magnetics to make very tiny adjustments awesome much better so now i could call this done i really like how this looks if there was something i was unhappy with because i still have this group that's not flattened i can still come back and move around any lines i want see sitting here right now i just noticed something i'm to be picky here but i don't like how thick that tea is so how do we make corrections like that well there are many ways but this is my favorite i reduce the opacity of my original line and i make a new blank layer above it and then i just redraw the one element that i want to change okay now i will turn it off and come to my previous layer with my erase tool and i will just erase that one element turn back up the opacity turn on my other layer tap once merge down and then go in with my brush to fix any sort of connection that uh got messed up i bet you at home noticed this i misspelled angelou cool get to do another fix uh turning back on my guides i'll recenter it here and quickly fix this problem remember i shrunk the word angelou slightly already so that's why it's not perfectly adhering in my grid anymore that's completely fine i am going based on the baselines of the letters next to it okay so now i could call this composition done but i just want to recolor it and show you how to do that you know obviously there's something so classic about black on white but let's invert that to be white on black so this is quite simple i'll start by copying my group swiping left and hitting duplicate i'll turn off the original group so that i always have it there and editable and i'll tap my new one once and flatten it i'll create a new layer right above it tap once and say clipping mask this is a non-destructive way of recoloring your artwork and you'll see what i mean by that in a moment i'll come to pure white or very very pale off-white tap my new layer once and say fill layer now what you have to turn off the background for a moment now what you have is a colored layer that's filling up um and coloring only the group below it so just to show you what i mean if i fill this with a different color like let's say red my artwork turns red but my original black is always there if i turn off the colored layer so let's go back to our white now turning on the background i'll tap once and i'll change it to something darker black dark blue let's just stick let's just stick with classic black you can't go wrong i'll zoom in a little bit so you can take a look around the finished design you have a flourished composition and now to share it if you're unfamiliar with that and procreate all you do is come to your gear icon hit share and then choose one of these formats to share the image as such as a jpeg which is going to be the most common for sharing it on social media thank you so much for following along today you can get both of my brush packs in the video description below i hope that you now feel inspired to practice your flourishes and create calligraphic layouts of your own