Basic Strokes: Pressure and Release
pressure and release. This is basically tapered strokes put together to create kind of a little bit of a now hourglass shape, or I like to call it seaweed anyway. So what we're starting out doing is we're going with a heavy stroke at the top, and they were getting kind of thin here. And then we're moving back into a heavy stroke and then a light stroke them back into a heavy stroke and a light stroke, and so you can do these small. But generally you want to do this kind of large because it's easy to run out of range of motion with just your wrist. Your risk only gives you, you know, maybe about three inches. Sometimes for if you have a really big hand. 3 to 4 inches of range of motion is typically what you get with your wrists. Your arm. You know, you have much more space there, so I really prefer to do these ones kind of large, and they don't need to be perfect. But you just kind of want to have, you know, an area here, um, cheating them to make this look better. Ha ha. But you know, ...
you want to have an area here where this is nice and thick. And then we have thins. So it's basically thick, thin, thin, thick, thick, sixth in thick. Yeah, exactly. You know what I'm talking about? All right, try them the opposite direction. See, I kind of all right, let me go around and take a look and see how you all are doing with us. Very nice. Awesome. I do have a question from home. That's from Mama by design. How do I stop the wobble? And I kind of find myself doing that as well, with sort of a little bit again a my anchoring my hand. Yes. So the global effect sometimes comes from either. You have no contact with the paper. You know what I mean? Like just the brushes touching the paper you're trying to create that stroke or you're gripping too hard is usually what it is. It's kind of one or the other. You know, it's with these strokes. It's kind of important to have a little bit of an anchor, like, you know, you really wanna have you know, this knuckle right here, you know, kind of what is what's hitting the page and you're drawing down. And so that's that's really what will help kind of keep the wobble and also too much finger writing can cause wobble to. I have probably getting more ink in there. There we go now. Give it a shot. Let's see what you got tried dragging your whole arm down the page. Kind of like Let's see if I can show you real quick. And so it's really another thing to Dimension with. Doing any. Any lettering is that we really wanna have a very light touch with us. You know, we don't want to be pressing too hard, lighter, the better. I mean, it should just be kind of like a whisper across the page. Let's see how you two were doing back here. Lovely. The light, light touch light touch is very, very critical. It's really that gentle stroke that you want to get on bats. Another thing that causes wobble like a sudden is pressing down too hard, very nice seem like that. The tip is so much more controlled in the back end of the brush. Yeah, because what it is when you're hitting like that middle of the brush, it's always going to be a little bit rough, like the tip is always going to be nice and straight. It's totally normal. It's just the way it is. Yeah, I mean, you know, you can also, you know, I cheat a lot. I'll go back and, like, lightly, touch up well, rough areas Where there. Yeah, it's pretty hard to control because, you know, there's no edge to the middle of the brush. We'll see how you guys are doing awesome. So try holding your own you're doing verticals in, But try holding your hand kind of down like that. Look down to the side, you know where your doing it this way. It's looking good. That looks amazing.