Basic Strokes: Tapered Strokes
So let's move on to tapered strokes. I'm sure those air kind of picket fences or fun and all, but they're boring. Let's do now. I actually call these carrots because carrots and seaweed and I have all kinds of funny names through these. So these air tapered strokes and so what they are is essentially we're starting out at the top of the stroke with a six stroke, and then we're moving into a really skinny stroke. And so these air definitely well, you want to start out just doing short ones. And so go slow and use the range of motion from your wrist to do this. And we just want to start out really heavy and move into a really light stroke. Now it's normal that one side of the stroke right here is going to be a little bit rough. That's fine. That's just kind of the nature of the brush. The tip is always going to give you the sharpest end, and, you know, the middle of the brush is gonna give you a ref edge that's perfectly acceptable. So give that a try like that. Try them from side to sid...
e, horizontal both directions and try bringing the length out bigger as you go Now you know this goes beyond for me. This this practice goes far beyond being, you know, just kind of a warm up exercise. It really gets into brush candling and really paying attention to these strokes because, of course, letter forms. What are they are they're nothing more than a combination of strokes. And so it's kind of akin. Teoh, you know, what's the difference between, say, a really good violinist and an amateur? You know, they both could play the same song they could play. Mary had a little lamb, and you know, the pro makes each each stroke each. You know, Boeing action sounds amazing, right? You know, as you're bowing, it sounds really good and really Chrisman really clear. And the amateur, of course, it's air like this. And what's the difference? It's just a simple one. Simple action. But the difference is that the professional has taken the time to get a consistent sound out of that Boaz they're going across, you know, the strings of the violin, and so this is kind of the same thing. The same concept is that you know, in order for our letters to look good or strokes have to look good. Okay, So often, my soapbox, Let's continue. So try doing these really long as well. Just dragging your whole pen down, the your brush down the page. Try pushing and getting, like, really heavy strokes out of it as well. Try doing son ones that air. Just really subtle. Take your time with these. I want to make sure that we don't have any any flickers. People weren't right where that's a technical term, All right, so how's everybody doing with you guys all feeling everything's good? I have a question from Renee Young online, who said when making the horizontal strokes, Can you tell us again how to reposition your hand? Yes, good question. And so let's see. We can probably show it here, so you know, as you're doing the you know, the down stroke. You know, you're kind of scraping and pulling in this way, But as you're doing thes side strokes, your hand actually goes back. Teoh. It's almost like you could draw a line between the brush all the way up your arm and all the way up your shoulder. They're actually doing it like this instead of that right