Basic Strokes: Transitional Strokes
the wave. Okay, so with the wave now, we're starting to get into a stroke that is commonly used in letters. You know, you'll see the stroke being used in, like, letter I and and and a couple of others you. So what we want to do is we want to start out with a thin upstroke, and then we transition into a heavy down stroke and then a thin upstroke, heavy down stroke and so on. So what, You really want to pay attention to here, and this becomes a very critical part. Is this area right here which I call the transition points. And this is where you're transitioning from thin to thick Victor, Ethan. And so really, you know, you want to take your time and go slow around there and you can actually, like, kind of watch the bristles of the brush start Teoh kind of flick around a little bit. And again, this is this one becomes really important to keep a very light touch with us. This doesn't have to be one continuous long wave pattern. You're gonna be stopping and starting quite a bit to do this. ...
There's just kind of no way to get around it. So I don't feel as if you have Teoh. You know, like, make several of these in one stroke without lifting your hand. It ain't gonna happen anyway, so no worries. So again, light upstroke, heavy down, stroke light, upstroke, heavy down stroke. Focus on getting consistency and rhythm here. We want to have about the same amount of space between these white areas from one to the next. Yes, ma'am, I have a question. So as a lefty, and with this brush going from left to right, I feel like I'm, like, shoving the brush against the page. And it's making it pretty inconsistent in those transitions. Yeah, So you could actually try going the opposite direction. Okay? Yeah. And that's actually what I recommend because at and something that's kind of interesting. Teoh is that with lefties? And let me see. So you are an underwriter. We see how you write is left here. You a hook writer over writer. Now all this is great. So? So there's two different types of left handed people. We have the kind that are the over riders like this. And then we have the underwriters. Generally, it's the underwriters. You guys can keep the same process of handling the brushes You would if you were right handed. The hook writers are the ones that have a little bit more of a challenge. But But with these, you know, I would say as much as you possibly can, you know, go from right to left. Yeah. Going from brushes. Working. Yeah. You know, you can actually form a lot of your letters that I was just gonna ask what you do in your writing letters. You just write backwards. Some of them, Yeah, and so it's It's interesting, you know, with with hook writers or with over writers. There's a whole different kind of method of how they end up having to write. And, um, it ends up being one of these things with left. It's interesting because with right handed, it's really like you have one method of lettering and then with left handers there several different ways to do it. And there's there's, you know, definitely some things that are, you know, different to try. So, yeah, sounds good. All right, so now let's do the last thing, which is definitely gonna be a lot more fun for you guys. Let's do some just freeform strokes. And so this I just want you to experiment with just kind of having fun. You know, just moving your brush throughout the page. Did some heavy stroke, some light strokes. Just anything you want to dio try doing some things really large that you get used to using your entire hand. Can you actually maybe show us some of those again and actually talk through? Oh, sure. As you're creating them and kind of maybe whether it's the pressure that you're putting on, I'm still finding sort of myself, like not knowing when to lift or let go for some of these free home. Yeah, absolutely. So the, you know, these freeform strokes really kind of just the combination of all of the other stuff that we had. So we want to try some things that are just, you know, really nice and light, you know? So here I'm just gonna try some really light, thin strokes. We're gonna try and dio you know, light Teoh. Really heavy. Maybe, you know, here, I'll try and do just really just nice, thick, heavy strokes. This is really just kind of seeing what the brush does and just kind of getting to play with it, you know, making different, different shapes with it and really just pushing the brush to do anything that you you know, that you wanted to dio. So this shouldn't be kissed, too. Structured oven exercise. This is generally the main warm up that I dio, you know, love toe just play with. And this is actually a lot of my ideas for embellishment. Ornamentation come from It's just simply from this playing around, you know, try things with ovals and circles and spirals, loops, anything that you can think of.