Practice Uppercase letters
Practice Uppercase letters
10. Practice Uppercase letters
Class Introduction04:19 2
Tools & Materials07:45 3
How to hold the Brush, Posture & Body Mechanics07:46 4
Learn Basic Strokes06:39 5
Basic Strokes: Picket Fences06:05 6
Basic Strokes: Tapered Strokes04:14 7
Basic Strokes: Pressure and Release04:53 8
Basic Strokes: Transitional Strokes06:24
Learn Lowercase Letters19:48 10
Practice Uppercase letters12:23 11
Write Numerals07:09 12
Understand Brush Lettering Styles11:12 13
Practice Lettering with Your Name13:34
Practice Uppercase letters
so the upper case letters tend to be a little bit more complex. You know, we have more strokes going on. There's just more more things happening. And there's also something to note is that when it comes to the upper case letters, there are a ton of alternates, so there's many different ways that you can draw. They like the letter B, for example, and I think we have some examples in here. But what I'm showing you right here is kind of what I would consider to be a basic italic metallic slash cursive. All right, let's take a look at some upper case letters. So we're going to start out with the capital are because the R is really one of the best letters Teoh get going with. It's It has all of the elements that we need to have. We have a vertical sam we have around Bull, and we have a diagonal leg. And so all three of those pieces are used throughout the rest of the alphabet, so really like that's one of the best letters to focus on is Thea per case. All right, so let's are the art should ...
all right, let's do the are here. So first we're gonna draw this vertical stem. And then what we want to do is because we have this really long stroke here. You know, you could see, like if I could start doing this was, like, kind of one full stroke. And it becomes really kind of hard to handle because it's a range of motion. It's a lot that's happening in there. And so, generally what I want to do is I actually want to do something like this, actually want to start kind of in the middle, and I can either draw out this way to draw that curve and then come back and match this. Go back around there like that and then draw tail. Try it one more time, so kind of want to start at this horizontal kind of access point, draw rounds that way, overlap it and finish off the bull of the art. So something that I kind of have a tendency of doing is I tend to keep my letters, my upper case letters really narrow, and it's something that I constantly find myself fighting with, and so it's something that I would kind of impart to you is to make sure that you're keeping your upper case letters really nice and wide. And the other thing, too is that keep them tall in large. One thing I found really interesting is that you know, if you look at a lot of formal scripts, upper case letters are usually huge. Eso You know, it's something that kind of is nice and grand. It really sets them off. But when we come into text type like San Serif and Serif fonts, we tend to end up being the ace enders actually are taller than the camp ites. So it's kind of the opposite land that we that we live in when it comes to this kind of lettering. All right, so let's take a look at doing the letter e. So we hav demo the e in the ass because we have this kind of this one style of e which always looks like a three backwards three. And then we have the straight style of E, which kind of looks more like that drawn right there, and I wanted to show you about Okay, so we're gonna start here. Number one this nice, curved stroke here and then we come around to the second bull right here. Then again, we come about halfway up like we normally do with that exit stroke. And then we come around here to this part and add kind of a little bit of a hook. So this form right here on its own, just kind of looks like that. Just give that another try this back around like that. We can add in just a little bit of our hook there. So now for the F. And we could do this again for the vertical stroke down mice, horizontal stroke at the very top. And I usually like to kind of tapered a bit so that it's not, you know, it's It's a bit more of, ah, carrot shape than it is a straight picket fence. Shape Midway, give ourselves a nice little crossbar. And of course, this could be done for the AEA's. Well, if this is gonna be that you prefer, all right, now let's move into doing the G. It was a good one to go, so the G, you know, is also very similar to the sea and to the O, into the queue. So this is going to be a curve stroke down here and then back up. Now we can do this two different ways. We can go ahead and add the hook and right here as a second stroke. And then add in our tale, which just kind of looks like a D center stroke that you would do for a wire A. J. So depending on your order of operations and do that one more time, a lot of fun things that you can do to taper that out. Now, let's try doing what through a Q. Because Q zehr fun. All right, so what we're gonna do with the Q is we're gonna do kind of. I'm gonna do a little bit of an old fashioned que someone have, ah, remember little Broad struck down here thick, thick on the down stroke. We come around this way as well, kind of wrap right underneath it, and we can add of a bottom horizontal struck that looks kind of like a stroke that we would do for the Z, and that's kind of a fun one. It's a little bit more old fashioned, but I kind of like how it looks thes used to be done so open in a way that they almost look like a number two. I tend to close him up a little bit more. So they read. Maura's a Cube, all right, moving into doing the letter V. So we're going to do a down stroke here for the 1st and then our second stroke. We're going overlap here. Do pushing stroke out. I generally like to come down with this stroke about 2/3 of the way to the bottom. And then again, just like with lower Case V, we started here at the top, tapered stroke all the way down to meet at the bottom of the V. It's the same thing with the W. It's a nice down stroke here. Then we meet it with this nice round peace here for a little extra something, something straight up, light upstroke, heavy down, stroke. And again, this starts out. Here is a nice tapered stroke meeting into the bottom part of this W All right, so let's take a look at a couple of these other letters, so we have, like a in the K and actually, let's let's take this out to every all of you. Which letter would you like to see me? A demo out of all of these, Any preference? I knew you were going to say that I knew it. It's like I'm just waiting for someone to say. The letter s three s is one of the hardest letters to create. And it's it's really tricky because, you know, it has this curve in the middle, which is called an O G curve, and Ogi curve is you know, this and what makes a nog curve really difficult is that it's actually kind of a straight looking form. So let's Yeah, that's my Ogi curve right there. So that's usually what you draw first is the spine or the Ogi curve. So we draw that out and look, it's it's really pretty narrow. And then we can come and we can add in a little bit of a hook, just like we did with the G. And then we can finish this other side out here. You could also do a nice cursive s, which would be something like this. Connect their try that again. Did his one full stroke. Let's take a look at uh, yes, we asked folks at home what letter they want. T o X, if you could. Yes, X is the bane of my existence. One thing had a Twitter battle with the letter X told him that if I met him in a dark alley not my accent. The letter X Yeah, so it's two diagonals and it's very difficult to Dio. So it's one thing to pay attention to with this X. Is that this first stroke? This this left to right horizontal stripes are diagonal stroke. It's actually not quite as it doesn't lean as much as you would think. You know, usually we have this tendency. Teoh, you know, want to make it really, really wide and really diagonal. But we want to keep it kind of light. All right, so have that there when we come in with our nice crossbar. Another way that you can do an X is actually kind of like a V or a w. So you can actually come in and curve this out like this and then add a little tale right there round. Just match it that way. So a couple different options in there. All right, so let's move on to doing some numerals? Yes, Before we do that, remember, we've got those folks at home who are sharing some images with We're gonna switch on over to Tad board, which is where we can see pulling where people have been tagging creativelive design and showing us what they're doing. So if you want to go through some and let us know what you think that were awesome I love this airy, ary, airy North Creativelive terror cottage. So this'll is great. So it looks like she is using I'm familiar with that brush. I actually have a collection of these that is looking really nice on gets interesting. She decided to dio in that second line in the middle. There she decided to dio a couple of two story A's in a to three G Fascinating looking. So, yeah, I would say, you know, with the top line right there, like in the in the A and the R is to start branching those letters up a little bit further in the in the bottom. You know, like when you're coming into doing that around stroke, you go all the way back up to the top and then back down again. Straight. That looks gorgeous. Very nice, if you have any others. Oh, pretty. Wow. You know, it's fascinating. Sometimes I see these brush lettering practice sheets, and they look like a piece of artwork on their own. And that's what this looks like to me. That's gorgeous. Put that up on your wall. It's modern art. Very nice. Yeah. So it looks like on this one on some of these bottom strokes, just starting out really heavy and maintaining that heaviness. Like I noticed a couple of them start to round a little bit up towards the top. Unless you're pushing strokes. But those look great. This is awesome. All right. Yeah, that's worked. Everybody loving how this is turning out.
Ratings and Reviews
Wow!!! Great class, terrific presenter! Easy to follow, professional, enthusiastic, fun!!! Most CL presenters have at least one of those attributes, but not all. CL Management: have potential new presenters learn from Laura's class. Only one suggestion: Laura's constant hair interference gets really tiresome and irritating. She frequently tosses her hair over a shoulder, and moves her hair behind her shoulder with her hands, and "fights" her hair being in the way during the whole presentation. Very distracting. Laura obviously loves how her very long hair defines her personality, and I'm not suggesting that is a bad thing. But for these short presentations, perhaps Laura would consider corralling all that hair with a loose ponytail, behind her back? That said, I bought the course anyway, as she is an outstanding teacher.
I loved loved loved this class. So wish I had been there in person. Although I'm not so great with the brush lettering, Laura was so perfect in her teaching and I definitely have some ideas to put into practice.
This class was amazing it had high energy lots of details . It shared new ideas on where I could use such beautiful lettering I'm super excited to use it in my business and on my note cards! Buy it!