Chalk Lettering Mural in Action
the first thing that I did with I measured out the wall created a grid on the wall that corresponded to the grid that I had on my printout. I created the grid just using pencil mark, but they blend in well to the wall later, so you don't need to go back and erased. Um, but it's super helpful toe have they're very subtle, super helpful toe have while you're transferring your design onto the wall, the first thing that I really like to dio before I get started drawing anything at all is I go over the entire surface with shock, and I just tend to use the flat side of a long piece of chalk, and you just rub really lately over the whole wall. I'll go back over it with a rag and really wipe it down this way, if you have any mistakes that you make along the way, If you're racing lines and moving things around, you don't end up with the awkward sort of white ish gray smudges of choc that's on a pure black, newly painted wall. Once you've got your entire surface rubbed down with a little bit of ...
a shock you're ready to go by. Pernet has a grid on it and I use that grid and a corresponding grid on the wall in order to space out my design properly. I went in and I put in my baseline and my cap height for each of the words. So I knew where each word was gonna go. After I did, my first passed. I realized the entire mural seemed to be sitting a little bit low. So I went through and I read through all those lines and moved everything up about four inches. It's great to take the time to do this now, at the beginning, before you get too far into your your mural. Because once you will already started to draw things, it becomes a little bit more cumbersome to be moving things around. So get in your baseline. Make sure you know where all of your words are going to be blocked out. Make sure you're happy with it, and then you can go in and start to block out the individual letters within each word. And as I was doing it, I was having some issues with facing, So I was moving the letters around, you'll see that I actually go in and I redraw the are a few times redraw that be a few times. And then when it comes today, the spacing was off, and I had Teoh redraw the D in a quite a few times as well. It was really wonderful about working in shock is that you're free to do this at the beginning, you should start working really late with the chalk. Try not to put a lot of pressure on it so that what you're doing could be very easily erased. Sometimes they use just the back of my hand, the palm of my hand or my fingers to do the erasing. Or you can use paper towels or rags. Once I had all of the letters in the right space, I was ready to go and I started toe draw my letters. I tend to start in the top left corner of any peace. I'm right handed. You might want to start in the top right corner if you're left handed, but this way I'm not dragging my hands through the shock. It's very easy to put a huge smudge through your whole piece if you are going back over areas that you've been in before. It's super easy to redraw letters whenever you're not feeling them. As you go, you can feel free to move things around quite a bit. I noticed that when I switch from one brand of shock to another, the grand that I was using for the word every was coming out. A lot of the white was a lot more opaque, so I went back in and I thought, Well, this could be quite fun. So I went in and I started to add ingredient in the word create. So the word create had been done with a much harder chalk initially, which hadn't gone on quite his. Okay, so we went back in. Andi gave a second coat to everything at the bottom of the letters way. I also realized that I had for gotten to put some little decorations that I had included on the sea on the rest of the letters. So I added that in, and then I went through, and I did my first outlined drop shadow on the letters at the top. I wanted to do something a little bit more precise when it came to the word every because the word itself was smaller. I didn't have quite as much room around it. So rather than using the chalk at this point, I switched to using the white charcoal pencil on. I was able to do a really nice, thin, beveled edge around all of the letters I went back to using the harder chalk super light with very little pressure to do the giant drop shadow on the day. And then I went in afterwards, with the softer chart pressing much more hard in order to get some nice ingredients going in that three D. And as I was working, I couldn't quite decide I was having a difficult time figuring out what should happen with the flourishes. So you'll see that I put in lines. I took them out, put them in again. I took him out. One thing that could be tough as you're going back in and adding more detail to certain letters is that you can't put your hand on the wall anymore. So a trick that I learned from fine painting is actually to rest your other arm so you see me resting with my left hand against the wall in an area that doesn't have any chalk. And then I'll put my right hand on top and I can keep my hand further away from the wall and still have it be studied. The wonderful thing about chalk is that you really can play even as dark as I mean that line. Underneath the word every, I was able to take it out quite easily, taking out that line under the word every gave me the space to add the same little drop shadow that you see on create, which I felt sort of tied those words together a bit better. Something really nice about working with chalk is that you really can layer it on. Another trick that you can use is don't always pull the chalk in the same direction. If you're doing a second layer on top because you're trying to get a denser white, try changing the direction that you're using. The choc choc might be catching on the texture of the surface, and if you're pushing it in a different direction, it will catch differently.
A typographic mural uses words to produce a stunning and highly communicative piece of art. In Chalk Lettering, Annica Lydenberg will take you through the process of completing a large scale installation as she makes a chalk mural on-site at CreativeLive's San Francisco headquarters.
Besides being artistically gratifying, chalk lettering is an in-demand service that can bolster your client work. In Chalk Lettering you’ll learn the many ways to turn a small sketch or something you designed on the computer into a piece on a wall. Annica will discuss methods you can use to create temporary or long-lasting chalk murals and demonstrate freehand sketching and grid mapping.
- How to prepare your surface
- Multiple options for transferring an image to a wall
- Techniques for stylizing letter forms
- The pros and cons of chalk, conte crayons and paint markers
Annica will help you develop a system for choosing type styles that work well together while enhancing the message of of your mural. She’ll also discuss the benefits of chalk and how practicing facilitates fine-tuning and makes murals less daunting.
Bending words into art, typographic murals are visual powerhouses. Watch one come to life and learn the techniques and process that go into making one in Chalk Lettering.