Chalk Lettering Mural in Action
So the first thing that I did with I measured out the wall created a grid on the wall that correspondent to the grid that I had on my print out I created the grid just using pencil marks that they blend in well to the wall later so you don't need to go back and erase them but it's super helpful toe have their very subtle super helpful tohave while you're transferring your design on 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 with 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 grace smudges of choc that's on a pure black newly painted while once you've got your entire surface rubbed down with a little bit of shock you...
're ready to go by pronet has a grid on it and I used the acrid 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 pass, I realized the entire murals seem to be sitting a little bit low, so I went through and I reach you all those lines and everything about four inches it's great to take the time to do this now, it's, 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 work. And as I was doing it, I was having some issues with facing, so I was moving the letters around. You see that I actually go in and I read dr e r few times redraw the b a few times and then when it comes today, the spacing was off and I had to redraw the d in a quite a few times as well. What's really wonderful about working in shock is that you're free to do this at the beginning. You should start working really light 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 I 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 iraq. Once I had all of the letters in the right space, I was ready to go, and I started to 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 switched from one brand of shock to another, the grand that I was using for the word every was coming out a lot. 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 is ok. So I went back in on, but he was second code to everything at the bottom of the letters, I also realized that I forgot to put some little decorations that I had included on the sea on the rest of the letters. So I added that in on when 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 shock at this point, I switch to using the white charcoal pencil and I was able to do a really nice been traveled edge around all of the letters I went back to using the harder chock 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 and that three d I was working, I couldn't quite side 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 them out one thing that can be tough. As you're going back in and adding more details 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 arms, seamy resting with my left hand against the wall in an area that doesn't have any chalk on. 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 study. The wonderful thing about shock 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 toe ad, 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 check 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 shock, the shock might be catching on 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.