High Contrast Script
Our next prompt is going to be a high contrast script some talk about a couple things particular to script type um we've already talked about contrast on this same rules apply to script we're just talking about with this tariffs in terms of where the weight falls, you want to think about when you are pushing up and it being late and when you were pulling down and it being heavy? Um the other really important thing to think about first script is that you want from far away you want the letter forms themselves to stand out and all of the connectors to be really light. So you wanna make sure that you're keeping your weight in the letter forms themselves and the really beautiful part that makes script script is that you're connecting one letter to the next those bits you want to make sure they're kept a light um another really fun thing about working with scripts particularly in something like this is that you can use flourishes to fill in any space that you have. So if you end up with lik...
e some weird, awkward bits and your peace at the end they're anywhere near a script typeface by all means put in some flourishes but again flourishes you want to be really lighten weight just like you're connecting pieces are um so I think the easiest thing is for me to just start todo we do a shorter excite and draw some lower case letters in here so I'm thinking about the pushing and the polling so on the a when you pulled down at the beginning it's heavy you push up in its light you pulled down and it's heavy push up into the b and you pulled down and it's heavy um I tend to do my bees slightly different from the way I learned when I was in third grade and we had our line paper back then did it be like that? I don't necessarily love those bees so I actually tend to make mine look more like this but you're free to do whatever whatever type of letter you're you're most comfortable with um yeah and unlike handwriting where everything you're doing script and you're just doing it just like you're just really using your hand writing things air going toe have to connect where is your e you don't have to do that this part doesn't have to lead up into this part of the you can choose to break that so again thinking about the letter form if you squint your eyes you blur your vision a little bit you want to make sure that what's showing up is the bulk of the letter form and not the connecting pieces and while we're only using pencils today um I would strongly encourage you to pick up some calligraphy markers some actual pen and ink cem uh, calligraphy nibs and really play around with it. I think you can see a lot more in terms of the letter forms and why things, why things air drawn the way they are if you're using the original tools that were being used as opposed to simply re creating it with pencil. So when I'm working with script, I tend to, like tio break the word at a lot of a senator's in de centers um so when I do my g, I don't necessarily want it to come straight up into the h I think I might choose to break it there and then start my h care um, something else that I dio is as I'm doing my letters, um when I'm going from the bottom part of the first strike of the h to the first part of the top, the second stroke, I tend to go up with a little bit more of a con cave angle, and then when I'm leading from one word to the next's, I make it a little bit more convex so you can see the difference between this and miss ah, you could exaggerate that you don't have to do that at all we can really d'oh d'oh, whatever whatever feels comfortable, but I recommend that you actually try a bunch of different things um, this is, um and again I'm gonna break at the j because I want to do some gonna flourish my j a little bit so you can go back in you can fill in spaces is with flourishes on these a sender's or d senders uh and again like I mentioned these parts you want to keep it light um so that the bulk of the letter form that stands out is still thiss this it's not these parts okay, a couple show you a couple of variations and are going to the hole off of that but I'm gonna show you a couple of variations for ass it's um so when I learned script in third grade we made us is like that. Um if you're doing a high contrast version of this your weight is gonna fall just in this stroke here because if you think about the way and s normally goes the weight and an s falls in the spine it's not in this part here and it's not in this part here so as we do the script version the weight is going to go here to make it look like that original form of the s but I don't necessarily love these ass is so I tend to do mine a little bit differently than I do in us. I actually dropped below the baseline and come back up like this so it almost ends up looking little bit figure eight like um but either I come in and pull around, so you'll see it's still following the same basic idea of where the weight goes, so if we were to rate the word success, probably start out with my capital s a bit bigger and typically I'll just sketch in where I want the words to go where I want the letters to go, okay? And then I'll worry about where the weight falls. Uh, okay, so I'm going back in and I'm putting the weight and all of the downs strokes again my e doesn't connect through because that makes for a very small little bowl at the top of the e and I want a bigger bowl and then my ass is are also not going to connect, so at the beginning of my season, my ass is I'm I liketo add the's er these little sarah ifs to help to find them a little bit more, and I'm not even going to bring the bottom of this ass through because I wanted to read more like this, so my script asses don't really read a huge amount like script, which is fine by me uh, you could do yours more traditional you khun vary them within a word, you know, my my beginning ass is a little bit different from a final one. And you'll notice that even though I so I start with a skeleton of the letter and then I build out where the weight goes and then I go back in and fill it in because when you're looking when you're looking at a word uh with only the outlines of the letters, you're not really seeing the light and dark properly uh we're right to go back and do this again this looks super tight in here and this looks really loose not like super happy with this word but some variations on s is that you got there coming through not coming through okay, so now I'm ready to pick the next word I actually have a little phrase in here I wrote just for fun because this is supposed to be just fun so a couple more notes about thes as, uh, before you get started on your on your high contrast script um try and think about the angle that you're starting off your strokes with, so you want to keep this angle consistent throughout you don't wanna have the tops of your use starting this way and then the top of your t starting at a different angle um it's simply a consistency thing that you might want to keep in mind but it's not particularly necessary probably gonna go back later and add in some more flourishes and maybe s'more decorations on all of this stuff um, as I get closer to the end of my piece, so I see what what spaces? Need more need more attention? Couple other things you didn't just mention quickly before you get started, are ours. Ours are a little bit bizarre in scripts. Um, you know, traditionally what you learned in school with an r going like this, which looks little weird. It looks a little bit better once you add some more weight into it. Uh, and the wait is gonna fall here and here. Um, alternatively, you can do ours like this and simply break after an arm. This is great. If it you know, your word ends in e r or something like that. That's. Fantastic. You don't need to bother with this. Kind of are you could just do this. Um, this is goingto be a little bit easier if you're doing a client work. I find that a lot of times it's really hard to push and are, like, this past a client, especially if your audience is going to be slightly younger. They aren't used to seeing ours like this. Okay, so now go ahead. Do your high contrast script. As soon as you're done, I'll see if your next project
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