Bounce Calligraphy - Beyond Modern Calligraphy Basics | Vivian Uang | Skillshare

Bounce Calligraphy - Beyond Modern Calligraphy Basics

Vivian Uang, Hand-letter Artist and Graphic Designer

Bounce Calligraphy - Beyond Modern Calligraphy Basics

Vivian Uang, Hand-letter Artist and Graphic Designer

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10 Lessons (46m)
    • 1. Welcome!

      1:21
    • 2. Class Project

      0:33
    • 3. Typography Terminology

      1:33
    • 4. Bouncy Letters

      9:23
    • 5. Bouncy Words

      8:38
    • 6. Project 1 Sketching

      5:22
    • 7. Project 1 Inking

      5:12
    • 8. Project 2 Thumbnails

      4:45
    • 9. Project 2 Sketching & Inking

      9:20
    • 10. You did it!

      0:18
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About This Class

Do you want to make your calligraphy bouncy?
Bounce Calligraphy is fun and easy once you know the tricks. All the letters and words seem to be without any order and randomly placed together, but somehow, they all look so happily co-existing. That's why I often say an excellent bounce calligraphy writing is like a good party- all the letters are having a good time together, and nobody is left out.
In this class, I will show you how to be a good host of this fun lettering party. You will learn the secret of making word-arrangement look zippy and effortless. We will practice these party tricks by doing two class projects together. So grab your favorite pens and paper, let's bounce!

P.S. I will be using a regular size brush pen, drawing paper, and tracing paper. You are free to choose your favorite writing tools.

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Vivian Uang

Hand-letter Artist and Graphic Designer

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Transcripts

1. Welcome!: Do you want to make your calligraphy more ballsy? You have probably seen a lot of inspirational quote art handling or in a playful way and thought to yourself, I could do that too. Well, you're absolutely right. And I'm going to show you how. Hi, my name is Libby alone. I am a graphic designer and a handler R3 artist based in New York. Today I'm going to show you how to write Mao's calligraphy that looks a, b and f are list. I will show you how to loosen up your letters so they are ready for some bands actions. Then I will show you the hidden rules of making words and syntax ballsy. I didn't ever bounce. That's right, just a bounce. Ideally, you already have good understanding of classic calligraphy and had been practicing for a little while. That means you are comparable using a calligraphy or marker and you can create those thick and thin strokes with your eyes closed. So wherever we go into details about constructing letter form, but I have included some useful links and resources, as well as my calligraphy process for beginners, for you to check out the techniques I'll be showing you in this class can apply to any writing instruments, traditional names, conventional brush pens, big ones, small ones, digital stylers, watercolour, brush, pen, Sharpie, pencil for chopsticks. Together we will make a postcard or two with your bouncy writing that you can send it to a friend. So grab a pen and some paper. Let's bounce as the in class. 2. Class Project: We all know that the best way to get better at something is to actually practicing it. So I hope you'll follow along as I show you the technique and also make the class project with me. So for this class, I thought it would be nice to write a quote and then making it into a postcard that we can send to a friend or family. You can write anything you want. I will say something between five to 15 words, five, so you can have more words that you bounce worse. And in 15, so it doesn't get too crazy and into overwhelm, especially in a postcard size, if you knees are ideas I have less Assam hosts in the PDF for you. Don't forget to share your progress and final result and the class project section. 3. Typography Terminology: Let's do some terminology recaps. If you have been practicing calligraphy for a little bit or if you have taken my calligraphy class before, this is going to sound very familiar, but let's just go over some terminology. So we're all on the same page. First we have the baseline. That's where most letters sit on, is kinda like the horizon line for your alphabet. And then we have the waistline. And between the waistline and the baseline is the x-height. So letters such as a, C, E, they will sit in between the baseline and the waistline. And if a letter a sense above the waistline at part will be called a center. And if a letter has parsed that go below the baseline, we call that the descender. So we also have the ascender line and the de-centered lamp. In this case, the ascender line is also the cap line that is the highest point of a capital letter. Sometimes you will see fonts that have different Kaplan and ascender line. Next we have the bar. Sometimes I call a crossbar, which are the horizontal strokes in characters such as the capital letter a, E, F, or a lowercase f and t, and so on. And then we have the stand, which is the main vertical stroke of a letter. And then also we have this particle counter that is usually an enclosed or partially enclosed part of a letter. Finally, we have swash and flourishes. That's usually a stroke extending parts of the letter or some pi is completely additional to a letter. So you will probably hear me using these terminologies to other course. Now that we know what it means, we can move on. 4. Bouncy Letters: Wouldn't go imbalance calligraphy, I like to think that I'm throwing a party for Alphabet and the gases are invited to the party. They're not as regular letters. They are letters that are agendas, super acrobatic and flexible. In order to have a phone party, everybody needs to be energized a little bit. So I'm going to show you different ways to inject energy into your alphabet party. So with this bounce calligraphy class, my goal is to show your principles of how to make your letters more bouncy. I don't want you to just copy myself because I really want you to develop your own style of bounciness. So here I'm going to show you on the letter level how we can inject energies and flexibility into our letters. Imagine that your letters are made of, of some wire or some new actual tangible things. Like I have here a wire, the advent into little a is not the produced a. So just bear with me. And imagine that we want to increase this flexibility. One thing we can do this by stretching it, right, so we can pull it apart. But of course you wanted to still maintain its legibility if you really stretch it to var, it starts to look like a anymore. And then we can look how we can make him more dynamic. One thing we can do is to increase the downstroke or increase any kind of ascending or descending order. So I can make the downstroke a little bit longer than it normally would be. And then the second thing i would decrease or minimize the counter size. So I'll need the counterpart a little smaller. And then in addition to just stretching it out a little bit, I can store to make this ladder a little more playful. So when you want to make you learn more ballsy, just imagine that you're actually pulling apart and changing the twist and turn of your letter that imagine your letter actually does have a stretching is doing. But let's start with the letter a. In a more traditional, classical calligraphy, you want your letter from to be very uniform. And we will construct a where's the oval shape and then also at it undetermined. But the one we're doing, bounds calligraphy, we're making things more flow ie. So everything is written in more or less one continuous movement. So we can combine the stroke to stroke into one. And then the next step is to make him more stretchy. So like I kind of demonstrate with a wire I have we can pull things apart. And then we can start to exaggerate some bar and then minimize some part. So normally the go-to principle is to minimize the counter. So I'll make the counter a little smaller and the exaggerate the downstroke. And then moving on to B. So B is a letter that has the epicenter. We like ascenders and descenders. They're like the workhorse in creating bounciness and also flourishing. So with letter that has a sender, a descender, We want to exaggerate the loop part. So normally you will probably write a b like so. But now we want to exaggerate the loop, the ascender loop, and then minimize this counter. Now with literacy, because it's all in one same direction. There's not much you can do, especially if you just look at it on a letter nearby yourself. Really hard to make it our boundary, even if we increase the size or decrease the size is just hard to tell what's going on. Later on when we start reading words. Or these bouncy effect will be more obvious because right now I'm just showing you on an individual letter level. So it's kinda like throwing a party and then you are the only one showing up. So it's not as fun, but bear with me, we'll get to the fun part. So with letter D, we have a sender again, so we like that and we can do the minimized counter and then the exaggerate the sender. And if you want to do it in more one stroke and then adding an extension for your exhaust stroke. Then it gets more interesting. And then same thing with e is only a one direction stroke, so it's little hard to tell what Neil week, there's not much we can do there. And then we have letter F. I like to emphasize the top or the center part. But you can definitely play around with exaggerating the bottom in the way you like. And then with liturgy, now we have a letter with descenders. So I will first decrease the counter size and then adding, exaggerating the descenders. And then I can even increase it a little bit more by stretching it out. So I can do something like this. And then what the letter H. Now we have another letter with ascenders. And then I want to minimize the high part of this letter and also an loosening up the corners. And you can even exaggerate the last downstroke If you on. So we can do something like this. And then letter I is another letter that just near to simple only have one direction, so it's hard to do much about it. And then let a j. So we have this loop and then our really make this loop release Law. And the medial increase, the downstroke. And then with the letter L. So even though when we're doing dance calligraphy feels like we're throwing a lot of the rules we've learned in classic or traditional calligraphy. The rules are loosely enforced. So, uh, but it's still there. So with the letter m, there are more to center in the letter. So here is what we can do with letter N. Normally we re a letter M. Now there's a little ugly. Okay? Normally we write letter M, flagged this as okay, now there's all these open down. We can see first how we can loosen things up a little bit. So we can do more like a peak and valley. And then we can play with to increase some parts and decrease some bar. So we can make b, make the first peak higher and in a second peak lower, or the opposite, the first peak lower and then the second be higher. So there is definitely more ways you can do em. And just because Neon Letter itself is more interesting. And then with letter n, we can also use our exaggerating other end. I wouldn't do the first downstroke because then they will start to look like an h. So when we are adjusting the letter form, just make sure that it doesn't turn into a different letter and letter. All again, as a literal, only has one direction stroke. So there's normally we do all this. So maybe we can increase the top loop a little bit. And then with the letter P, there is a downstroke. So there's definitely, you can make the letter, you can definitely make the counter is smaller. Or increase the loop if you're doing a loop itself. And then with the letter Q, we can also make things a little more loose. Minimize the counter, and then make the descender little more exaggerated. And then words letter R. That's how we normally write it so we can make those tiny loop a little bigger. And then we'll ask, typically re, ask this way so we can do it like this. Letters that only has as high by nature is smaller. So you have to be more creative on how to make it more dynamic. And then again, the letter t is only one direction. Downstroke. But we can maybe exaggerate the crossbar a little bit more. Or sometimes I do make the downstroke longer. And letter you. I would do the downstroke just a tiny bit longer. But of course you don't want it to be like too long because then I start to look quite strange. And then letter V, it's a very simple adder damage you can do on the letter level. And with w, you can make, instead of more upright w, we can increase a little just cockiness to it. And whether x. Honestly, I don't read that much. So I would probably just do an exaggerated the end stroke. And then later why? We can do the same thing, just loosen things a little bit. And also the z, another letter that I don't get hurt that much. So on the individual letter, just tried to play with different ways to make your letter look more playful and creating your own bouncy style. 5. Bouncy Words: Now let's see how we can connect these letters into words and make them bounced even more. So, like I mentioned before, bounce calligraphy to me, it's like throwing a party for letters. I wanted to have a good time out near mingled together. So like a real party when you're organizing a real party, you cannot assign for an ABC talk and then XYZ talk. So the same thing with Bell's code freedom. You want things to look good or random. But then there's still a little organization trick I can show you. First is to think of barbecue, following along with the thing of partying and having a good time. I want you to think of string the words together like a barbecue skewer, instead of having words sitting on a baseline that we normally would. But instead of sitting on a baseline, I want you to think that they are actually being string up new, pulling into a barbecue skew. And if you look at the word b, this will be your whole world. And then the central line will be here. We want to somewhat string the words together by their center. And I emphasize on the word somewhat is not really mathematically calculate the center, but kind of in the middle or little Rutherford. So by that, I mean, if that's the center point and I want this to be inserted baseline, I won awards to ally in the, in the midline and would do my B here. So you can see here, if this is the whole height, it's the middle line is where I'm aligning. And now I'll have my o here. And then u and c, e. So that's the first step I want things to alignment waste. I should espousing a bounce. So let's do again. You see why? So except the words I would descender with worst would the sender. We're now moving up. We just kind of there will still be sitting lower because I feel like if I totally move that way up, it doesn't look quite right in my opinion, but you can try it. So that's the first step. We want to align worse in the middle. And then a second step you can do is to vary the size of the letter, specifically the height of the letter. Now, not really the width. We want, the worth of letters still stay somewhat consistent. So there is a rule to that. Soon you want to keep the vowels small and the other words you can make a bigger. So in this world we have a vowel here, o and knew. So boeing, you, I'm going to keep it small and then I can selectively make one were bigger. So emboss, calligraphy worse, varies in size. But then I would say there is more smaller letters than big letters. If I'm doing a balance again, I'll have still align to the midline and then o and u are small and maybe I'll make the end bigger. And a c and y small. So in a way we want to have kind of waviness to, and then just a variation of the height of the words. So if I really draw an outline of the word, it kind of has like a nice, nice curve to it. So essentially that's what we're trying to do. And let's try another word with this technique. So if I'm going to read the word, normally our calligraphy, I will do. So if I'm writing calligraphy and I want to make this word bounds for us are aligned in, in the midline, so that will be C, a. So now I have, you can see the L's are somewhat in the middle and H are somewhere in the middle. And now I'm going to vary the size even more. So again, with the vows, we want to keep them small. So there will be a I, a, that will be smaller. And then we'll see L, g are these new? I can make them bigger, so not all of them are going to get bigger. I'm just going to selectively make them bigger. And so I'm going to make, see bigger. I obviously small r, maybe a little taller because the counter of a and G are going to be small so r can be bigger. So maybe that's it. So let's see a, seeing a double l, I'm going to make them different sizes. I like to make the cycle one bigger. And again, you can see I can't, I'm expanding the size both up and down. So it's not just growing upward, but you are also extending a downward. So now I have a calligraphy that's bouncy. So if I erase that line, you wouldn't know that I was using a midline as a way to cheat. So for instance, to align in the middle. And the second is to, to grow the letter vertically. But make sure you only do that to the continent, not the val. And then for the vowel and also the counter, you wanna make them small. And of course this rule is a very general rule. It's a, it's a very good starting point. There are definitely worse that it won't work. A lot of time, it works out. Alright, so let's see if I read the word gelato G with a dissenter loop. I'm now going to move it up, but I do want to make the counter small with a big blue and e is a vowel. So small, hill, its confidence opaque to allow Well. So there's gelato. Let's also try ice-cream. I is P small, e is going to be small as well. So there's ice cream. So even with words that doesn't have any ascender, descender, it still works well, obviously o, because there is no agenda. Descender is not as happy as these other words. But I think you can still have that playfulness by using this barbecue method. And I also have some words are just placeholder text. It's usually called a lorem. Ipsum is not Greek or is not gibberish, is actually classic Latin is from this really old book by Cicero. The title of the book is the extreme of good and evil. It's really, really deep and good. Read. If you until the end, classic Aladdin. And very good bedtime reading too. I like to practice because the word doesn't have any meaning to me. And so I can just really concentrate on the literal form and now to get bothered by the meaning of the word, so it just saved me travel to lawful words too, right? So in the class PDF I've made, I heat up just the midline. And there's different sizes depending on what type of pen you're using. So feel free to use those. Or you can just simply like what I just did, just draw a line and then Treasury in the middle. 6. Project 1 Sketching: So move on to the writing of the actual quote into human language. I have some quote for you, but I'm going to pick one from there. You can pick whatever quote that speaks to you and whatever quote that you think will help. So I wanted to bring a smile to their face and also encouraged them at the same time. And the quote I'm going to write is, this too shall pass in my past like a kidney stone, but it will pass. And I'm going to break the line. This too shall pass. It's one line in my pants, like a kidney stone, but it will pass away. So that's one. 234, that's for life. And I have already drawn my skewer here. So I'm going to center a lie. I think Center lions are good starting points for any layout. So I'm just going to write out. And I have my first, just a really rough writing. And as you can see, they're not align at all. But now that I have a good idea of how much each line takes place, I can adjust it in the bottom one. So actually this will probably be, I probably should have done listen tracing paper then I can just adjusted. So I'm going to do that. Okay, now I have my tracing paper. I can move things around better. So I'm going to just trace down this four by six. And this is still going to be addressed. So it doesn't have to be perfect. I am not sure how I'm going to do the downstroke flourish, so I'm just going to leave it like that. And now I can move my tracing paper and to position it correctly. So I'm zinc and looks better. Okay, so now I have a better alignment. Now I can figure out, how do I want to make this party more fun? So now we have to locate between each lines to see where there's like definitely allow and definitely some empty space we want to address. It doesn't mean that I will have to absolutely fill everything with flourish and sloshes. But just to kind of study that you want the overall composition still to be balanced. And if Neil Just someplace there's conveniently I can add a swash, do it. I would do that. So I can definitely make this swash goes up a little bit. And with this P, I can do this. And maybe I'll do more of this t down even a little bit more just to fill the space. And then I have this wash called outweighing. And since I have this DMK, they're kind of bumping teach others. So I'm actually going to remove this huge swash and just make it into a simple one. That way I can. I don't have to worry about this K adenine, but meanwhile, I'm going to have this, do a little movie here, fill up the space. And then again with, I'm just going to maybe make this p come down a little bit more. And now I'm going to move this a little bit more. So it looks a little messy now that it's only in pencil. How Culver and again and pen to make him more obvious. So with this, BUT I can actually, I shouldn't do this. Do I wanna do that? Maybe we'll see then w And use this. I'm going to make it bigger and stays. Okay. So it's not too crazy. I don't think it needs to be the crazy really flourish. But we can definitely a little, little sparkles just to make it more finished. Now I'm going to translate this into pen so you can see better. 7. Project 1 Inking: So now I'm going to trace this onto a piece of nicer paper. This is actually a Bristol board. It's just a thicker paper that you can use as a greeting cards. The way I'm going to trace it is I have this glass top desk, so it is put a lamp underneath and acts as a light box. So if you have a light box, then that's great. If not, you can probably do something similar. If it's near a sunny day, then you can have your writing tape on the window and then use sunlight as your lightbox. But I'm just going to keep things simple for this class. I'm going to do the very analog way. Okay? This. So if you don't have a lightbox, Another way to transfer your writing onto a nano translucent paper is to do a graphite transfer. And all you need to do is have your writing on one side and total over. And you want to have like a really soft pencil or I'm using a graphite year, but any software pencil like 2B, 3B, you would do and you can just covered the back of your writing with this. He probably know where this is going, right? So I'm going to cover the bag and then later on I'm going to make impression of these graphite onto the final paper. So now I'm going to take another pencil that I'm just going to use a very hard pencil, this one in Sussex age. So I'm going to mark the corner and I'm going to just rewrite this thing. And as I write, this, graphite is going to transfer onto this final paper that I have. It's not going to be a really, you know, complete, perfect trends transfer. But it will be enough to I can, I can see better. And there write it again with my brush when if you need, you can fix a your papers with the paper clip or tape together. But I'm not doing a year because I'm feeling quite Adventures today. So you can check, there's a little bit of infractions or less perfect. Now we have an expression, we can write it again with a brush pen. Now, all that's left to do is to train, exercise and write your message on the back, put on the postage and a melons or someone you care. 8. Project 2 Thumbnails: For the second project, I am going to do another quote. And this time I'm going to try to use different size of my calligraphy to create a different layout for us is to figure out how to break out this quote. And I want to emphasize just wing it and then have live eyeliner, everything smaller. But this one, I think one way is to do a vertical one so it can be just wing it. So those are my three words. And then live every eyeliner, everything. Okay, so maybe like, you know, Center a little bit. Alright, and that's a little too small. Just waiting. And then dun, dun, dun three thing. Okay. That's my thumbnail. Or we can do a horizontal way or Laura can have just weighing it like that. And then somehow I have being bubbled and the third one, or let's see, we can also do another vertical one just in smaller. And then like winging it, really big, wing it with like some flourishing. And then have and then have three thing like, like buffers one, but really emphasize on when. And we can also do another vertical line similar to have just wing it and then have, you know, being invertible, that there's three seem like a nice curve and the bottom. So let's fill this up a little bit. So this will be just wing it while beautiful. And then I can have life, eyeliner, everything. And I think that really helps when OK. And then this will be if I can do this, just weighing oh, I can probably do this wing it. And then can have life, eyeliner, everything. And there may be some embellishing. I mean, they were all going to at the end, very minimum, embellishment. Not super crazy. When I do embellishment. If you took my Crayola calligraphy class, then you annoy our show. Several ways of just doing very easy endorsement that will make your image look more complete. But basically you just filling up tiny things, sparingly, use them here, there. That's my idea of embellishment is just enough. It's not new, crazy, extravagant. And so what's this one? This one is the small, just this one I can probably do wing it like really nice. How would I make a night? And eigen nice, you know, some sort of flourish. And then when it's done the dressing and maybe like a frame sort of to make it finish it up. And this one do this one. I can do like this. I can last, I don't know if this is making any sense on this tiny screen. So live eyeliner and everything, and maybe also sparkle and stuff. Okay, so now I have four very rough sketch. This just go for this one. 9. Project 2 Sketching & Inking: For simple project like this, I will just draw to the same size. So I want to have jobs. And then moving it will be winging it. And then the three. So I'm still trying to maintain a center alignment. And then just maybe here I do a little shifting to make things more interesting. I think in estrus. So remember the EU is bows on going to make it smaller. And then as can be bigger. And I like to even have maybe this was this crossbar as even going through that needle. Whoop. Just wing it. So I can have a win, something like that. So I'm using a swash to make it to fill the space. And then I line and everything. Y t h, i n. Yeah, that's not a bad start. And I think you can actually do different G here. Now I am going to use the tracing paper and, and to do a little more refinement. So here I have tracing paper. I am just going to, since my, the y that I have, I think Nir, I will have to shift this as all that. And I can see that just needs to be go to the left a little bit. So there is sure. I think maybe the S doesn't have to be so big. If I'm making a little bit here. Again, I like to have when letters are big, you Julie, I don't like to have two tall letters together, so I'll minimize one minimized, but just make some, one of the more there is a hierarchy there. Okay? And then there is a winging. It. So although I have the swash year, the letter actually starts understand stroke. So how I am center alliance to look at this one to here. When it comes to spacing, a lot of time is religious eyeballing it. So it's very important to train your eyes to, to see what, what spacing makes sense, what's going on here. So since I'm going to urbanize a big loopy g, not going to emphasize the downstroke, the end too much. But I am going to make the counters and smaller than. And this time I'm trying to write down more precisely how we do this. So this is a little too small, I think. Just because if I'm using my brush pen, this needs to be bigger. So I think the alignment wise, they are alright, maybe the eyeliner, maybe eyeliner and come over a little bit. And then I'll just have to figure out how to connect this line. Move up. Everything is q. So this will be seen. This is everything. Ok. So now looks somewhat just wing it. Make sure I'm spelling everything right. Eyeliner, everything. And now have I think I'm going to make somewhat of a box and Waze maybe some sparkly stuff. Okay, so the next step will be inking it, but still draft. So he uses a method to transfer the layout onto a card stock paper. It's just like I did before. And now I need to do is to e, ink it with a brush pen. And so now that I have, I think I want to make a bigger words just a little man, thinker. So I'm just going to use just fine to make the downstroke photosynthate. So now we're pretty much finished. At this point, I can trim it to the right size and a message on the back foot on a postage, and then send it to my friend. So I love to see your project from this class if you want, you can take a picture and then tag me on Instagram at purple Martijn measuring. I'd love to see it. 10. You did it!: I hope you enjoyed this bounce calligraphy class and learn some female. If you share your project on Instagram and don't forget to tag me at purple Martijn measuring. I hope to see you around. Bye.