Brush Pen Modern Calligraphy - from basic strokes to adding flourishes | Vivian Uang | Skillshare

Brush Pen Modern Calligraphy - from basic strokes to adding flourishes

Vivian Uang, Hand-letter Artist and Graphic Designer

Brush Pen Modern Calligraphy - from basic strokes to adding flourishes

Vivian Uang, Hand-letter Artist and Graphic Designer

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18 Lessons (1h 25m)
    • 1. 1 intro with material

      4:18
    • 2. 2 warmup

      2:45
    • 3. 3 Terminology

      1:34
    • 4. 4 basic strokes part 1

      8:50
    • 5. 4 basic strokes part 2

      6:30
    • 6. 5 lowercase 1

      5:50
    • 7. 5 lowercase 2

      3:43
    • 8. 5 lowercase 3

      3:29
    • 9. 5 lowercase 4

      5:22
    • 10. 5 lowercase 5

      7:01
    • 11. 6 uppercase part 1

      6:19
    • 12. 6 uppercase part 2

      6:22
    • 13. 6 uppercase part3

      5:05
    • 14. 7 consistency part 1

      4:43
    • 15. 7 consistency part 2

      8:10
    • 16. 8 flourishing

      4:11
    • 17. 9 project

      0:53
    • 18. 10 outro Skillshare

      0:22
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About This Class

Whether your handwriting is wedding invitation-worthy or it looks like some encrypted coding, I believe you can learn to write beautiful modern calligraphy with the right method. 

In this class, I will take you step-by-step on how to build beautiful letterforms so you can write calligraphy with confidence. I will also show you tips on how to add flourishes to your calligraphy and advance techniques for bettering your handwriting so you can keep on improving beyond these lectures. 

The supplies you'll need to follow along with the class:

  • A print-out of the worksheet package
  • A regular size brush pen
  • A pad of tracing paper (optional)
  • One or two paper clips (optional)

You can check out the shopping list here.

The hefty worksheet package includes:

  • One practice page of basic strokes practice
  • Five practice pages of lowercase letters
  • Three practice pages of uppercase letters
  • A flourish guide
  • A model sheet with suggested project ideas
  • A blank guide sheet
  • A Typography terminology diagram
  • Plus a resource page

This is a comprehensive modern calligraphy class for anyone who can hold a pen!

Download the worksheet package by going to the "Projects & Resources" tab, and click on the link at the right-hand side.

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Happy writing!

Meet Your Teacher

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Vivian Uang

Hand-letter Artist and Graphic Designer

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Transcripts

1. 1 intro with material: Hi. My name is Cindy, and I'm a graphic designer and Hillary artists based in your city. I would like to invite you to my Russian modern calligraphy class. This is a comprehensive entry level class for anyone who would like to create beautiful, handcrafted littering heart. It doesn't matter if you have perfect everyday handwriting or if you're writing requires a little bit of creative interpretation. I believe anybody can learn calligraphy. It is essentially learning how to draw consistent straight lines and curves. The only caveat is that it does require some practice and because of that is a great way to develop your patients. For me, practice calligraphy is a great way to meditate. So let's go over the materials you need for this class. First, you need to print out the worksheet. I've designed this worksheet for you, including a basic stroke page. We're going to practice the basic stroke first, and then several pages are lower case letters and then another couple pages, four per case letters as well as a model sheet that has all the alphabet and something grins and also names for you to practice. And then, lastly, I have page for floridis. So the next thing you need is Russians. I have two brands of freshman here, but you can use whatever and you have a hint as long as they are regular sized pen and they have flexible naps. So this is my favorite brand to use its phantom bo. The name of the pan. It's called for their notes. Okay, it comes in two types. You can tell by here one. Is this on VH? The other is Bs. So this is brush heart, this part just soft. So this off is a little more flexible than the heart, but actually, they're both flexible. Eso. Either one will work for this worksheet. And these are from Penn. Tell they are intel for the touch sign pen. I bought this set of three. There's three sizes. You can tell by the little drawing here the large now large, especially saying median fine and the extra fine. So it's in Japanese, but you can tell by here the and letters different, so you want to use the one that ends within. I don't know what does ending for fine, but that means median fine and extra fied in Japanese. So you can kind of make sense. Years is an use media, and then don't noise end. But then the extra fine is E. F. So both defy and the extra fine will work for this course. So just make sure you're not getting the large brush like this is large. You don't want something so big that won't work on this worksheet. So you want something that's more like a regular pen size with a flexible neck, So you contract historically on the worship. But depending on the paper that you were printing your Washington, it might be a little rough for these type of pen. So because they are a felt tip, so they do get worn off after a while. So I will suggest that you can actually buy a pad of tracing paper to practice with so tracing paper. It's like this translucent paper, and it's quite cheap, so it's very good for practicing. So when you lay on top of her worksheet, you can still see the worksheet, and then you can write down the tracing paper. And tracing paper is much more smoother than the regular paper, so your pen will last longer. You can also use the vellum paper. This is like upgrade off tracing paper. Sometimes they also call the transpose the marker paper or layout bond dependent, but mainly know what do you want to look out for its at the Airtran's movement. So when you lay worksheet underneath, you can still see through it. So vellum paper or tracing paper, they both worked fine. And we're practicing. Make sure you actually tear out the paper. So what I mean is don't just right on the pad. Because if you write on this huge Pathan Neil disservice to soften, it will be little hard to control your sick and things strokes. So terror out of the path in the right on the nice study service. So if you want something to kind of fix the fix is to shed together. You can use masking tape. Or what I do is I just use paperclips when I practice. So there are nearly state put together. So three things you need for this class. The printout off the worksheet tracing paper, your brush been and maybe paper clip if you want. I can't wait to see you in the class 2. 2 warmup: they don't waste are ready. Let's do some warm up for all neck shoulder arms from at risk. I'm going to show you some of the things I do, but you can definitely modify it to your liking. So first we're gonna work on our neck. So that's just do some simple hat guilty. You can apply a little pressure for all these stretches. You wanna obviously stretch, but do as far as you can comfortably. And like I said, do 5 to 10 or even more reps until you feel like your hand and shoulder is good and lose. And then let's turn out here left and right, and then let's rule overhead in both directions. You won't do this slow we to actually get a nice rotation. No, it's what about our shoulders. So let's do it on Delle Torri Stretch and then let's try to clubs are him behind our back. If you can clock your hand, this is a really good stretch for your back if not trying to do the best you can, or you can use a towel to help you so you can hold the tower. If you cannot reach your hand and then the other way. So hold it there for a couple seconds, get a really nice stretch and then less warm of our risk. I promise. This is a calligraphy class, so let's spend our wrists up and down and then next less lightly hit our fingertips to each other. This is really good and increasing blood flow to the finger tips. If your fingers are usually cold, this is really good exercise. And then next we're gonna lightly hit this part of our hands. So do this. And then this had this part of pandas. Well, I hope you can already feel the difference and let's start ready. 3. 3 Terminology: in this. Listen, we're going to talk about some off the typography terminologies that are relevant for this class. First we have baseline. You can think of it as a horizon line for our writing. But both that is the ex high, which is the height off a lower case X. And that's also the height off a letter, not including a center and the sender, and the top boundary off the ex high is what we call waistline. The center is a part of the letter that extends above the waistline, and the very top off the Ascender is what we call us underline in our class. It will also be the cap line, which is the height of FARC ep a whole upper case letters. But please know sometime faces might have different cap light and no sender line, but the sender is a part of a letter that descends below the baseline. In the very bottom boundary is the D centerline. Stan is the main vertical stroke in some letters might have double standards, such as the upper case H. Some letters might have a complete or partially enclosed area, and we call that counter a bar is the horizontal stroke in characters such as the upper case, A, H R and lower case E. F and T. Finally, we have sloshing flourish, their strokes extending or replacing a terminal stroke. Strictly speaking, squash is extension off. Existing stroke and flourish is an embellishment additional to the existing letter. But nowadays the Turness wash and flourish are pretty much interchangeable. So you were probably going to hear me using these terminologies through other class and now you know what they mean. Let's start writing. 4. 4 basic strokes part 1: in this lesson, we're going to go over some basic strokes. These speaks extremes will help you to get familiar with how the pen works, as well as developing your hand eye coordination in controlling your writing. So a very fundamental principle in Martin calligraphy is that down stroke. It's always sick, and we achieve that by applying pressure and because this pen has flexible tips. So when you apply pressure you were writing, stroke gets the thicker. When you release the pressure, you achieve the since trope. So the 1st 1 is down stroke. So there are a couple of things I would like you to focus on it. You want to have each stroke parallel to each other. So I have this guy's she with the angle guidelines so you can follow those guidelines. And then the second thing is try to have a consistency in the worst of your stroke. So even within one stroke from the very beginning, the very top to the very bottom Frankie made than the same thickness throughout the stroke . Another thing I want to point out is that calligraphy is really a slow writing art. So do this much slower than your normal writing speed. That way you have a steady hands and as well as just a more consistent writing and be my for that. When you're writing as the stroke, you have intentional starts s lawyers. Intentional stop. So avoid having the stroke that has way thick top and then very thin bottom or really try to start and then stop Think of as a full start in a full stop And now let's move on to the upstroke. So the upstroke it's a thin stroke so that you might want to repeat this In the very beginning, when you're learning calligraphy, it's down Strokers over steak up struggles, though, isn't just to remember that in, you know, whenever you're writing calligraphy so off stroke start from the bottom left corner to the top, right, and then with very slight curve. So same thing with the down stroke that you want to have Ah, intentional start and an intentional end. So a full start and in a full end do not just like yours pen, but really to ah, a slow and steady curve and also because this tip is flexible. So when you're writing, if you keep on writing, holding the pan the same way you keep on writing and eventually after while your nip is going to be worn out just in one side. So what you want to do when you're using felt tip pen is after every couple strokes. You want to rotate your pen like this. Make that a habit. So after a couple of stroke, you would just real take your pen. That way you can always you kind of correct the way that the net isn't bend. So I want you to see if you're down strokes and upstroke. You can really tell the difference between the thickness, so the down stroke is obviously thicker than of strokes. So if you cannot really tell the difference between your down strokes and up strokes, one way to do it is to apply more pressure when you do down stroke or apart. Less pressure went into the upstroke, so try to make them quite obvious. That one is thick and oneness thing. The 3rd 1 is another upstroke. This time we're curving it in the different curry Cherie were curving towards the left, so make sure you off these strokes have the same thickness So the good thing about using this tracing paper is that you don't have to keep on printing out the worksheet. You just need to print a once, and you can use a slow as you want. Just keep on changing the tracing paper. So now we have all the strokes were going to come by in the thickened and then into one single strokes. So we're going to do the under turn. So it's like a U shape. We start from the left top corner and make a U turn to the upper right corner. So since down stroke is, always think we're starting with fixed row and then slowly about 2/3 way down, we start, relieves pressure off the pen and then make it this transition as smooth as we can into a fin stroke. So intentional. Start in turn as we relieves pressure and then move up this drug in so down, stroke thick and austro thin. So there are a couple of things we're trying to achieve here. First is to have the most transition from the thick stroke to the same stroke in the second . Is that you on the two sides off the stroke be pearl, so they're not, really, you know, a V shape. And also you want to have a small loads curve at the bottom, both from the outside and the inside. So if I'm writing a bigger it would be These two sides should be parallel, and the curve is both slows when you look into outside off the this strokes and also the inside of this stroke. So they shouldn't be this or they shouldn't be this. So this really does take away some practice. You want to release pressure gradually and especially of strokes. And usually when people have issues going up, stroke thin upstroke is not that natural. It doesn't quite happen in our normal everyday writing. So use the guideline as, uh, as your box again. You want to have a very obvious thick and thin if you're if you a stroll way of starting a little hard to tell which side is thick and thin, you can either apply pressure more on the down stroke or the release. More pressure going up strokes, so you want to make sure you have that contrast. Now we're going to do the reverse off it. The overturn so the overturn starts from the bottom left corner. So since it's going up, it's going to be a thin stroke, so upstroke thin and then slowly apply pressure. And you have, ah, take it down. Stroke. Do you want a thin upstroke and then slowly turn and a white pressure. Don't worry if you don't get it right away, because it is quite tricky you're doing to think at one stroke. One is making a smooth turn, and then the other is to apply pressure. So the same thing. You want to have the two sides of the stroke parallel, and you can tell if it's parallel or not by just making it extension. Say, if I have a stroke writing like this than if I just extend the lying, then you know they eventually will cross them. That's not parallel. And don't forget to turn your pen as you're writing every couple strokes. So again you're watching for two things. One is to have a smooth curvature at the top when its journey and the second is a smooth transition from thin to thick 5. 4 basic strokes part 2: now, the next one, we're going to combine both. We're going to do the overturn and then transition into under turns. So this is like a compound stroke. So again, upstroke is always thin of stroke thin and then transition and just sick and then in Egypt in again, sin sick and then sin. So this one is really tricky because we want all three on stand to look parallel, so these three should be parallel. Be careful not to do this because that's you know, that way you're not doing parallel. So what we want three, almost like three lines that are in the same direction show thin fins. And again, if you're feeling like your hand is gripping, depend too tight or you start to feel you just have trouble controlling it or it gets wars . Then take a break, relax your hand and do some of the woman that we did it for. And then we're moving onto the Ascender and the centre stars in this ex high line and then making ah counterclockwise for Luke and then going down to the baseline. So because the starting is a stroke, so it will be a sin stroke so starting thin, making a turn transition into a thick stroke. Once again, we want to have a different in storage and a different end. And in this case you probably won't see the start. But you definitely see the end, so make sure it's a full stop. Although in riel letter, you you might not have that full stop. But practicing your foot school stop. Just help you to have a better control of your writing. So you're not just going through the motion. You're actually taking charge off where dependence going and stopping. So we want to have off years thick and thin. When you're looking your writing, you know which part is thick, which marston. So now we're moving into the center. So the center is the part of the letter that exam those below the baseline. So since we're going downward is going to be a fixed down stroke. And then when we come back up to the baseline and we're turning to a thin stroke, so start thick and the release pressure making turn so sick Stroh's so same thing with the ah, the overturn and under turn we are, we want to achieve a thin stroke as well as the snow north curve. So we're going to do the counter clockwise. Oh, shape. So because there is a thickens in transition at the very tough, it will be easier if you start writing on this side of the curve about the third way down and start with thin stroke. So star upstroke, Thin John, stroke sick and then back of stroke thing. So the reason I want you to start on this corner is when you're starting with the thin and then making a transition into sick coming back to thin. It's easy to connect the same thing and then stroke that, still maintaining a smoothness. But if you start from the very tip, say, here you do sick in the U come back thin and you try to connect. You will be having a little more trouble to connecting a thin stroke on the dextrose together. So we just be easier if you start from the side and make sure your curve looks as smooth as you can. So a couple things to look out is that you want to avoid having like a very pointy end site , Uh, like this or this And then again, you want to have obvious second thing, so you can actually quite obviously tell the left size thicker right side is dinner. So if this is your absolutely first time to practice these basics row, it may be a little frustrating that they all look different and we are trying to eventually make them look all the same, but it takes time to practice. So don't worry if you're if you just saying just different sizes shake. So now we're going to do the same mo shape. But then we're doing a clockwise turn. So still, we're starting within stroke on the left side, about here and then making a clockwise turn. So sin and then sick and said then sick. So now you did it. You did a holy sheet of basic strokes. So after each time you practice a sheet, I want you to suggest that you actually take a couple of minutes to exam. What you just wrote to see if you have a recurring issues, you can study your handwriting and and see where you should improve 6. 5 lowercase 1: in this lesson, we're going to practice the first group of lower case letters. So I grew letters in the way that how they're similar in the reforms and the first group is I T. U L F. And I also have a couple of words that you can practice there so you can start putting them into worse already. So the 1st 1 is I and I. It's pretty much just the down stroke that we practice with curving back up to his in stroke. So Don stroke thick. And though Strossen and then the dot on the top of I is just a small, very short down stroke so thick and then the quick transition there so they're ago bears your eye and then we have a T. So T is essentially each of the longer and I with the cross bar so the crossbar is going to be a thin stroke. So let's start with his thick down stroke and then curve up to a thin stroke and then with the crossbar so down, stroke thick and then up and the crossbar again. So there is a tea and the next way we have the letter you So let her you is if you put two are very close and you get it. You. So that's what we're going to do to write twice ones twice. You have a letter. You. So I actually do like Teoh, right? Then in several separate stroke. So there's one another one. You have the letter you. And now we move on to letter l. So l would be a little different that we start with the sin upstroke. So if you look at this guy sheet that the ex high is shorter than the Ascender So for l we pretty much one. All right, One stroke that's connecting these two points and in the second stroke, committing these point. So they're they're different in angles. One is this way. One is that way. Therefore, they're two separate strokes. So do not try to connect that. I actually want you to start with one curve upstroke and then actually live your pen off the paper and then a ascender stroke and then coming back up with the stroke. So it's two separate stroke one to and then finishing up. Now, next we have from the letter F. So after it's similar in L but and we're extending it, and I actually have two version off after you can choose or you can practice both. So the 1st 1 is like a l shape of than much longer. So same thing we want to separate stroke. So the entries broke and then stop and then Austro don't thick and then coming back ups in . So here is a very tight to turn, so you might have to go even slower. So once again of stroke stop and then another one. So as we're writing, you want to have a consistent down stroke. So when it's a sure to like I or tea or you, it's it's easier, slightly easier to have a consistent thickness of the down stroke. But when it gets longer like the L or the F, it will be a little more challenging. So it would take more practice and the second way to write 1/2. It's starting similar of stroke stop, an elder and a sender. But then here we have almost a full stop, and then we go straight back up and then do a crossbar. So once again, upstroke down stroke and then going back up crossbar so you can choose either one to practice and depend on. What were you writing? You may choose you choose one over the other. So there are your first group of letter. Now we can put these letters into words and the reason why I already put worst in the practice. She is that you can start looking at the spacings. So the main thing we want to see in practicing award is that you want the space of each letter to be almost the same. What I mean is that the white space between the letters, they want to be similar and consistent throughout awards and, you know, the whole paragraph a swell. So that's practice were F Phil So these guidelines are good when you're practicing single characters, but one uncomfortable words, it doesn't necessarily mean that each letter forced in the box because letter was are different doesn't necessarily that half an eye and l il that's that's not necessarily the case. And then the same thing was lift 7. 5 lowercase 2: No, we're going to practice the second group of lower case, which are O C E d. So these letter all have this oval shape and what I wanted to look very similar. That's where I grew up in together. So let's start with O and O is just like the oval shape we practice in basic stroke. So simple, so same thing. Start on the right side of the corner of the elbow and then make an oval shape. And then with the literacy, it's similar to let her over with open ending. So we have still starting on the rights and then end up opening and I wouldn't let her a a is really just a letter all and pasta I So as you can see, we write an old and this is the I without the dot. If we combined, then we get a little A. So that's exactly what we're going to do. Lift up your pen from the paper and then it right, and I So the two strokes are touching, but not overlapping that much. So this is if you are not talked. If you're not touching enough, then I feel like a little lose. But if you touch to march, then you're a feels a little squashed. So there is your letter A And then I'm moving on to letter e e will be similar to a CSF that we start on the left hand side so starting and to make a turn and then moving on to a letter D So they will be like a oval shape plus at l we just practiced. So if they are together than becomes a d so in over a shape in a lift of European starting hill. So remember these air to separate stroke so similar to the previous group. I also have some words for you to write that you can start practicing putting the letters together. And the 1st 1 is cold. So you already try so try to have them so trying to have the spacing similar. So by that I mean it feels like each each wife space between letter are about the same area . So here's c Oh, so when you reading these words you want to see the spacing are consistent, but also you know, the oval shape and she looks similar as well in the next war. Is that 8. 5 lowercase 3: now moving on to Group three off lower case letters. We have Jay Y geez, thank you. These are all there is with the senders and for most of them are having the same ending zinger movement. And except for Q so let's start with the letter J down stroke and then absorb. So this will be like the sender stroke that we practice in the basic stroke. The next one. We have letter. Why? So why would be like writing on I Class two J that you just did and combining that become a why. So here is why and stop the next way have the letter G. So she will be like the oval shape and then plus the J that we just have no become a G, and you can do a little nice and a little swash exit. If you want, we'll get doing and then we have the letters e. So start with the upstroke thin stroke and then six tro and then another one. It's almost like writing number three. There goes to see thanks to be here for a little Q soak, you will be like the oval shape and then plus the bottom half of the after we practiced. And then when it hit the baseline with the little exit stroke so not overly shape again. This is a very tight curve again. So you might want to slow down when you first start practicing this little there's a cube. Now you can make up so many worse with the three group of letter that we practice. I'm sure you can definitely think off many other words too. Right now that we have these longer letters, your men, your stand off the letter should be parable. That's another consistency we want to develop in our calligraphy writing, so words like dog. So we want to have the same angle when we're writing these. 9. 5 lowercase 4: So now we're moving on to the lower case group. For in this group we have H, B, K and P. So for Hbk, they all have a center parts of the letter. And then for P. There's a decent ER, but I group them together because for P, even though it's a descend, her letter and the ending stroke is still going clockwise. So it feels kind of the same ending as the be and K you'll see as we start practicing. So as I mentioned before, you want to really separate our each stroke so the first road will be the up strokes in, and then the 2nd 1 will be this ascender stroke, and then we'll add on a compound stroke. So then there you have H when you put it together, upstroke a. Send a stroke kompong curve, although for a lot of time you probably won't have an age that's raising all the way that high. It depends somewhat. The next letter is so once again, make sure you rotate your pendant. You're right to a dozen of stroke, another center stroke, a compound struck. So I really want you to separate the strokes that you will be very much tempted to write quickly in one motion. But I often think this is very similar to when I first started learning English. The teacher will always say when we're learning how to pronounce the th for foreigner like me teaches the Hardwar to pronounce the beginning. So the teacher was they make sure you're a stick your tongue out between your teeth so you really pronounce the But the thing is you don't really hear American, you know, Native Speaker really stick out their tongue to pronounce the But that's how we learn, right? And then you started able Teoh speak slowly. You don't really pronounces up on everything, but the sound is still there, right? Even when your tongue is not sticking out between your teeth. So the same thing with writing calligraphy is you're getting better that you write faster. You won't be like stopping and pausing, stopping and pausing because you're already so familiar with the different part. You your muscle memory isn't already developed. So there there's our H, and the next one is the letter B. So the B has ah similar upstroke and then oh, Santa Stroke and then an oval shape and then you can end however you know, depend on X letters. So for now, we're going to do a send up stroke. So we're going to a do a send up stroke, no sender loop and then a clockwise oval shape so you can just stop. You can just stop here the most. Likely you have another letter after being so I would like to just practice how to really exit out of the space. So again, then upstroke sender loop clockwise over shape and then exit. So here of stroke. But sen dupe clockwise over shape makes it now moving on to the letter K Letter K has a very unique part about, nor we don't see on other letters. But it will be a smaller, just a very tight curl with the tail. So the rest of its looked similar, just like the h and the being with the upstroke Ascender loop. And then you will do almost like the baby, but then much tighter. And because in such a small space there's so many stroke. Although this K on the downward part is the down stroke, it should be thick. I would just still make it not mystic, as all the other down stroke otherwise would just be too much and happening in the space. So here again, upstroke hopes or center loop and a tiny group and then also in the curve exit. So you still wanted to have a thickness, but not as crazy as no distance. 10. So now moving on to a letter p, we have, ah, injury upstroke and then a down stroke and then another clockwise over. So upstroke down stroke and you can just do a little trace back before you branch out a maker overall shape. So down stroke and then promotion, stroke down strobe and then a warship. And, of course, you can add a exist road just like what it would be that would be upstroke down, stroke, tracing back and then exit. 10. 5 lowercase 5: no movie onto the last group of the lower kids letters, Ash. Today's two groups. So one is m and end their more similar if you know how the right and you should know how the right end and vice versa. And then the other r r s v w x Cesaire just kind of like the odd letters. They will have a little tricky angles, so they're kind of like by themselves in the group. So let's see how we can break this letter and down. Um, I don't have the entry stroke here, but you can definitely have one. And and I see a down stroke. Uh, and then I see this overturn and then a compound curve, so that would give me a and let's put it together. Upstroke down, stroke, overturn compound curve. So even without the entry stroke, he was still have a down stroke overturn compound. Okay, So put it together will be this there. Sure, him and then I probably should have and forest because and would just be easier. So and will be, ah, down stroke and then a compound curve. And in this room, the company. So you can also add in, but entries stroke. So now let's move on to the letter R. M. I look a little different from the rest of the letter, but actually we can break it down. It will be a stroke and in a little loop and then an under turn. So there will be You are so upstroke Little loop and then another turn Break it out will be a stroke in a tiny little luke and then a and under turn Put it together, up stroll and so that you are. Now let's move on to the letter s for us. It's really different through the unique from the rest of the letters. So you would just have to do upstroke and then another look just like the are. But now for the down stroke, it's almost like 1/2 over shape. But then all of a sudden changes mind into a New York stroke, so we should go. No, I want to be a stroke, so that's how I think of it. So just make sure that your upstroke is thin down. Stroh is stick, and it's up to you to have a distinct look like this one or not. So much. But one thing to be on the lookout for is to make sure that your little move it actually does go above the ex high line. So the lions here But in that loop is above something with our So you want about to actually go above the X height line and now with the V and W So V and w are kind of there kind of just like two eyes putting together. Except the angle is a little different. So we would just be it almost looked like I So what I would do is actually have either either left or right on to be higher instead of a smooth curve. You wanted to be a little pointy, but not too pointy. It was a so a little higher and introduce. So try the's no variation when you're writing, and I think the is a letter that if you just write it by yourself, it's really hard to tell what it is. That's why I put on some worse down below that you can practice and the same thing with the W. But why was they instead of, ah under turning? That's very slows. This will be a pointy one, the entry stroke and then to, um, 20 under turn. So, like I said, the V and the W by yourself they don't look quite right. But you know, the best way to practice is to actually write some more. Before that, we're going to try to write this X so X organise new A very unique letter. It's nothing like it. So one would be like almost like a hook that you're drawing or some sort off, um, shower curtain hook. And then for this left stroke because it's a thin strip. So we wanted to do from bottom left to top, right? Yeah, And the reason is that we really want to make sure to remember that down stroke it's always take of stroke. It's the Western. So every time it's near Zennstrom, it should most of the time be but upstroke. So once again, a sigh well and then a stroke. So when you're connecting ex with another letter, it will be This will be the entry store. So if I'm writing exit for the E and in turn into this hook and intending Teoh I and in a T on our finish this at the end, so be exit. Sonal is trying to write these letters A movie view, vision. So here I have. And oh, I mean, I So when you have a V in the letter, I usually would dio, maybe like a little curve for exist roll just to make sure that on it looks like this is one letter and whatever that curve is like a break and we have few the vision. So here, the way I exit, as is by doing on exist roll under the letter You can also do one that's like this like are we practice? And that would make it look like the high So be vision. 11. 6 uppercase part 1: Now we're moving on to uppercase practice. So uppercase letter lose quite different from the lower Kids letter. If you look closely, I know now today we're so used to seeing upper case and lower case together. But historically there were two different writing system, and they were developed in two different time period and also by different people and for different purpose. So for lower cases, usually for him writing for many of square when you're writing stuff on parchment with, you know, quilt. So you want something that's more organic looking uppercase, especially developed to be chisel and to ingrate from buildings or stones tablets. So they're more straight lines or your round circle that people can just go using some sort of template. And eventually we merged them together into you know, this one writing system you'll see on these upper case the basic strokes we practiced. I don't really apply here. One basic fundamental rule is you still have a stroke. It's a thin stroke and down stroke this Ah, six strokes. So that's just how are we going to go about it? As you can see, I didn't group in in any special order, so we're just gonna go from agency. So a service in of stroke and then a stick down stroke and in just a simple crossbar. So these are usually the basic form of the over case. As you start to write more and get more comfortable with the second in, you can definitely make then into fancy your letters. The fun thing about other cases that you can do a lot of four rushing's. But let's just start no simple with obstruction down, stroke sick and the crossbar and be ready like any round shape. It's tricky, so it's okay if you were first writing Justin turn out right? I mean, of course it's OK. So for see, we have just very curly letters. It would take some time to practice, really have a smooth seconds in transition. So even though the basic stroke doesn't quite shown here, but the more you practice basically show, the better you have control over the transition from thin to thick and conflict within. So that still helps your capital letters. So there's literacy. Now let's move on to a letter D. So D has a similar down stroke like to be, and then with denies Big round curve again, a dick stroke. There's our dean and then with the E. It's almost writing, too, although shape counterclockwise over shape. So with the F, there is like a sin top bar here so that I should be a Senate line. And then the same sick down stroke like we have for the B and D and then another across bar I like two and A with a little look. But that's optional again. A side waker, sick curve down stroke and this eye waker the So we curve and then a takedown stroll no more. So the bar can be slightly above the ex high and was a lot of these uppercase letter You can go a little told or a little lower in the harbor. You think if it's your composition leader on and now moving on to G so G actually goes below the baseline and I know there are several ready to write G. So this is just one way that I'm showing you here. So a nice although shade it's like writing a lower case G. But just ready bigger and you can try other ways. Um, do does was even taller and then with a crossbar. If you wanted to look more like a G or another way to write, G will be cursive writing. Gene, this is also an allergy. So for Asia, there is two parallel down stroke. So that would followed angle. On this land of the sky sheet, you make a big loop Come back down. You can add a little straight line to make it look like this is what letter instead of your writing A J and the sea So this just make it look like Oh, this is one h so another down stroke for I So you can do that. I like I have here this way. Four you can do a very obvious. I like this. So that's also another way you can do I. And now we're reading J. So we'll have a fence here of stroke and then thus told or down stroke. So that would be a J. 12. 6 uppercase part 2: Now let's write the letter K letter K start with a similar long down stroke like the letter I. And it has like this to diagonal down strokes, usually with letters like a or B when it feels like there's a upstairs and the downstairs The waistline, the MIT lying were the top hole in the bottom floor divided. Our is usually slightly above the ex high. So again within upstroke down Stroh. So that's OK. And for l is a bigger loops I loop and then a down stroke. So if you're l looks a little tilted left or right, you can try to align this middle line to those guidelines land. So this will be kind of similar to boost line. So that's how you can anchor the L. So again we have a side loop and then almost writing like an infinity loop. And now for the M M has an entry of stroke like the A and then we have two down stroke that's in kind of the opposite of the guy line here. I think M has, ah, a lot of potential to be very fancy and very different, so you can try and different ways to write Duran. You can do it like this before you can do like what I have. I have one side that has, like, a slight curve, and then the others I ihsaa different curve and then bending down. So that's another look like here. These two are almost parallel, and even here are parallel right. But then, on this version, there's like nothing is parallel. So that's the Orix S, so you can try a different ways to write in your am. I think sometimes you can just write a lower case and the writer bigger. That can also be a way to write your uncle case, so that would also be fine. So whichever you find this easier on and fits your composition, you can, you know, go forward. And now, with the end, it's another upstroke, just like the A. It's almost just writing. You know this part off the M, so another down stroke and then stroll. And, of course, you can also do like this one. You can just do it right. A bigger lower case and that I think, sometimes also works. So then it's up, stroll and then down stroke and then up stroll and then, for all, will be a bigger old, So a big loop. So once again, it's a big group. And make sure your transition is smooth from the scent. Too thick and backed isn't. And then p we again have a foul thick stroke, like in the K and the B and A D. So the down stroke it's almost like reading and be, but with just the top and you. And since we only have top four of the B, you actually end up in the ex. High line is supposed to in one more writing be the lying the waistline, especially above on ex high. But in here we have the X I just about where the pee on the part of the curve of the piece lands. So again the down stroke and then p for P. You can actually extend your down stroke billowed baseline sometimes been on your composition. So for the uppercase que you can write, just like the old and I was a little tail, but I actually like to do it a clockwise. I wish it because then it gives a very natural exit stroke. That would be the tail up with you. Almost like writing a number two. And if that feels weird to you, you can definitely do an old just like you would, right? No. But an ad, you know, like you. I think that's Oh, so fine. Now we're going to do our So a down stroke, and then who was the top curve? You know, with the compound curve. So that would give you are the doll stroke curry, then an arm. You don't necessarily have to do this upstroke part of the compound curve. So you can do a down stroke, although, and then start to like a halfway kind of like them. No, we're moving on to the letter s, as is just, um, How to make a small kerf. It just takes practice. I don't know what else to say. Sorry, but you do want to make sure that you asked to look like they're slanting, just like all the rest of the letter. So, you know, that would be to over ride. That would be to tilt it, so make sure that your s curve looks like there are feeding just about the same angle as the rest off your letters. So this the s I have on the worksheet is very simple s And of course, you can do when asked like this we're doing ask places. So if you start getting comparable was writing this know of this s curve, you can develop your own style. 13. 6 uppercase part3: and now with the tea tea is really just like the f were open them without the second crossbar. So start with the thing top crossbar and in a down stroke. So there's your team and I'll move on to the letter You You was like a huge compound curve with the down stroke. So the really big compound curve and then a smaller under turn really big com punker and then under terms. So for a letter v the nwr again to audibles eso. But the good news is, if you know how to drive e and you know how to write w So we start with a thin upstroke and then ethics down stroke. But in this time, we wanted to almost wanted to be a particular to this baseline. So something like this. So let's do it again. Nothing upstroke. And then Sordell was straight line and then another angle house. So they have to be Once you got the angle right, he can add a slight curvature to this down stroke so I would do it and upstroke and then just a slight bend very, very slight s curve off the stroke and then another of stroke like a large thin of stroke. So gonna thin upstroke and in a very lightly curved down stroke and a large tend upstroke. So now we just need to repeat it again for the letter V. So it's an upstroke and almost, you know, stray down stroke. And this time we want to squish on this. Be a little bit. So we do is more a narrower of strokes and another down stroke and then there. So in essence, these two lines are kind of parallel and these too far parallel. So we have strokes in slight bend down stroke and then ob Strossen. So I've been down stroke and another stroll, so because now we're writing everything in splendid angle, so it's hard to tell that actually, these two are almost perpendicular to the baseline. Now there's two x So X is just when you're honest. So now let's do that. Um, for X were pretty much wanting to write the diagonal lying between these boxes. You can, you know, make it thinner. But if you're a first, you might want to just stick with three or you can do 2.5 something like here on do this. So if I want to have X feeling this space, I will start with a nice curve. So I wait us and then do it Upstroke this way so you can have your extra curve this way. Or you can do it this way. I think either. Why looks fine. It's really just to your liking. So again we're doing modern cartography. It's a lot more less restricting than traditional calligraphy there. So there's your ex, and now we have the last two letter the letter. Why? Why? It's kind of like the letter G uppercase G that we're going to go below the baseline a little bit, so it's just like a large version off. Why? So there is your compound curve and analyze week. Why you can do this wash or don't do this wash. It depends where you are in your writing, composition wise. You can make it even bigger if you're writing you something really fancy. And then now with the letter Z, you could do a large off large lower Casey. That's okay, I am seeing are simply don't do that, Uh, or what I have on the guy sheet is more of angle that modified Z who was the length with acute angle? Honestly, I don't think when was the last I ride the open cases e. I can only imagine. Maybe you writing like invitations or place card that someone you like. Zack, you know, you ready? Name and then so over the sea. So there should be So that's all are uppercase letters. 14. 7 consistency part 1: in this lesson, I'm going to show you some tips on improving your calligraphy. I do believe calligraphy takes a lot of practice to get better. And I do believe that everybody can be good at writing calligraphy as long as you put enough time to practice. But here I'm going to show you some tips. So when your practice you can actually examined Priti your own writing and therefore you know how to improve. So it's very important in Kaga fee to have consistency and by that any in four area consistency and your stroke with consistency in the size and consistency in the slant and consistency in spacing. So what I mean by stroke, meaning the thick and thin of force. So all your fixed rope and since Rocha bean almost the same. And obviously we're not robots, so it's not going to be exact the same. But your down stroke all this down fixed. Roshi, Look, you know the same thickness so awaiting exam that whether you're adults, troops are consistent and shrug with its just to write a whole bunch of them and then see if they all look, you know, similar. And you don't have to take a ruler to measure, but just by Aibel, and you can see the thick should be similar. So if you're have some really six, some sort of thick and then some are like in between, then there wouldn't be. You know, that's much sooner than that, and that's actually not quite the same. So that wouldn't be as good when we two practices just to take your basic stroke and practice the six and the simple down stroke. And not only you can do with the shorts down stroke. You can also do this followed down stroke. This is very helpful when you're writing bigger words or you for writing capital letters, so they should look all almost the same thickness you don't want. One is very thick, and the one is in your sort of thick, and then one is in between. Your one is thick again, so try to get them to look all the same, and the same thing would apply to upstroke, so Europe stroke should will be equally thin. So definitely you obstruct should not be like, Oh, someone's really releasing and in some is like, sort of, you know, that wouldn't be it's consistence as on what we have here. And then the second is in size, so size there are to expect of it. Size is definitely there's with, and then there's height off the letter. So for the with, we want most of voter that should be in the same size, should be the same size. And by that I mean, when we practice the lower case letter, I group them together. So the I and then l they should all have to sing size with wise and something go with the letter e and old, so always should be almost the same with as the or in us to see. So if you're always really round and your E is very thin, or euro is very sin, but in your e is like no wider than when you're writing worth than there is a discrepancy, and you might not know what's going on. But you want to make sure that all the similar oval shaped letter have to a similar size with and something goes with a high. And since I'm giving you this guy, she so you should be able to just know measure that you're writing his older thing. But if you're writing without the guy, she make sure the height of the letter is old, consistent as well. So once you have these, although she blood her looks similar on the letters that half a center descend of the oval shape parts should look similar as well. So if I have Oh, here and then I have a d the old part. She looks the same size, especially when you write worse. That has a lot of oh, shape the world. Good. So you want all your over shape to be, you know, similar. If I color this oval shape, they should. Don't you no look like Oh, they're the similar size. And then so for the height of the letter B, my phone off the letter R and s like I mentioned, when we're practice, you want this little loop to be above the X height line. Otherwise, it would look a lodge smaller because they're already taking less space. And if you don't have that loop extend above the ex high, your letter will look even shorter than the rest of the alphabets. 15. 7 consistency part 2: and the third Constance NC I want to talk about is insolent. So these guys, she that I made for you they are in a 75 degree angle. And if you're reading traditional cartography such as copper plea, you will be doing in 55 degree angle and in Spencer area, and I believe it's 52 degree angle. Those are very defined, the guideline for writing traditional calligraphy. But we're doing modern calligraphy so you can adjust that to your liking. And I have these made in 75 degrees. Sometimes I also write in 85 so it's really up to you. But I would suggest that you get used to one style before you changed angles a lot. So if this is only guy should you have, then stick with it, just use it onto your very comfortable I heard. The calligraphy master said that if you're writing calligraphy, you were going to be good at it. You get really accurate at the angle, and so even when you're writing without a guy line, you can just draw a line knowing that it's a 55 degree. If you're writing cover plea, so that's very you know high standard to what she final. But with this guy line, if you always practice with the Carline, sooner or the later you will be writing quite constant in this plant. So when we're writing, we want to have a Constance and slant in throughout the writing and one way to practice that is to just kind of like what we practise on previously for the stroke. But this time we can do alternating weaken, do ashore one and the long one and wonders above when it's below kind of alternating. So you want to make sure that you know doesn't matter. You're doing a centre de sender or just X I they all have to saying angle. And then when you were writing letters what a center descend er such a d you want to have letters that you kind of see the tension line of these curves? They are parallel and then they are following the guideline. So if you're over shape is too straight. But then you're you're a center curve. It is splendid than there is. No, this is more like a straight up right over shape. But then you're the stand is little angle then there's a discrepancy in the slant there, So the same thing was letter G or you know, P or. Q. These two tension lines should be parable. You can practice on Lee the letters that have a center and the center so that would be letters such as B in the next one or BG, long as I should have a deer de and then the J. So whether the stand is going up or below, they should all have very consistent angle. And, of course, you can just practice a BCG straight out to see if they are all slanting consistently. So the same idea applies to the upper case letters, especially the ones with a very prominent stems such as B de If h. I j okay, ill p are and t. So when we're writing the upper case letters, the main stand should also have a very consistent Iceland. Now let's talk about consistency in letters facing. This is probably one of the trickier one, and let's start with word that's very easy to space. Thou evenly. That would be the word minimum. So now I have the war minimum because minimal only has straight up and down stroke. So it's easy to tell if the spacing are consistent and if I color the space in between letters. Ideally, they should all look similar in size. But since I'm reading Neal, this reading is not all that big. It's probably a little hard to tell, but I just want to call originally can see what I'm talking about. So ideally, all these yellow space between letters, they should look similar in surface area. So when we talk about letter spacing, what we want to achieve is to imagine that you're you're pouring water course, stand in between the letters and you want the same amount of water or sand in between letters. So that's the idea off. Good letters facing when it comes toward the minimum is easier because there's only straight lines, so it's easier to determine if they look consistent. But in re alive will need to write a lot of words. I have curve size like the B or D G, so that's when we need to hang our eyes to see visually. If that space is similar. So the next word I want you to practice is we're Armenian, so we want to make sure that when you throw in a curve letter here, the spacing still look consistent. And if I just make this area of the figures, it will look some something like this to, you know, stray site with the end of end and then the beginning of end. So here within and I it's easy because it's a pretty straightforward space. But then we're throwing a Oh, now we have a curve. So how do you make this area look similar in, you know, space in volume in This s this one. So that's what essentially, what we're trying to do in letter spacing. And it gets especially tricky if now you have another word. That's when you also around the shape letter. So how do you make this base look? Same as this one look same as this one. So let's try another word. Moti color. So with multi color, it's now we not only have straight space, straight space, the straight and curve, curve and curve, curve and straight, So this will be a good word to practice your letter. Spacing another way is when you do a whole page of writing, you can look a far distance, and it's easier to see far interest in whether you're spacing is, you know, dense in one area and then lose in another area. So if letter spacing is something that you are having trouble with, I will point you to a block post I wrote. It has a lot of tips and tricks on how to correct your letter spacing. You can find a link on the resource page in your workbook. 16. 8 flourishing: in this. Listen, we're going to talk about Flourishing. I'm going to show you some simple way to get you. Start using flourish in your lettering, so the 1st 1 is the Siwei as shape. 2nd 1 is crows, and then ther one is, Ah, infinity loops and then the fourth one's Purcell's. So when we're doing foraging, even though there is a stroke and down stroke, we want to minimize the thickness of the down stroke. So there is some thickness variation, but the down stroke should not be a stick, as the main letter, and I have few example here, so flourishing can told we go way beyond the bottom line off the grid or way above the cap high. So let's start with a sigh Weight s shape again. This should be all very light and thin. If you find yourself not able to create a smooth curve, try to start using a pencil. If you can write a relatively smooth curve, then you can move on to a brush pin. So first, try not to worry too much about the second thing. Once you are comfortable creating a snowed curve on either sigh, then you can ah, slight pressure to it. So there is a slight variation of chickens in but not too crazy. And for the crow, we also want to have a smooth curve anywhere, pretty much so. You can do one loop or do several loops, so make sure they all have very smooth transitions. Was you're comfortable with doing this telephone wire curls. You can add a little pressure to it, and then the 3rd 1 we have is the infinity loop or the Figure eight. Try to have a very thin line throughout, and then once you're comfortable with that, you can add a little pressure witness in down strokes. So we really want to have smooth curve and was the infinity loop. You can also try to do multiple so it would be something like that, and you can continue on if you want, and then the 4th 1 to pretzel. So again, make sure you already have a very smooth curve in every possible way before you at all. Any pressure. So with all of these, they can be add onto your lettering in this orientation or, you know, different orientation, depending on how you're exist. Stroke is so for example, for the letter G, this will be a simple way to add a swash where we can do the curls and then with the infinity loop. And then if we just extend affinity loop and ended with the pretzel, we'll have something like this. And if we kind of shift the angle a little bit, we get this. So do appraisal and then a shape. We get this. So it's really just a combination off the four types offs washes, so for centers you can do similar. Swash is the tricky thing for a sender is that you can try to do in a one stroke that you just have to make sure that you kind of aim nicely, you know, hitting the oval shape in the right place. Sometimes you can break into two steps so we could do one. Don't stroke, and then I can dio the 2nd 1 So that's another way you can add on flourishing so you can dio the pretzel or do upside down infinity loop 17. 9 project: so in the workbook, I also put this model sheet for you. This is a quick reference for you to have access to all the 26 letters. Lower case and upper case, including some variations, won't way to make practice more fun. It is to actually make a project out of it. So here I have two projects for you to choose from. One is to write penguins Ping Grimm's Our Sentence that have old 26 letters. So it's a good way to practice or your alphabet as well as practice letter spacing. So you can pick one of these and however you want to arrange them and in corporate someone flourishing into it, there will be great, and that option is to write names. I know Ready Name is a really good way to show off your calligraphy so you can write your own names or names of your friends or family or the names. I have a listen here, and I would love to see some flourishing on the name as well and show us in the project section her phone with the projects 18. 10 outro Skillshare: thank you for taking and finishing my class. I'm so proud of you. The best way to improve is to practice consistently, even if it's just 10 or 15 minutes a day or every other day. If you have any questions or comments, you composed it in the discussion section below. You can also find me on Instagram at purple Martine lettering. I love to connect with you. I hope to see you around until next time. Bye.