Crayola® Calligraphy - A Playful Hand-lettering Style for Beginners | Vivian Uang | Skillshare

Crayola® Calligraphy - A Playful Hand-lettering Style for Beginners

Vivian Uang, Hand-letter Artist and Graphic Designer

Crayola® Calligraphy - A Playful Hand-lettering Style for Beginners

Vivian Uang, Hand-letter Artist and Graphic Designer

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15 Lessons (1h 1m)
    • 1. Introduction

      1:40
    • 2. Warm-up & materials

      4:52
    • 3. Basic Strokes Part I

      8:54
    • 4. Basic Strokes Part II

      8:06
    • 5. Lowercase Group 1

      3:06
    • 6. Lowercase Group 2

      2:22
    • 7. Lowercase Group 3 & 4

      3:51
    • 8. Lowercase Group 5

      3:11
    • 9. Uppercase Group 1 & 2

      4:46
    • 10. Uppercase Group 3 & 4

      5:24
    • 11. Letter Spacing

      3:31
    • 12. Embellishments

      3:48
    • 13. Class Project

      3:32
    • 14. Tips

      2:57
    • 15. Final Thoughts

      1:06
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About This Class

Do you find yourself admiring beautiful calligraphy and hand-lettering on Pinterest and Instagram? I have good news for you, it’s not nearly as difficult as you’d think! Unlike most other artsy hobbies, you don’t need to invest in fancy tools to start learning calligraphy. In this class, we will uncover your hidden talent by learning calligraphy with Crayola markers. These markers are affordable and easy to find here in the States. They are available in office supply stores, pharmacies such as CVS and Walgreens,  art supply stores, and even dollar stores. Like many hobbies and skills, practice guarantees improvement.

In this class, you'll learn:

  • Simple warm-up for your hands
  • How to control your marker like a magic wand
  • The basic strokes and why they are important in mastering calligraphy
  • A shortcut for applying what you learn from the basic strokes onto the alphabet
  • The secret of making you look like a pro

What you'll need for this class:

So whether you are new to calligraphy or you have tried to learn calligraphy but have trouble improving your writing, this class is perfect for you. I will show you my very own secret of evaluating your own writing so you can continue to improve.

You don't need to have beautiful handwriting to be a lettering artist. With consistent practice and the tips shared in this class, you'll be impressing your friends with this satisfying new hobby.

I've created tons of resources for you!

  • The Model Sheet gives you an overview of the style you will be learning.
  • The Worksheets are for you to follow along stroke by stroke. You can write directly on the printout or lay a piece of tracing paper and write on the tracing paper instead.
  • The blank guide sheets are for you to practice when you are comfortable writing without tracing over the worksheets

Meet Your Teacher

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Vivian Uang

Hand-letter Artist and Graphic Designer

Teacher

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Transcripts

1. Introduction: do you find yourself admiring beautiful calligraphy and handle every on Pinterest and instagram? Let me tell you a secret. It's not as difficult as you think. Unlike most other RC hobbies, you don't need to invest in fancy tools to start learning calligraphy. My name is really a well, I am a little artist and graphic designer based in New York City. Today, I'm going to teach your clippers. Be using Crayola markers. In this class. You will learn simple warm up for your hands, how to control your marker like a magic wand, basic strokes and why they are very important shortcuts for applying When you learn from the basic stroll onto every letter in the alphabet and simple ways to add embellishments to your lettering when you will need to start this class Crayola brawl I mockers or Creole Los Super Tips markers print out off the practice sheet and a proud of tracing paper. I have also create a calendar template for you to work on as the final class project. You can use the template to create a customized calendar with your own calligraphy writing and share them with the class, and then you can hang on your wall. So whether you are new to calligraphy or you have tried to learn coding feet but trouble improving your writing this class is perfect for you. I would show you my very own secret off. Evaluate your own lettering so you can continue to improve even after this plus. And by the way, you don't need to cash beautiful handwriting to store lettering. With some practice and tips shared in this class, you will be impressing your friends with this s flying new hobby. So let's begin. 2. Warm-up & materials: before we pick up them offers and papers. Let's do some hand warmers because if you're like me sitting in front of computer most of the time for work, you your shoulder is a little tense, like most people aren't these days. And when we do calligraphy, it's very easy to get caught up in the letter form, which is a good thing. But also, I notice that if you're not careful, you you will get a tense on his shoulder. And because you're so concentrate on your writing, you neglect this muscle that's tensing up in overtime. It's It's not good. The warm of I do are pretty simple. Of course, they are in terms of variations that you can dio so you can flex your arms like this. This way, you kind of pull your muscles and your attendance all the way to the shoulder, because writing is not just on the fingers on the wrist. It's also about your elbow and your arms and your shoulders. So if one of these things don't work or one of these things got tense and clocked up, then it's a fax. You a whole have to have your body sometimes So just do a simple flex bending your arms back were like these. And then since we're bending arms, we might as well open up on our fingers. So stretch it. Just trying to open it apart like these. And by the way, this is not only before writing if you're play instrument. You know, when I used to practice violins, these are the warmer. I do as well and then flex your fingers and then another thing is to kind of pull. Not really Poile finger, but more like increased blood. Full blood flow to your fingertips. Is this especially nice in the winter when your finger are tend to just be cold? So this way you're kind of increasing, Neil increasing, encouraging the bluff oh, into fingertip. And then there is also this one just to press president to us olives. So I kind of let your county So we're trying to get more bluff low or just get your circulation better on your arms and your fingers. And then, of course, I'm show the rose and then try to reach your hands behind your back. I think this is also helps. And then why? Last thing is to put your arms behind your palms behind your head and open up your chest because I noticed myself and those are others when we write them. When we're really focused on writing our holy shoulder and social, I guess it's the same way you're typing too much. And so this is never good, so just know, open of your shoulder. Okay, so once you feel pretty good, um, tilt your head a little bit also. So now let's move on to the materials will be using first. Will you have, ah, model sheet, which is a sheet off the other alphabet in the style we will be learning. So this give us an overview and also later on this can be very handy, a za reference for you. And then we have a class worksheet package. This package includes the basic strokes and all the lower case and upper case letters, as well as a bonus sheets off embellishment. And then I also made a calendar template for you to work on as our class project. It's a blank calendar so you can write out the days depending on what months and on the topics where our project will be. So you, um So I would like you to write either the name of the months or a word that you want to design public goods, this calendar however you want. But this is your canvas, this area and for the Crayola markers. These are the broad line markers, and these are the super tips markers. They both come with the felt tips. So by applying different pressure, you can get different line with. And finally, we will need to have some tracing paper. We're only using this to practice, so you don't need to go for a fancy brand. Tracing paper is very useful when it comes to practicing, because you can lay a sheet of paper on top of the worksheet and trace over and this way as you finish the whole, um, sheets, you can just she had a new tracing paper. If you don't have tracing paper, that's fine. Also, you can write directly on the printout. It's just that you would need to print more copies off it. So now we have our material is ready. I'll see you in the next class as we start learning the basic strokes 3. Basic Strokes Part I: in this class that we will go over the basic strokes that makes calligraphy unique. So if you think about it, what makes calligraphy looks different? It's the sake and in thin strokes, and we can simply achieve that by applying pressure door pen down. Stroke is always thick. Upstroke is always thin and, as you're writing, have your arm arms open up a little bit more with career LaMarcus, the letter form we're creating will be quite large. You don't want to only use the wrist, because if you only use a risk than your movement, it's only this big. You will be straining too much of your wrist, so we want to use incorporate a little bit of our movement, so just keep your arms more flexible. The point of practice basic strokes is to achieve a hand eye coordination. It first is the down stroke down stroke is always thicker, so we apply pressure and apply pressure evenly, so your stroke will be evenly fakeness. Hold your pen, but not Gribbin. Half a comfort have control over it, but not choking it. Once you develop a consistent thicknesses for every stroke, you want to also make them line up perilously, even though the strokes are pretty sake focused on just one side of it on this left side and as slow as they were applying equal pressure, you will have a nice, smooth line and the lying you're the left site to that guy in line as you drag your stroke down. That way, you should start getting a hang off, creating all the peril alliance. So the way I designed in my worksheet, they all started with several great great letters or gray marks that you can trace over. And then you would do copies a couple copies and then trace couple times. Copy couple confines trays couple times, and eventually you will write a whole copy. Make your own marks. Once you have these marks parallel, you also want to make sure they have equally spacing. It's not too difficult here because I already have two guidelines underneath, so if you follow the guidelines, your spacing should be pretty identical. But it's good to keep that in mind and just train your eyes in your hand so you know you're where you're drawing in the spacing that you're making, and the next up we have The upstroke of stroke is always light or thin. So the same thing you want to apply equal light pressure as you draw. If because you drag the lie upward and once you achieve that, you want to make sure your lines are parallel, which shouldn't be too difficult to do because I have the guideline for you. You pretty much go from this going to that point. Another thing I want to point out is that try to have intentional beginning and end. What I meant is start and end with, like, a full stop instead of just a wink. First of all, that just you likely to have a curve. And also you won't have ah consistent with and the 3rd 1 that we're going to combine what we just learned. So thou stroke thick of Strossen. We're going to just combine it into one movement. You can pause and every time you make a turn. But this is to help you get used to al stroke sick of strokes in and also helps you to have a rhythm as you're writing with them. I think is not mentioned a lot in most calligraphy class. But I think it's it's really helpful for me when I using Just think of writing as a reason . Once you have a rhythm, things kind of just magically work better together. So our supreme so same as the previous practice. Once you get the hang of the take the thick, anything you want to start. Oh, so check your parallel nous. Is that a word, huh? By that, any all the down stroke, which are these four, their parallel to each other and then all the up strokes. They're also parallel to each other, Right? Having a consistent angle is it's a very important and running calligraphy. If you find yourself not being able to produce steady lines, there are a couple ways to fix it. First, you can go a little slower in my teaching, I notice most beginning, Try toe, uh, write it as the irregular writing speed. But the truth is, we're trying to would teach our muscle to learn new movement to get new muscle memory. So the best way to do that? It's right. It's slowly not like terribly slowly but slower than your normal speed. And also it might just be that you had one too many cops of coffee today. Now I also affect your steadiness. I noticed that if I drink just a little bit too much coffee in my hand, uh, you don't notice the shakiness, but when you're writing it, you definitely has less control. So it might be the problem. So next stop would have another upstroke. But this time we're going to do have it a little. Is life a curve to the right By that? By that, I mean, it's curving, This is astray and we're coming into the right so it would be like this. So the curve straight is a little trickier because you if you want to keep the inconsistent and Pirlo, it's not as easy assessing. But of course we're not robots, so it will never be perfect. Perfect. And next we have the same curve, but it's curve to the left, and it's also upstroke. And then the last one on this sheet is this long, straight mark, which is exactly like the 1st 1 Except it's longer, especially when we were writing long ish lines such as this one. It's easy to start group in your pants because you really want to control it. Try not to do that because the more you grip it, the last straight it will be next up. We have the D center and the Ascender. So for the D Center, we want to start with a thick down stroke. As we approaching the baseline, we make a smooth turn and release pressure and make a loop. So down stroke sick upstroke sin moving on to the Ascender for a center. We start with upstroke, which is a thin stroke so thin stroke up and then smoothly transition into a down fix. Stroke of stroke, thin down, stroke sick. 4. Basic Strokes Part II: So next up we have my favor. Basic stroke, which is the editor, and the overturn. And I called in Tano unabridged gesture be because I'm from New York. But before we start tracing, I noticed that this is actually very complicated form bellyful, by how easy look from my teaching experience is that there is a lot packed in in in this shape, especially most worksheet. Do you find out there? They start. They would just go strike straight through the slanted inversion, which is quite complicated. If you think about it, we have to try to create a smooth curve. We want both sides to be parallel, and we want to have a smooth transition and they're in the angle and they have to be sick and then have a SOS transition. So that's a lot to packing in such small symbol. So let's go Guy Deaver, step by step, Let me explain to you let's start with the basic U Shape a U shape that has two sides parallel, and it's not see how how if you can draw a small with U shape and what we're looking for essentially is a smooth transition. Carroll on each side in the very sloughs. Very smooth transition. Smooth curve, and you can use the marker draw a bigger if, however, its size, whatever size is comfortable for you to draw. Okay, it's not quite parallel, but one thing you can try to a trouble issue. Where goes wrong is since we're using trans off tracing paper weaken. Just fold it in half and see how well they match you see. So once you have that, once you have the parallel nous. So these two sides are parallel and the curve are evenly. Is that even if they even a smooth curve next up is to do the second thin transition. But we can actually take break it down even further. Try to do down Stroh's sick and across the and Upson still, just a couple times, so not combine it with this curve. We just did. Don strope sick, make a U turn. Go back up sin. So now that we have one side, it's thick. We still want to create us this symmetrical insight, this shape, this shape. We still want a symmetrical How do we know if it's symmetrical, usually drawing a center lighthouse to you to see if these two sides are symmetrical, so as close as you can get a forced. You know, once again we're not robots, but we're just trying to get good at this. So the work she I haven't start out straight because adding this land, it just makes everything a lot more complicated. So let's just start practicing the upright versions down, sick release pressure going back up. And I made my guideline the same words that you would need to make. So it's that way. It will be easy for you to make, then all of the same size in same spacing. And now we're going to the bridge or the overturn, which is the same idea, but it just the reverse. So we want to start by going up light in the street transition, and we want to get sicker, but the same principle of a plot you can. You can also start by practising just model monoline, But make your on get a hang off, having a parallel in a smooth transition. So you're still once again, you're looking at this white space, and if you divide it in half, there's a look symmetrical to you. While keeping these two walls. Carol a plight sick, heavy down. Apply pressure. Dogs apply. Pressure down relieves pressure. No, we're ready to move on to the slanted one because things air slanting so it won't be symmetrical. It's a skewed. But if you have the curve and the parable about this most transition, the making a curve is just kind of new year. Like me are pushing this thing. So it's kind of a year like now, pushing this. They do, pushing it so it still needs to be parallel on both sides and smallest translation of the bottom. So this is our last basic stroke, which is a compound curve and, um, old. So the compound curve is pretty much a combination off the bridge in the tunnels, but in icing intimidating. But if you have practiced the bridge in tunnels, then you be fine with this of stroke like hang and smoothly heavy hand and then right hand , and then for the o shape. But one trick I would like to mention issue actually want to start the old not on the top, off the old button on like a halfway over third way down on the thin strokes, I. So you start around here. That way you can build a transition smooth. So let's start from the side of it and then move upward absolutely at pressure and then release and go back and then connect. It's it's not completely round. Nor is the light pointy, or I don't know if you start from the top, it's supposed to on the side. It will. It will have been have a chance to look more like a pointy like I shape, you know, like this. But we want an oval shape. That's why I also starting on the side. An end of the end and other side has a better chance of making it soon. Finally, let's go over some typographical terminology that I will be using in this class. Baseline is where most literate system ex high is. The height of the lower case acts in the Given Taif ease. Ascender is the part of the letter that extends above X hide. The's under is the part of a letter that extends below baseline 5. Lowercase Group 1: No, we're moving on to the lower case K. So I grew up in in ways that your hand movement is similar. So this furnace group is I l u T f Q. And as we go through it, you'll see why I grouped in this way. So it's pretty much on just a steak down Stroh and then finish up the I and I'm going to sound like a broken record. Um, try to keep consistent angle horse land. So you want to understand, like soldiers in angles in the slant off the angle as well as in spacing. And next up, we have ah, l and we want to start with a upstroke leading and then a smooth down stroke. Now we move on to the lower case you. So we have so far we have the I, which is a little like a straight down movement, and the l and the U started almost the same. But we just need to see this part is the same as I. And then we just make it again. So kind of you putting two eyes together, then you gotta you down, stroke sick, do another. That'll stroke. Next, we have the letter T, and as you can see, we have toe I the l. The U T is t is use a taller I really with a bar. So of course, you should totally master this already, and the bar is going to be a sin stroke. Now moving on to the F f is kind of like the lower case l but in longer. And then with a stroke so used now you see why I grew up these letters together. Your hand movement, It's pretty much the same. It's just varying in length. Now we have Q. So we start with the basic shape of like, old and they go down, stroke sick and then back up. 6. Lowercase Group 2: So now the next group group to its CEO 0 80 They'll have this counterclockwise movements, so the 1st 1 is C. So this is almost like the basics trope. It's that we don't close it lower Case E. It's almost like the sea we just did accept it started with a little loop. So life stroke and then down, stroke sick and then the literal. So now we move on to a A is almost like we have in this old and then you air a down stroke at it. I that we had before, and then it turned into a last one. In this group, we have a D, which is is pretty much like the old and then the oh senden, basic through what you did. If you look closely, you can notice that the two upstroke just not exactly lined up oneness in this angle. The other is missing angle, so it's not really a continuous the straight up straw. It's actually broken into two. So let's do it an old and pause and then change the angle to do the Ascender 7. Lowercase Group 3 & 4: So now we started with Group three, Group three. All have just down stroke and then going back up. It's like the descendants stroke that we practice earlier. So starting with the letter, jays down, stroke sick and then release pressure going back up. So letter. Why started with, like a U Shape. But then eventually it turned into this descendant with a group. So you already know how to make this u shape just add, but he send in stroke. Now we have the liturgy, which is almost like the why we just did. But instead of ready and you first we write on a or right oh shape. So it's oh, shape plus a descendent. They have a sheet now, the last one in this group. Ihsaa lower Casey. Now let's move on to group for we have B K H P, all of these leather start with a loan bounce, stroke and then followed by a reverse stroke. So for lower case be, let's start with a leading How about a down stroke and then the reverse well being believe in a down stroke and then reverse. Now let's move on to K. So we also started with a Sandon stroke. And then when s we moved out? Pressure. And in a small loop in the no curve, Not unless to h age is probably easier than all the B in the cave because there's really just there's a lot less going on in this one space, so the last one in this group is P. 8. Lowercase Group 5: Now we're moving on to group five, so glorify. Actually, it's more like two groups mashed together. I have toe end and is more similar. And then the odd one like the S R V W X. So the end, it's the thick down stroke and then release pressure and then go back down, stroke and in the little tail Don't forget to rotate your pants. I am is a little tricky, But think of it as writing to end down Stroh thick, released out and then turn back down. Do it again. Now we're moving on to S s is really just by itself. It really doesn't look like other Let any other letters. It's so we have ah, stroke the leading sten and then a down stroke that's like a curvy down stroke and then come back up. So the top of the letter is actually above just in middle lie and now on to our we have been of stroke, make a tiny loop and then come back down thick the next that we'd have V so they will down , stroke sick and then come back up and then we have w Lastly, we have X and we do it by creating a little almost like a reversed s. And with this this final stroke, I like to do it. Ashleigh doing up stroll because it's a sense RL and just saw the just so that my writing my muscle doesn't they confused? 9. Uppercase Group 1 & 2: So now we're moving on to upper case. So these are also divided into groups, and the first group have thes loan bounce, stroke and then a clockwise round strokes. So the 1st 1 is B and P is almost like the B, but only was one counter. Now the 30 leather in this group. It's our which is kind of like the P. But was it a leg? Now let's move on to AM and is just the bigger grown up size of the lower Am. No, we have to let her end, which is just a bigger The grownups eyes off the small end and also just half over the M. But it's not really half off AM because if it's just half of em, it would look too skinny. So we're still to take up enough space now on to the second group. We have C E g o que Y. You and all of these have a very nice round oval shape. So let's start with C. Next up. We have a capital letter. D de is a little tricky because actually start with this down stroke and then as you go down to the baseline you make a reverse loop in memoriam to e. The letter e is like 20 shape stacks on each other. So they started with a small one on top and then starting another one and bottom. And then we have G. And then we have old, which is just the bigger old that we did earlier. Because we're using such a big marker and we're writing such a big word, you might not get as smooth as you want, especially if you have that death grip and you're just using your finger and wrist movement . So actually, losing of your hand will help you create a smoother circle. Now we have Q, which is the same as the Sober, then with the added little stroke. So something with that Oh, it's now let's move on to why now, let's do the you 10. Uppercase Group 3 & 4: Now we're onto group three. So we have the I j f l h t and s So I, um iss I do it this way. Obviously there are different ways to write eyes and Jay is also a very story of letter adding up a nice ending group. Now we have f and now moving on to l. So, with age, we have to long stand. So the 1st 1 and then the bar, you're the second l. So now we have t t has a nice has interesting top curve. Actually, you don't have to do it this way. You could have do it by how we have f um which is which is a curve. And then it's true. So that could be a T. But the way I have a here just to show you a different way to at the horizontal bar on a letter on the capital letter is that you would actually need to tell the paper. Live it or tell your hand a little bit whichever way, and you start just by drawing a stroking a diagonal. But it s you draw near to you. You at pressure to you a stroke So that's how I give that almost like I don't know. I feel like it's like a hairpiece. No movie onto s although ask Issa quite curvy letter compared to the rest of this group, but the main lost and it's almost similar. It's a down straight ish, um, dental stroke. Now we're moving on to a group for Group four, has a k A V w x d. So, as you probably noticed, all these letter are kind off triangular in the diagonal line shape. So let's start with a now moving on to K K has this long stent, which by now you probably all master this part already and it's just okay, like has this 45 degree stroke that no other letter has. And now moving on to V the by solve. It's not difficult. It's not a difficult form. It's just one down stroke and then one light of stroll. So now with X, you want to reach the bottom corner, and then, just like the lower case, R upstroke comes from bottle up, and our last letter is Z 11. Letter Spacing: now list with what we learned together and create letters and words and sentence. So before we get into the after writing, let's talk about the shape off each letters. So their star some letters are triangular shaped. Some letters are square, is straight shape. Some are more circular and what we're trying to achieve its Imagine that your letter of city on the baseline and you're pouring send into the space in between. So ultimately you want to have the same amount of sand in between the letters. But of course we're not going to actually calculate how much saying we're important. But in typography, we also call the turning. So one of the most common words in English is the war the so the war, the half a tea, even though the tea bars ends here, the bar on the tee. But this is all kind off huge open space so we can kind of generate do like a halfway to count where the tea ends and where the spacing between. And then there's the age. So this is what I mean. You want these two, um, space to look somewhat saying so Let's do go for extreme to see what would not look good will be if I have tea and the age is just a little bit too close. But then the E is in a normal distance. Now you see the tea and age. If I do it the same way, there is definitely way too much space in here, so that's not good. So here we have the word quick. So this the space. So you want these to be somewhat similar, and it's always a little tricky with words without open parts like See, it doesn't really go into all the empty space because bastard counts a C, but it also depend on the next letter that you're connecting. But once again, this is just I'm calling it. So it's more obvious to your eyes, and I want you to think of this every time you're writing and work and just be mindful of the spacing. And it's also a good way to continue to improve your lettering. But then, now that you know how to see this basing, you can quickly adjusted and improve 12. Embellishments: Now let's talk about embellishment. Embellishments are things you can add on to your main artwork to make it look more complete . A way to go about it as to think about adding a graphic elements. And by that I mean we're going to just add some. We're just talking about circles. Trang goes and squares in lines, and if we combine these lives, we get the starburst or some sort of hatching class mark. And when you're drawing these basic geometry shape, just vary them in size. Make sure they're not too big that they become overpowering to your main writing. Okay, so in our guide, the squares and let's do some circles. So now we go from the simple A into this party A. Next I'm going to show you how to do a some burst, which is basically using lines. So for me doing some birds, it's easy to think of as a clock 6 to 3, and then I and then divide them. So now I have the baseline for my summers, and I would just add some lies in between and make sure someone longer. Some are short and combined them with dots. Thoughts are like magic things. So now we have Ah, some burst s and the next up I'm going to teach you a different weight off embellishment, which is adding shadows and shadow is actually quite easy. If you just think about drawing, tracing one side of your stroke, so I'm going to choose the right side. So for every stroke, there's two sides to it. So I'm going to do the trace over the rice I and this is just a regular black pen and then the right side of this down stroke. It's just skip over the overlapping stroke. Same thing here, and the right side of this upstroke and the right side of this down stroke which didn't turn into horizontal. So it turning to the bottom side of the stroke. So I'm going to do the bottom side s well, so now you have an instant shadow effect for a letter, and then finally, I am going to do another very simple which embellish letter is just to write the same thing . But then offset a little bit by that, I am being either offset just a little bit on the left or on the rice. I so I'm going to write this. Q. Now that we have learned every letters in the alphabet and some embellishment techniques, we can start our class project. 13. Class Project: now on to the class project. I have made a blank calendar template for you. Don't. Here is the calendar where you can just feel in the dates and then on the top. It's where you can create your artwork. So I'm just going to write out the name of the month. Obviously, you can be creative and do whatever you want, right? Your name raced someone's name, a word, a phrase. I'm just going to lightly schedule the word I'm going to write. Okay, so now we can get onto writing up. They're July, okay? And for because July, we think of 4th July. So I'm going to do a color combination off blue and red. - You can you raise the pencil marks and I'm also going to do one for August. It's okay. So I have my sketch. It's a little to the left, so I'm going to redo my sketch when you erasing your sketch. If it's the spacing issue, make sure you leave still a little bit mark off the off the first sketch. Otherwise, when your sketch, when you erase everything you would be like, Oh, where was it before? So leaves I still have that mark. So I know. I want to move it to the right a little bit. - Don't forget to share your progress with the class. I will love to see what you create. 14. Tips: Now let's talk about ways that you can keep on improving your lettering. Off course practice is very important. It's practice guarantees improvement. But here, I'm going to teach you what you're I should be looking for When you are critiquing your own work. There are three key things. They're all about consistency. This is just our human nature that subconsciously we're looking for some sort of pattern to make sense off are surrounding our world whatsoever. And that principle applies to calligraphy as well. So first is the with, uh, I have example here eso in this world and writing best, but you can see the down stroke on B is a lot thicker than the rest. And then even along the e s t, they're kind of different. So how we can fix this is just to simply apply a consistent down stroke. A second thing you can look for as the angle, high angle. I mean, the angle off your down strokes so you can see on this be the slant. It's kind of like this single, but on the e, it's more like this, and I'm S is somewhat like this. And all the tea is more open down. So if we simply correct that now, listen, look. The down stroke. It's more along this way, and the E is also similar angles, so you want them to be somewhat parallel. You might have seen calligraphy that are not always the same angle, but I think it's best to follow those rules in the beginning and later on you can break them and thoroughly is spacing a lot of time just simply by correcting the spacing, it will drastically improve your calligraphy. So, as I mentioned in previous listen, spacing is this space between letters we also call a turning in typographic turn. Train your eyes to to make it visually looks even leave space tell that can improve your lettering a lot. So here are there three tips that you can continue to improve your calligraphy. 15. Final Thoughts: So in this class we learned the basic strokes of calligraphy and also hopeful Cliven onto every letters in the alphabet. All of this using Crayola markers, and we also create a class project which is a customized calendar. I hope we have enjoyed this last. And don't forget practice guarantees improvement. All you need is 10 to 15 minutes a day. Just practice one group of the letters and little by little, you'll be making progress, and you write beautifully before you know it. So if you need some extra help, I have also create a checklist that you can keep track of your progress. You can double that checklist in the class resource section. Don't forget to share your work and your progress with the class, whether it's the worksheet or is the class project. I love to see what you made and you for sure your work on Instagram. Don't forget to attack me a swell after Bull Mountain Leathery. I'll see you next time