The ABCs of Brush Pen Lettering | Learn The Majuscule (Uppercase) Alphabet | Emma Witte | Skillshare

The ABCs of Brush Pen Lettering | Learn The Majuscule (Uppercase) Alphabet

Emma Witte, Artist, instructor, author + paint maker

The ABCs of Brush Pen Lettering | Learn The Majuscule (Uppercase) Alphabet

Emma Witte, Artist, instructor, author + paint maker

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4 Lessons (38m)
    • 1. Introduction + Supplies

      8:51
    • 2. Majuscule Letters - A to K

      13:51
    • 3. Majuscule Letters - L to Z

      13:14
    • 4. Project + Final Words

      2:11
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About This Class

You’ve mastered the miniscule (lowercase) brush pen alphabet – now let’s crush the majuscules, pen friend!

ASKETH and you shall receiveth! Welcome to the bigger, sexier, older sister of my very first Skillshare class on the lowercase alphabet. In this lesson, we turn things up a notch and tackle the uppercase alphabet!

Emma (that’s me), the Overlord and Chief Pen Wizard of Black Chalk Collective will show you how to create letters of the majuscule (uppercase) alphabet by piecing together a range of strokes. I'll also pepper in a few tips on how you can make letters your own.

This class is aimed at beginners who need a helping hand (ha ha...) with forming majuscule letters. If you've never picked up a brush pen in your life, head on over to my intro class on the miniscule alphabet to make sure you’re up to speed before tackling these bad boys!

Brush pen lettering is great for:

  • Swoon-worthy Insta posts
  • Creating cute greeting cards
  • DIY-ing your own prints to hang at home
  • Making labels, placecards, and other stationery
  • Lowering stress levels (it's very therapeutic!) 
  • Improving focus / mindfulness
  • Helping find time for YOU
  • ...who knows? Maybe you'll be the next big Insta-famous letterer or small business owner!

It doesn't matter whether you are left-handed or have terrible handwriting - brush pen lettering can be done by all!

So join in the craze, and get creating!

Meet Your Teacher

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Emma Witte

Artist, instructor, author + paint maker

Teacher

What up, party art peeps! I'm Emma, and I'm an artist from the seaside near Melbourne, Australia. My love affair with art was reignited in late 2015 when I discovered brush lettering. Brush pens were my first love, but I've since moved on to focus on teaching - and making - watercolour!

You can find my online classes in brush lettering here on Skillshare, and if you're keen on watercolour, check out my online school The Watercolour Academy and my handmade paint biz The Watercolour Factory.

Aside from consuming unhealthy amounts of chocolate milk, playing Fortnite and loving my cat Leo and dog Rhodie a little too much (lol jks that's not possible) - I love sharing what I know about art. I've taught hundreds of students face-to-face over the last couple o... See full profile

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Transcripts

1. Introduction + Supplies: Hey, guys, enter from black Choco here, and I am bringing a class on the mother skill alphabet, which means the upper case out of it. So if you haven't checked out my intra class that covered the minuscule alphabet and brush lettering, please go check that out. It has been updated to include some sheets that you can trace over is well, so make sure you check that out. That's a good introduction. And we'll, of course, teach you how to do the lower case self a bit before we move on to these bad boys. So what you're gonna need for this class is pretty much a pen or some pens, some paper and some God sheets so you'll find under the class information some blank guide shades as well as like a reference shape that shows you the entire alphabet. On one page, there is a slight color differentiation between like a gray and a black. My printers just faded. Excuse me on little show you. We lift the pin off between eight struck, but I also have some more reference sheets that are a bit more spread out, and they actually show you the direction that the stroke goes in as sometimes that can be a bit confusing, so make sure you print out a copy of those and the papers. Well, that I use is rodeo. So what I like to do is, I don't want to write directly onto this because this is printer paper and it's got fibers in it, so my pens might bleed into it. But it's also a little too rough for a sensitive brush pens, and it can tear at the tips and cause them to fray. So instead, because rodeo is nice and translucent, I can put the shapes behind there, can actually see the re them enough to trace over. So that's what I like to do. And I actually like to tear sheets at off my pad so I can work on more of a flat surface, particularly if you're right handed. You'll find that when you get to the edge of the sheep, that gets a bit hard to maintain consistency when you're trying to balance between the two different hearts off the pad and the paper. Sorry, the pad on the table. In terms of pens, these are made for some more brush pens So, you know, by all in deacon practice, this was with a small pen and then scale up on your own. But we're gonna practice these with small brush pens. So if we have a look at some options of pens that you can get my tried and true all time favorites. More brush pin is the pin tell touch sign pen. It comes in 12 different colors, and it's pretty accessible. They retail for about three bucks. Here in Australia, they are very similar to another pin that is also called a pen. Tell sign pen. The difference is this one says, Touch on it. It's got some Japanese riding my cameras focusing. There we go. It's what some Japanese characters on there, and it's got a flexible tips so the other one doesn't. It's just a like kind of like a thick are regular pin like a mini marca. So it's got a rigid tape and at Wawrinka beauty effect that where, after this also has like it's probably hard to see on camera. But it's got a bit of a metallic Shane to the plastic barrel, whereas the other one is just flat plastic color. So just be mindful if you were trying to buy them. Another option is the Tom. Both few dinner Suki are potentially saying that role. They come in a hard and the soft tip brush pin. There also is a double tipped one that's got one side black, one side gray there, another small pin option as well. And then one that I family recently is this cure Attack a zig mangga cough. Flexible pan. This one is in fine, and it's the same size it'll just, you know, very similar in size. And they're perfect for this size. Off. Catch it. So let's get into it. So if you've taken my other class, that is on the minuscule brush leaded alphabet that you'll be familiar with something called the Staple Strokes. That's what I refer to as the most commonly appearing strokes in the lower case alphabet. So pretty much I sat down and I broke H letter apart. I tried to figure out what strikes appear the most regularly. This variation of strokes will change, you know, between artists, artists, but they were the ones that I decide on on. That just helps you get the muscle movement down. Pat it helps build those movements into your muscle memory so that lettering becomes a lot easier. So I encourage you to check that class out if you haven't. However, with this magical alphabet, it's a little bit different. So I have tried to find some really similar strokes and put together an alphabet that has a lot of repetition in there just to make it easier to learn. So my minuscule alphabet and that off a lot of other brush letters is based loosely on the copper plate. Calligraphy style. This is kind of, but not really so. This is just my take on a modern brush leaded style. It's not too fancy, it's not too flourished, but it's just a basic alphabet to get you going. So I just wanted to talk through some of these letters so that you can think about them, I guess, perhaps a bit more clinically when you approach them because there are some, really, you know, common shapes that will be drawing. So if we take a look at the letter, I hear we start here and we go up and over. But this stroke this coming around and going up, it appears again in the on the end. And if we look at the baby But this strike that comes down here, it's kind of similar to a beauty line in copper plate, Majesty will, but not really. It's not as angled and flowy. So that one appears there it appears there it appears that it appears that if he is there there, well, I guess to some degree then and they're there, there, some degree in the S. I think that's it. So that one's a good one to practice a lot off because it's going appear in a lot of letters. Then this top part of the B that comes around, you'll see that in a P and the hours Well, this loop that starts off the sea, you will have a small vision in the A the same size in the G on the same size in the ill. Then what else have we got? This common? This backwards strike on F is similar to that of the Tay the I in the J. A. Quite similar the and the Q. The loop on the vein that W. And I think that's about it. So, yeah, as you can see, there are some common stripes that appear in my version of this alphabet, so some movements that you can get used to in terms of the proportion of your letters and where you want to aim them to bay. I like mind to see it in the top three boxes for the most part. So this is what I call the grid. And I split up into five different sections. So this isn't anything new. This is pretty commonly used in different forms of calligraphy. This part here that has an X on it. We call this the X height. So this little box in the middle here and basically what that means is that should be the size of, you know, a lower case X. So when we do the minuscule alphabet, that's where most of our letters will fall. The bodies of them will fit in that little block there. But when it comes to the matter school alphabet, that's kind of like way the lettuce seat. So that's where the majority of these upper case letters see, So I like to take some of them down, so I like a really big J. Some people like to condense. There's up into the three boxes, but I don't like a big G like a long J as well. And I like to take my visa my W's up a little bit. And, of course, bring that wire down as well. So that's up to you. You know, this class is just teaching you my version of a pretty standard majesty alphabet. But you're more than welcome to, you know, take creative license and changeup letters that you might not like or that you just want to do a bit differently. Later on, I will have a class about find your own style as well, so you know how you can take these to the next level. So what else can I tell you? I mentioned at the start that there is a slight color change, so my printers a bit dodgy. But there is a slight color change between Struck's, so just like the minuscule alphabet when not riding script, we're not going bang, bang, bang, bang bang. It's nice and slow, broken up strokes, that aunt, usually in warm amazement. So that's something I want you to get in the habit of doing as well, because it should be a slow process. The quicker that you rushed through your lettuce, the less consistency you'll have. And the more likely that you run into things that I like to call ridges, which is where the pen tip kind of flips over because you've transitioned to quickly between a thin and a thick struck. So with all that said and Ton, let's have a go at going through this out for bit, So feel free to print off yours and do it along with me. Or you can watch this and do it later if you like. 2. Majuscule Letters - A to K: So this is how I like to work. And I don't often trace my letters because I've been doing brush lettering for a couple of years now. And often I lack have a bit more freedom than sticking Teoh, a structured exemplar that I created. But what I usually do is at least we'll get some blank God shades and I like to just tape thumb together just so the papers not sliding all over the place. Cool. So free. Take a look at the letter. A. This is done in two strokes. We start off here and this is called the waistline. So the waistline on the baseline, we start off there and we create like a bit of a C shape may go up and it's up to you. You might want to stop here and have more of a heart, more of a harsh angle on that, eh? But I like to go in one motion, and then you can cross the as well. So I'm just crossing it just roughly in the middle there. But you know, for something fun, you could try crossing it really high up or really low as well. It's also up to you if you want to do an angle. So I typically don't work with angles because I don't like the formality of it. I like having a bit of variety and really getting that bounce effect into my lettering. So if we had to do that A you want to start here, go into that safe shaped by applying pressure head up towards the top? I'm gonna take this a bit higher than the God shaped up towards the top mark there, come back down on what killed around a little bit too. So I've given this one a bit of character as well by coming in a bit title and then I'm just gonna cross it like that. So it's all about adding your own flair to it as well. I'm copying my own glad sheets, but I'm still making changes to them now and then Go in for the B. Do this, Mr. Here, Come around. Some trying to replicate this struck but they're done in different directions. So there's a different white applied to them. This one was an upstroke, which means we don't apply pressure with pen. This one was a down stroke, so we do. I'm already running out of spice and doing them in the right areas, but that's fun. And now this one can be kind of tricky even here. Like, I probably would bring that in a bit tighter that can sometimes look like a bit of ah belly . So you really want to take your time? You wanna come in for that top strike, bringing in about halfway and then take your panels and really have a think about how you want the rest of the letter to look, if you bring it out, really fire. Gonna give it a bit of a belly. So if you wanting to talk it in, now is your chance to do that. Sago was a much more skinny and be thin that one. Another thing I like to do is come down with a bit of a heart stroke. So if you are looking to inject your own style into lettuce, you could just change things up. So sometimes I'll do base like this instead. So still break my strokes up. It's a bit more of a modern look, so feel free to do that as well. If you see a letter neck's too curly or whatever you're more than welcome to change it up. The next letter is C, so this one could be a bit tricky. And it's kind of a strict that you might need to practice a few times so you can do it one of two ways you could do it all in one fell swoop coming like that. Just keep going on what I'm will mention at this point, is aware that we're using small pens and we don't really need a huge range of movement. It is always good to kind of get into the habit of using your arm like this. It's not just plunking on the table and leaving it there, which can restrict your movement during a long little but having the freedom to move. As I said, not so important when we're just using a small pin in a small area. But when you start using a big pen, it is important, and particularly for strokes that just go on and on and on, and something you might want to practice a swell. It's just doing some drills like this. It's penance getting frayed. Hence the no so difference in those obstructs But what this will do is forced you to see what you're doing and hopefully toe, create some more movement in your arm. We get a bit rigid at times. Another thing you can do it. It's the same thing with a pencil and kill often do them a lot tighter as well. I'm isn't really to seek perfection. It's just to get into the habit of doing that movement. So that might be something that you want to do as well. And then you can see how fast you can go, even though the aim of calligraphy isn't to go super fast, but also how fast, how accurate you can go. And then you might want to try it with a brush been, which means you'll have to go slow or you'll ruin the brush tip and just really aim for that consistency. So, as you can see here, not consistent those two lines. Actually, those three lines are quite consistent in terms of the angle. But if I look at the size of the loopy a, their vastly different and those are the kind of things you want to focus on when you are refining your script, so the next little look at these day and just like the bay we've got that strike that comes down around and then we start off similar to obey, but we bring it all the way down, around and again. This is another one that you might just want to be conscious off, how wide you bring it out and how fat you are making it again. That's another letter that I also want to play with and do something a bit more fun like that. I find that that's just a lot of lips happening sometimes too many for May. But another thing you can do a swell. So you might want to really accentuate that part of the day, maybe even cross it over on something like that. So there's still lots of ovals happening, which are the basis of the basis off the magic school alphabet and something that we want to focus on particular. If you want to move into something like copper plate, it's all about ovals. So see how you go with that, then the is a little of that have a little trouble with, and so do a lot of other people. It's just got a lot of loops, but you can break it up. So you could either do it like this and disco one to three. What we just want to be mindful of here is that we're not crossing six drugs with Dick strokes. If we're finishing that last part often, let's just say for some reason I kept pressure on that. No one of them to come back with another thick struck. It just gets too bulky. If in doubt, take pressure off. I've got a little bit of pressure on that stroke there. But if in doubt, just release it and leave it a relatively like crossover. I think what I forgot to mention up here with that, see, was that your other option, rather than doing it all in one movement, was again to break it down. So to come in like that and then take your pen off. That means you can slightly just the positioning of your hand. I hope you finish it off so you can actually alter the way that you do that. See, you could come in, which would look like you're going to go down like that, but you could actually adjust the angle and do it like that. It's up to you. It's just a different effect you can get. And when you do the L in couple plate calligraphy that use a lot of that the pen kind of changed changes direction. The pin changes directions about three different times, So if we move on to the letter, if now again, we're back with that familiar struck that comes down pressure. Ive been around just like that. I like to add a bit of weight to mind. I just find it's quite nice. I just like it just reminds me of like a little bit like the Ford logo. Imagine if I got that completely wrong. You know how sometimes you mind remember stuff very differently from how it looks in my mind. That's how the Ford logo who looks and then just a little cross like that. Of course, you don't have to. You could come down and keep it relatively watch. You could start off very lot, apply pressure in the middle and then release something like that. I was like that. It's a very similar to a T. Pretty much the different differentiation is that prosper in the middle be good. If I could get my words out, I wouldn't. We move on to the G. It's pretty much a c with the baby J little minuscule J attached to the end I love the magic skill J I just think it's pretty now You can bring that down as much as you like as well. I like quite alot um start coming into it. So the reason why I don't particularly do this with the sea is just Sometimes I find that you know, when people who aren't familiar with calligraphy looking, you work. They read it differently. And some people might say that is a John enormous lower case. So for the sake, I bring it up a little bit higher and make it a little bit roundup. And some people even like to finish this see, like that up to you. But with the J. I like to make it a bit big o come down like that. Cool, then with the H. Bring that up. Sometimes I'll take the pen off. Sometimes I'll just continue on, and this strike is gonna go on on and done, So this one can take a bit of practice. Sometimes you might get those lines too close together in the middle. Sometimes you might get them too far apart. But you want aimed to get these two pretty similar. We want the negative space in those strokes to be quite similar. And we just wanted to look a little bit like a reflection on opposite reflection. Something like that. And again it's up to you might not want to add such a wavy little entrance to that. Well, maybe you wanna really accentuate the end of that h for me. It kind of depends what comes next. Let's just say I was riding the word hijack or something, and I had I coming after that that would fit nicely. But if I was to Papa Jay in there all of a sudden, we got a problem. Whereas if I was writing the word hello, which sits on the baseline, it doesn't go any lower. Then that might be in the last little added embellishment to kind of add to the design of that with with the letter R the way that I like to do my eyes to come down with that line we're familiar with already And then I just like to add a little bit of a kale like that again. Bay, very gentle and lots on this kill is Part comes around because that's when it can get too clunky and too heavy. If you cross a lot struck with a heavy strike, that's just like flourishing 101 but can also be incorporated back into al letters is we don't want to cross over there with a super heavy strike. I've Bean able to incorporate a bit of a heavy strike in this one, but I wouldn't recommend doing it through much better off going a lot could move on to the J. It's pretty much like an eye, but just extended, and we bring it around differently. So this one takes up all five boxes started up here. Bring it down towards the bottom up here and we see the loop on the J and the leap on the J . You want to just end it at this point or around this point, bring it up like that. A separate strike. I don't carry that weight on because I want to aim for consistency. And if I carry that with on my end up crossing over in different spaces in H letter. Then this one. I like to add a little bit of a leap at the top, come in and kill around like that. And I've just made that one, I think a little bit bigger than I. But that's up to you as well. Some guys look really pretty. If you do that even more, it's gonna say aggressively, even more exaggerated. I think that looks really cool. That's a really over the top J, but I quite like it moving on to the K. We're kind of hoping this entrance here, and you could even copy that that part of the H ended there and then come in and do your chi like that. But I'm going to do it differently. Go in with the same stroke, come down heavy and cool around. Lost my baseline. Where is it? It's appear so another way you could do it is to come in like that and transition into thickness rather than going a heavy stroke. So that's kind of like replicating H. But it's up to you might want to come in with a bit of a wider hand and then sometimes I like to start up really high, come in and the strike. I like to apply pressure on and then try to end it a bit. Well, had a swell sometimes across back over that bar. Sometimes I won't. And then same kind of deal and it's up to you how you finish it off. I've changed a little bit from this one, kind of just brought down quite long. I find this. This one to me is a bit more elegant. It's like a lot more stretched out, and it's it's really you know what you make it. You can really make these letters your own. 3. Majuscule Letters - L to Z: we're gonna repeat the same loop on the El is where you dude on the sea energy and I'm gonna come around My camera just decided to stop recording the rest of that l So I'm gonna come in and picked up for you. So coming in the same strict as the saying the j taking my pen off, coming in with that loop back down around and you could take your pen off here if you were just wanting toe reassess. And make sure you finish it off nicely. Now, this is kind of like how I like to do my ills. Now I like to have a bit more of a kale on them and you might want to even stretch that out a little bit in couple like calligraphy. Keep talking like change machine in couple plate calligraphy. The Majesty l is a lot longer on its a lot longer this loop and it crosses the room, the baseline. So rather than kind of sitting on top, it's into sex It. So it's just in there in the name of balance and trying to make it look like it's good, my solid foundation. So I should really just get some blank shades, shouldn't I? But nevertheless, he persisted. All right, it's more what she typed. This was your type here. If you're interested, it's just scotch the rien. It's my favorite color, but also it just works quite well. And I do like my own God shapes for the fact that there's a little border around him and that helps me to line up my paper se get back to that. No, come in like the second G take off. This is where the baseline is here. Come in around and we cross over. I like that ill again. It depends on what you're riding. You don't want to do this huge, really exaggerated exit struck on the ill. If you're gonna write something like you know, we love and you want, you don't want to have you know, we had spacing out to here or something that would be really stretched out. So that, of course, depends what letter comes next. That's always a consideration to keep in mind when you doing magic skills is what letter is coming next. Because if I was writing the word l what I might Sorry. Took the wood. L the word love. What I might do is a leap like that one like this. But bring this down like that because then I can comfortably if it my other letters in after it. And you know, if I was wanting to even planet further and really hug that in, that should be a bit more over. What I could do is take my pin off it about here, finish writing the word love, then finish it off and really bring it down and around and hug the letters like that. So it's always good to plan, and pencil is your friend in that, you know on that occasion. But practice them as they are on the sheets, and then when you're ready to move on to actual words, that's when you can think a little bit more about placement of what comes after. Good. We want them now. It's my baseline and start off like a you know, a tiny bit of white there. But taking up my salat come down quite thick up a lot and again, depending what comes after this letter. Hey, you might want to make it really exaggerated. This one's a little bit more stretched out in this M. The main thing you want to do is try and focus on getting the negative space the same. So I mentioned that when I talked about the H When we're tryingto get these loops similar shapes and sizes and again you know, you kind of wanna focus on that being the same width and shape. Is that so that things just look a bit more balanced Then when we moved in, have a tiny bit of weight Carry it up. This is another Letta where if you when you finish it off, you can get a bit crazy, depending on what's next. You know, if I had the letter, l he if any reason, that would clash and wouldn't be a good idea. But if it was, you know, November or something, then that would work fine. My c o. It was just like funny revolts. Bit boring. It's not too exciting on that. One could be tricky to really nail the shape of a swell. No, The reason why no, you might want to practice that overall exercise. We have a look at P again, Same old, same old, that one that we've done 100 times and then the same thing as the baby. So could carry that around. You know, you could come down like this and then bring it three like that again. This is one of those letters that I would change up and make a bit more modern. That's just my kind of style that I like to do now with Q. So it's the same as the oh really and then something, something like that. So we can add some weight to this part of the Q. Because we came in what? So you were not crossing to fix trucks? Another way you can do it, which is similar to the traditional couple plates style. Do something like that. Continue page and do something like that. You could, of course, have more curb on that. If you want to do 2 May, Sometimes they begin to look like a weird too. Remember to try it again, but it's up. Ti could be something fun, especially if you've got you know, ah, a bunch of letters that come off to that that during to go beneath the baseline. So you know you might be right in question. Where love the action is happening. We move on to, uh, again this line that we are so familiar with and just like the baby and the pay killing that around Sometimes I might cross over like that lasts in life. And then again, depending What's next? You know, you could really do something fun with that. I like to bring them down a lot of the time. So let's do that again. That fridge buzzing in the background, what about their and then even do something like that? But I will often put a bit more on that tool about just playing with things and trying different styles with this s a lot of people hate the letter s and I don't blame them. I like to come in. It's a bit of ah, on Hawk. I suppose that and bring it down one strike and kill it around. So I want to kind of try and replicate this shape here. We don't want to do something that's like, I want to go like this. I find that that three things a bit off balance. So it's trying to bring that curl around following the same kind of one with the tea. It's quite similar. Toothy f. So we're doing that same old same old. Then you can turn the page to make your life easier. Just cross it like that. So there are some teas in the calligraphy world which I just find true. We'd there just to unreadable for May. Sometimes I won't even do that, girl. I'm just doing it for the sake of repetition. Sometimes I would just come in. I just ended at the baseline. And then maybe I'll just add something more exciting to the t. I'm not even to the crossbar of the taste. Sorry. And I might even kill that around or something. Because of flying. Sometimes you could just look too much like an If if we do it that way, school or almost there, This is exciting. Alright, Homestretch. So with the year, you know what they three, you know, these two strokes in here probably could have gone a bit more like the W on the H and K. So something like this on come down. And instead of doing that loop, you know, you might just wanna do that. You might want to really accentuate that entrance, Stark. Totally up to you in the style that you are going for. Sometimes I change them just based on the name I might be doing a name that's really boring . That's got a lot of double wet is in and just need some riel judging up. So that's when I might opt for something a little more loopy and a little more fancy, but it all depends. And then I got a V, and this could be a bit tricky because it quite long when we want to add a flourish on them this well, it's up to you have big you want, like that flourish again. It depends on what's gonna come after it. Is it gonna be a toll letter that gets in the way? Well, you know, heavily go room to do something fun. W is very similar. I don't think and go up and around so off you want to try and kick consistency as well. But I also just find it so much more interesting when you doing so you know, rather than coming in and going there and then doing the exact same shape there without a ones up in their old parallel and love Wow. I prefer changing the angles. I just think that adds so much more to you know, your own style and something a bit more modern and playful and fun. And then we've got the X. So fixes another boring let off fund anyway. But you can make it as exciting as you want. You might wanna kill it around like that to make it more exciting than the one that I put there. Well, you might just wanna make it a bit more boring. You might want to make that one a bit more straight on this one. A bit more fun. I would have probably angled that and a little bit more. But it's just another way that you can mix it up a swell the little Why. So I really lack why. And again you can make this entrance trek a bit more exaggerated if you like. Some people like to keep it small, so you might want to do that. Why like this? But just like my J, I really like to make it bigger. I just find there's more consistency in my letters that way, because this is quite similar to the J. It's similar to the G, whereas being so squishy like that is not on the start is similar to the new and the V and w gotten. See, So you can always can. You might want to make this super fun as well. Like, really kill this pot around. Maybe you'll start off. What? Go in heavy and care that around this will. Well, you must Wonderfully my guide sheets. Come in, take off. Go heavy, take off and finish off like them. 4. Project + Final Words: So they go. We've walked through the entire majesty alphabet, and I heard that has really helped you with your letter forms as well as feeling like you've got the freedom to change things. You know, As I said at the start of this video, these are not the rules. These are just letters that I've kind of developed for myself as something that is relatively easy, relatively uniform, that there's a lot of repetition making it not only easier toe Len, but just easier to do in general. And what I encourage you to do is for the project of this class. But also for you are in development is to create your exemplary, so create you'll learn one page of alphabet. So this has two purposes. One, you're practicing your letters and you're giving me a project to put up into the class to share with everybody so we can see how you've done. But also, this is gonna be really helpful for you if you ever have to sit down and perhaps work on an invitation sweet or a set off place cards, because I don't know about you, but sometimes I forget what? Let us look like, particularly when I was first starting out. You know, I think, Oh, how don't do that s last time. And if you create an exemplar, you can literally stick it to the wall in front of you and you've got it as your own personal reference sheet on. That is gonna be so helpful when you're sitting down to do an activity where you might have to write quite a number of majesty letters. What it also does is it creates a reference fetal back one. You might be at the very beginning of your brush lettering journey, or you might be, you know, intermediate. You might even be advanced. And this will give you a point in time to look back on and say What you let is a lack because I'm here picking apart and changing my own letters. And this isn't even that old of the God shaped, but because we develop house style so quickly and we change our letters all the time, You know, it's just gonna be a moment in time for you to look back on what you were doing at that time, and then you can see how far you've come since. So I hope that this class is being really helpful. And please make sure you check out the guide sheets that will be blank ones. There will be an example like this and they will also be one that's got directions for you . If you can't remember which way the strikes go and I can't wait to see Your Majesty alphabets. Thanks for watching. And I'll see you next time.