Uncial Traditional Broad Nib Calligraphy | Mary-Jane Roussel | Skillshare

Uncial Traditional Broad Nib Calligraphy

Mary-Jane Roussel

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12 Lessons (53m)
    • 1. Introduction

      2:58
    • 2. Getting to know the tools

      2:14
    • 3. Warm up exercises

      5:26
    • 4. Downstroke letters

      9:05
    • 5. Rounded letters

      7:51
    • 6. Class project I: A Bookmark

      7:19
    • 7. Diagonal letters

      3:42
    • 8. Class project II: A Card

      4:29
    • 9. Oddball letters

      2:46
    • 10. Numbers

      3:26
    • 11. Class project III: Write to me!

      3:00
    • 12. Congrats!

      0:34

About This Class

Uncial is a majuscule script (written entirely in capital letters) that was used from the IVth to the VIIIth centures. Even in the XIIth century, uncial was still used for titles and initials. The softly rounded letters make this style of calligraphy especially pleasing to the eye.

This class will lead you through the formation of each letter of the alphabet, with certain variantes included for some letters. I will be doing the demonstration with a 3.8 mm parallel pen, although you may use a 4mm traditional broad nib or calame (qualm) if you prefer.

After watching the videos, you'll print the worksheets provided to practise as long and as often as you like!

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Transcripts

1. Introduction: Hello, fellow calligraphers and lovers of beautiful letters. Welcome to this crea tutto calligraphy course in which will learn to write Insel letters on marriage in Host Cell and I'll be your guide through the lessons that follow. Valencia is a Measure scooter script that means that it's written entirely in capital letters. It was used from the fourth to the eighth centuries, although right up into the 12th century, the Jenson was still used for titles and initials. The softly rounded letters make this style of calligraphy especially pleasing to the eye. The sample that you're seeing here is from The Book of Kells, which was written in about 800 a. D. I had the immense privilege and pleasure of seeing this during a trip to Ireland a few years ago, as the Book of Kells is capped at Trinity College in Dublin and says are considered to be a bi linear type of calligraphy, meaning that they're written between two lines as I'm indicating here with the arrows. Given though, that certain letters are drawn beyond the two lines. As the arrows point out, it has been considered that the NCL style marks the birth off lower case letters as we know them now, historically speaking, the first centuries after the birth of Christ were turbulent and wrought with ongoing wars at the same time, until calligraphy flourished in monasteries. It seems that the first Christians of the Roman Empire deliberately chose in cells in order to clearly differentiate religious manuscript from pagan texts. Instills evolved considerably from the four to the 12th centuries. Certain letter variations are proposed throughout this course. Here you are seeing two different ways of writing the letter T. Now, in terms of technical information, the pen angle for Eun Sil is from 20 to 30 degrees. And because I've had to make a choice, we're going to work with 20 degrees. Throughout this class, the X height can be before between 4 to 5. Woods and I've chosen to use forwards here. The letters that are drawn beyond the baseline and the X height line may transcend these lines by one or two pen wits. And once again I've cut the cake in half, and I'm going to use 1.5 Penn wits here. Keep in mind that some letters like the J, the K, the V and the W. Were not yet in use, so they had to be created in a star compatible with authentic unsealed letters. They're now that we've talked about some of the history, and we've touched on the theoretical aspect of Insel calligraphy. Let's get on with the fun stuff, and that is to learn to write the letters Aussie you in the next module, where we'll start working with the tools use in this class. 2. Getting to know the tools: and welcome back. What I'm going to talk about now are the tools that we're going to use throughout this course. You'll see me using a 3.8 millimeter parallel pen most of the time. It's the one with the green cap, as you can see here in the photo, but you don't have to use that. You could also use a column or abroad. Nip as I'm showing you here in this photo. The only thing you have to worry about is making sure that the width of your nib is about four millimeters because otherwise all of the guidelines and practice sheets that I've prepared for you won't work. So I bought a new pair of help in just for this course, and I'm going to open it right before your very eyes just to show you how to put it together and what's included in the package. So we've got depend itself the cap. We have some cleaning tools, and we have two cartridges that are delivered in the package. They're the people. It and the little black piece of plastic are for cleaning. What we need to do is unscrew the head of the pen from the body. All right, you're going to push the cartridge in, give it a good shoved up into the head. All right, The cartridges. Um, when you run out, you can always just buy more, either on the Internet or in a store. Wherever you bought the pen, give the cartridge a good squeeze. Make sure you've pushed it well in so that you can push the ink up into the tip of the pen . Now you're going to see that I've take a scrap piece of paper to get the ink flowing before I start. Um, before I start to work on my on my clean paper there, everything seems to be working Well, they're the people, and the little black plastic are for cleaning. As I said, there's another cartridge that's delivered with the pen. One thing to remember is to keep it closed up tightly when you're not using it. Right now, if you decide to work with a column or a broad nib, you can use what over whatever sort of ink your little heart desires. Now let's move on and get to warming up 3. Warm up exercises: Welcome back. Just like any high level athlete or a fabulous musician, We're going to do some warm up exercises before we start our activity. What you need to do is print the warm up exercises. PdF, which looks like this, but I'm showing you here on the screen. I want to point a few things out on this paper. For one thing, you have the title written in the upper left hand corner because at some point during this course, you're probably going to have a few different sheets that you've printed off on your desk, and you might not be sure which one you're going to be working on. So look for the title in the upper left hand corner. Just below that, you have a red line that's on a bit of a diagonal. In fact, that little red line is at 20 degrees, and it's there to help you find your pen orientation or your pen angle. So that's our pen angle line just to the right of that, we have that stroke that we're working on. So this is the finish stroke. That's what you're aiming to copy or reproduced, and then right beside that you have a great out stroke with arrows and probably numbers written just in red beside them. So this is going to give you the duck tous or the the direction of your strokes and the order of your strokes in order to reproduce the letter or whatever we're working on and then further off to the right, you have a whole bunch, a whole series of outlines, and these outlines are going to help you position your pen properly and make the stroke properly to to recreate the letter that we're working on. So I've got a whole series of them here. I'm not going to do them all. Well, I'm doing the demonstrations off course. You're welcome, and you're encouraged to fill in all of the little outlines that have created. Another thing I want to mention is that I'm doing this demonstration and all of the course , actually in red ink. The reason for that is that the red ink is relatively transparent, and that means that underneath my ink you can still see the outlines. You'll notice that my strokes aren't always perfect. Sometimes I go a little bit outside. Sometimes it's a bit shaky sometimes you'll see a little bit of white space. The idea is that we're all human, were not. Computers were not robots. We do this with our hands that might shake, and we do the best we can. But that's what the beauty of it is, is it? For me? It is, anyway. It's hand done and it's not computer or picture perfect. So let's have a look at things on my sheet then. I've got my stroke. I've got my doctors and I've got my outlines. So let me just go pick up my 20 degree angle, bring it over inside my first outline, put the pen down on the paper and draw my pen towards me in a nice even stroke. I've got the 20 degrees at the beginning and at the end, at the top in at the bottom of each one of these strokes, and I'm going to continue or you're going to continue and fill in the rest of the outlines along this line. Now, when we look at the second line, we see that we've got a bit of a hook at the entrance of the stroke and then we go down straight as we did with the 1st 1 So we're going to start a little bit below the waistline . Go up and that's your pen, the right hand side of your nib touch the waistline and then come down straight all the way to the baseline. For the third exercise, it's going to begin in the same way as the previous exercise, going to start with a bit of a hook. Go up, touch the waistline, come down and then we're going to have a nice, rounded bottom. This stroke, obviously, is going to help us with the formation of a letter. You, for example. So I hook a touch my waistline that come all the way down with a nice, rounded bottom. And of course, I end with my pen in that same 20 degree angle. So in a bit of hairlines stroke, here is the first half of our rounded letters. So I start with my pen at 20 degrees. I make a nice rounded or crescent moon shape and I end to in 20 degrees notice that I'm starting below my waist line. I'm not starting right up at the waistline. I'm going to go on and do a diagonal stroke here. So I do have a bit of a hook in the beginning, as I had with my down strokes earlier, and I do a little tiny, tiny bit of an upstroke at the end. After I've touched the baseline right here, it's important to breathe out as you're doing your strokes. That makes him a bit smoother. And here we have the second half of our rounded stroke. So I'm starting just below the waistline. 20 degrees, of course, going up, touching my waistline, coming around and stopping a little bit above my baseline that you'll notice on my guideline sheets. Um, that I've got the Ascender and the sender lines printed as well. They're not really necessary, but they're there now. What you should do is print yourself off another sheet of guidelines and just practices exercises until you feel really very, very comfortable with, um, once you're done with that, I'll find you again in the next module for the down strokes, the down stroke letters 4. Downstroke letters: hello again. Now that you've mastered your exercises and you've got the strokes down pat in your hand, we're going to move along to our first set of letters down stroke letters, and there are going to be two sheets to print for this. The 1st 1 is down stroke. There's one. And quite logically, the 2nd 1 is down stroke letters to. So without further ado, let's just head right into it. We're going to start on this sheet that has the I J. F N and a second version of the end and the L on it. So zoom in here so you can see what I'm doing. I'm going to make sure that I'm working with the proper pen angle. I'm looking at the doctors what's still just one stroke, and in fact, this is basically just like the exercise or one of the exercises that you did in the previous module. So just start a little bit below your waistline, go up, touch it with the right hand side of your nib, and then come all the way down to your baseline ending, of course, with your pen in the famous 20 degree angle. Now I'm just doing a few. You're going to continue along and fill up the rest of the line. Our next letter is the J. Now the J is one of those that airs. It didn't exist back in the fourth or fifth century when this written alphabet was used. It's a letter that's being invented, and all we've done is pull the tail off the J down below the baseline. Ah, one or two, Penn wits. In fact, here on your guidelines, I've added 1.5 Penn weeds for the dissenter line there. The J it does not have a dot over it. Okay, here we have our f The f does not go above the waistline. We're going to start on the left side with the J stroke. We're going to add a little bit of a core of a curve at the top and a sort of wave just above our baseline. Now my wave starts in the principal down stroke in the main down stroke, and it just carries along a little tiny bit. Parallel to my baseline was a bit of an upstroke at the end of it. As always, remember to exhale, to breathe out as you're doing your letters. They'll be much smoother on which much more pretty than the day that I'm doing this. It's a hot and muggy, and my pen are. My hand is sticking a bit to my paper, but that's just the way it is. Here's our first version of the end, so I'm going to start with two I strokes fairly well, spaced apart and then with a bit of a diagonal stroke to join the two of them. So here's my first I stroke and the 2nd 1 Then I start close to the top with a diagonal stroke. You'll see that I lift one edge of the pen up a little bit just to make it a bit narrower at the right hand side of the down stroke. What? You'll see that the right hand edge of my pen seems to come up a little tiny bits there. Now the second end is going to be more of a rounded shape. It looks like an upside down U, if you will. The left part is simply the I stroke that nice round ah body, and then there's a bit of a wave that sits right on the baseline. Not too short. Not to now. The width of this Ennis Something to manage. This one that I'm doing right now is a bit too skinny. It's not nearly wide enough for the unseal alphabet here. This is going to be much wider and much more coherent for this alphabet. The L is going to go above our waistline, so I've put Theus Enders line in there just to help you a little bit. 1.5 Penn Woods above the waistline and I'm doing it more or less in one stroke. Do lift my pen a little bit, but not much. It's sort of all in one one gesture. Bit of a hook at the beginning. Nice. A flat line lays on the baseline there. Once you've done this page and you filled in the rest of the line, we're going to start on the second page. Where we're going to have the are the P B. K H and one version of the tea. The are is simply like the J on the left, we have a nice rounded stroke that comes in about 2/3 of the way down, and then a diagonal stroke that's going to go out a little bit further than the rounded parts at the top. Next we have a P. You'll notice that what? On the left hand side, it's almost like the J. Again. I'm going to go in the rounded part in here. Look, the right hand side of my name is coming up off the paper when I come to the end of the second stroke, and it's just the left corner of my name that's finishing that very fine stroke at the end . You might see it better here when I don't have the black outlines underneath. So the first stroke second stroke here and lift up the right edge. And it's just the left corner of the NEB that finishes. The P is often quite short, the 2nd 1 of the very last one that a gun there I've attentional left, the first stroke very short. The B looks like a Capital B as we know it today, but it's very small. It's between the baseline and the way sign and we're going to break it down into three strokes, so the first stroke is going to come down and then head off to the right and then are two rounded strokes on the right to finish it. The K is another one of those that are Is that didn't exist back at the origins of this style of calligraphy? Um, just one that's been made up to go along with the rest of this so that the style is coherent. Quite simple, really. One down stroke, one stroke that sort of shoots out from about 2/3 or 3/4 of the way at between the baseline and the waistline and then a nice diagonal stroke, more or less pulled out according to where you are in the word, you might want to pull it down between down below your baseline to if you're at the end of a word like the word quick. Here we have our age as simple stroke on the left side and a nice, rounded stroke on the right hand side. The second stroke is going to go down a little bit below my day sign, and I am making sure they I finished that second stroke in a very fine a hairline type of stroke. It's like the end is quite wide to accept a lot of room at the bottom of this page. We have our letter. T The teat does not go above the waistline. It's quite a simple letter, with just the horizontal bar for the first stroke and a nice vertical stroke within an exit that's heading a little bit towards the top. There we go H NT to finish this set of letters, the down stroke letters and as, um, as with the previous pages, I think it's a good idea to print more guidelines you have. You have them in these section with the warm up exercises you can print office many as you like, and keep practicing the letters over and over and over again until you you feel them in your hand. You might want to try making up some words with these letters, the problem being that you only have one vowel so far. There's only the eye that's in there to help you make up words, but do as you can, so that's keep going, and we'll see each other in the next module 5. Rounded letters: now that you've got the down stroke letters under your belt who are ready to move on to the next group the rounded letters. And as with the first group, there are two pages to print off rounded letters one C g e o que de and rounded letters to with E. M. Another type of Q. Another variation of a t you Why and w. So let's get right to it. They're my two sheets are printed off. I'm going to start on this sheet that starts begins with the sea. Once I've got my correct pen angle, I'm going to start in the thin part of the sea, do the lower round stroke, and then I'm going to place my pen down over top off where I began and do the upper part of the round stroke. So there's a little bit of a line right there where my pen strokes go one on top of the other, and I'm going to try to make it so that the right hand side of my letter is lined up. That one stroke is not longer than the other. In the G. There are two schools off thoughts, two ways of doing it. The 1st 1 is to do the sea and then add the down stroke as I just did, or to do the beginning, stroke or right into the down stroke and then finish with the upper rounded stroke. That tends to be the way that I do it naturally. The sea and then the down stroke seems to break it up more for me. I would like to go right into the down stroke as undoing here and then finish the upper part off the letter moving along to the E. We're going to begin by doing a C, and then we're going to add a bar just a little bit above the midway points between the baseline and the way sign. The bar itself is not perfectly straight, has a tiny bit of a wave to it. And depending on where this e is, in your word, you might want to pull this bar out longer, as and, um, as I've done here at a little bit of a flourish or something to it, Or just keep it simple with the bar. Very, very straightforward. Now, if we join our lower rounded a stroke and her upper rounded stroke will have their oh, which is quite a large letter. It's not white. I mean large being white. It's not at all an oval shape. It's a very round shape, more like a a soccer ball or a football. If you're in Europe, as opposed to a rugby bar rugby ball that you might have from done. If you've taken the italics course, once we know how to do the oh, we can move right into the first version of our Q, which is quite some P and O, with a bit of a tail added to it. Here, I'm adding the tail at the hairline thin part of the bottom off my oh, now here again. Sometimes you might want to get a little bit carried away and pull the tail out further. Depends where you are, of course, in the word and on your page. Now our D is sort of a tricky letter. For one thing, it's sort of an odd shape. It's not a shape we're used to seeing as a D with that bar. The second stroke that comes almost. It's not horizontal. It does have a slope to it, but it's a very, very mild sort of stroke. So I come in with a bit of a hook. It's almost this, Uh, it's very sliced slope. That's a stroke that closes the divan. Very rounded as well. At the top of my second page, we're going to begin with E M. The M is going to have a nice rounded stroke on the left hand side. The second stroke is straight, and the rounded stroke closes her finishes the end on the right side. Sometimes you might even find an M with us a sort of horizontal bar through that some that middle stroke which, unfortunately, I didn't do here to show you there. The last part of the of the M often goes below the baseline for this version of the Q were simply going to do a C and then add a sort of J like stroke to it. And sometimes, as was the case with the P, this straight stroke at the yen might be very short. I'm going to show you that in this one Here, you see, I've just barely gone below my baseline. Here is another version of the tea. You can do it too. in two ways by doing the rounded stroke first and then the cap. That's not straight, but sort of straight at the waistline. Or I tend to start with that top stroke and then add my rounded stroke afterwards. That seems more natural to me. Here were doing a you that has a bit of a wave. Ah, horizontal wave at the top of it. And then I go right into the rounded part and then an I sort of shope it as shape at the other side. Just a down stroke, a simple down stroke with an exit. So we've round down stroke exit. Obviously, I'm still at my 20 degrees all the way along here the US quite a large letter large, wide a white letter as well. We're going to use that you to you to make our why this version of the wide there'll be another one later on. So we're using the same stroke as at the beginning of the U. And then I'm using a J like stroke, something that's very similar to the letter J to finish it now. Here. I didn't go down very far and I didn't like the end of it. So I'm just added a little bit of a hairline at the end of that bottom at the end of that J stroke. And the last letter that I'm doing on this page is the W. So I'm starting with that same sort of wave at the ticketing. Looks like you. A straight a stroke with a rounded bottom and and the NEA, the rounded stroke on the right hand side. And as I said, with E. M, sometimes you might find a wave through that strait stroke down, stroke in the middle, the w, of course not with not a letter used back in the fourth and fifth centuries here. I don't have much room to squeeze one in, but I'm going to do it, and that W brings us to the end of our rounded letters. So now it's up to you to print off another sheet of guidelines that you'll find back in the warm up exercises module. Print off another sheet, practice them as much as you want as much as you need, and coming up next, our first class project, a bookmark 6. Class project I: A Bookmark: and now it's time to make our first class project. Ah, bookmark. What I'm suggesting is that we do a bookmark with the word intriguing intriguing because one, it contains letters that we've learned to make already. And two, it's sort of per train pertains to books. We can often read books or articles that are intriguing, what you're going to need to do. This are a set of guidelines, so print as sheet of guidelines from the exercises section the pdf you're going to need to have a piece of watercolor paper or some other type of card stock. Something is going to take the inkwell, and that's going to be relatively sick thick enough that it feels like a bookmark. You want it to be 20 by 66 centimeters, more or less, you're going to need a pencil and a ruler and an eraser. I don't have a photo of my eraser in here. What you need to do first is practice writing the word intriguing or whatever other word you come up with. Maybe you have another word that you'd like to use in in place of intriguing practice, writing it on your guidelines until you're satisfied with it. And then what you're going to do is lying the piece of watercolor paper up with the bottom of your sheet of guidelines that can doing here nice and straight. And I'm going to make too little tick marks on the on both sides of the watercolor paper at the baseline and the waistline. And then I'm going to join those tick marks, those pencil marks up with my ruler. I am not pressing very hard because I want to be able to see the lines, of course, but I don't want them to be very heavy because I want to be able to race them later on. And I'm just going to get a rough idea of where I'm putting my whole where I'll punch the hole and then I'm going to center the word in the space it's left. So there I'm just making a mark to tell me where I'm going to start writing the word intriguing and where it should end. If I've done it well, that's what we're going to do. Next is right. The word you'll see that now this time have chosen to work with the black ink. This because I wasn't very keen on the transparent red ink on my bookmark. So I'm going to take my time. I'm going to write the word intriguing. I'm already made sure that the writing conditions are as good as they possibly can be. Have got good lighting. I'm sitting comfortably. My feet are flat on my foot rest because mine don't reach the floor. So I've got a foot rest under my desk. I have got the paper in a comfortable position in front of me. Okay. I just want things to go as well as possible, and I'm taking my time. This is when you don't want the phone to ring and you don't want the cat to jump up onto your lap. You'll see that because I'm working on watercolor paper and because the surface is not very smooth that sometimes the edges of my letters aren't perfect. You're going to see that in the end that I'm about to do right here The edge, the upper edge of that curve in that curve stroke is not really very tidy. So I'm going to go back and try to fix set up a little bit with the corner of my pin if I can, and then I'm going to go back and odd. Just a little bit of hairline. Um, interest will say to the beginning of the you that I'm doing. I did the end of the end, and here, between the our and the tea, I've just added another hairline stroke to fill in that space a little tiny bits. Once I've done that, I'm going to take my ruler and draw a border around my word. I'm using a pencil first and just drawing a line One saint, one centimeter in from the edges. Except on this edge where I'm going to have my whole. So I'm going in three or four centimeters there. They're once again, I'm not pressing very hard. And actually, I'm not even going all the way down. I'm just making my marks in my corners. Really? Because I'll catch up on that. I'll fill in the spots with the marker that I'm just about to use. Hear what I'm doing is centering um, making a mark right in the center of my bookmark for where I'll punch my whole there. That will be the crosshairs for my whole. Now let's move on. I'm going to Why is this not moving? There we go now with my Sharpie marker, which is a waterproof marker. I'm going to a day. I just scribble to make sure that the ink was flowing and I'm just going to very slowly draw my border. You'll notice that I'm going to rub the edge of my ruler off on that scrap bits of paper that I've got to the side there because I don't want any of the ink that stays on the edge of the ruler to land on my paper where I don't want it to be. Look, see when I wipe it off to see the ink that comes off on the paper. That's just one way, one tiny little hint that you can use to try to keep your paper clean as you're working. I'm not drawing my lines very fast because my a my markers, perhaps, are a little bit old. But the ink doesn't flow out very quickly. And so if I move the marker along too quickly, the line is not black. It tends just to be dark gray, so there's the last of the border lines. I'm just going to make sure that my corner is relatively neat. And then I will pick up the punch that I've got right there and punch the hole. Now what I had found was a piece of black raffia in my scrap been that I'm going to use. I'm just threading it through the whole looping it through. Perhaps a piece of ribbon would be more suitable, perhaps prettier. It's just happened that this was the first thing that I came up with that was black. They're pulling it tight, and now what I'm going to do is let that sit for a while because the ink needs to be really dry before I erase my lines. And when I say, let it sit for a while. Well, that depends on where you are and what your weather's like. If you happen to live in a hot and dry climate, then, um, probably dissuade a few minutes and erase your lines. If you live in a wet climate or if it's winter where you are, wait quite a while until there's absolutely no chance of your eraser making a mess of your ink. I've spent the video up a little bit there because there's no point in watching me taken our to erase my lines very carefully because I do erase them very carefully. I don't want to wrinkle my paper as I'm erasing. And there, there you have your very first project, a bookmark in on Sierra. So stay tuned. What we're going to do next is learn the diagonal letters. 7. Diagonal letters: they're now. That brings us to our next group of letters, the diagonal stroke letters. You have just one sheet to print off diagonal stroke letters, as noted here, Zed X V w A. And why now We're going to start with the set at the top. You're going to find your are 20 degree angle, and you're going to set your pen down just a slightly above the the waistline. You're going to make a horizontal movement at the first part of the said, and then, without lifting your pen off the paper, go down towards the baseline as so and then the second part of the horizontal movement just along the baseline, you can put a little bit of movement to it. And depending on where the letter is in your word, you can pull that last stroke longer or make it short as I'm doing right here. The next letter in this group is the X. We're going to start with the cross, the diagonal stroke going this way. We're going to break the other parts down the top and then the bottom, so it diagonal and then the top and the bottom. But sometimes you might see that people do the second part all in one, and I'm going to show you that right here we're going to start at the bottom, go all the way up to my waistline to the top for RV, a diagonal stroke from the waistline down to the base sign and then starting at the way, signed just a little bit of a curve and heading down towards the end off my initial stroke . The next letter, the W, is quite aptly named in French. It's called the W V double V, which really makes more sense when you look at the letter. I'm telling you here that my arrowhead for the fourth stroke is on the wrong end. And it is. I've changed that on the pdf that you've printed off. So to make my W the first diagonal stroke, and then I head right into the second diagonal stroke. I finished my degree and then I come back and I add the fourth stroke starting from the middle of the letter and going down towards the lower left. The letter A has a nice diagonal stroke. The main stroke is this nice diagonal stroke and then halfway down it. I'm going to start heading down towards the bass line in a nice, rounded, relatively small loop. That's how I like to do. It's one of the traditional styles, but you might find this letter eight with appointed loop like. So there's my around the do begin. You might also find a little letter A with the loop that goes down below the baseline that she we can find in traditional texts. Now, here we have another variation of our why. I remember the 1st 1 was based on the you. This one has a diagonal and then a straight stroke heading down just past the baseline. And then an up shooting branch that comes from that change of direction. A fork in the road, if you will, up towards the waistline. And there you have our six letters with a diagonal stroke. Now what we're going to do next, before we head onto the last set of letters is make a card. Now that we have one more vowel in our pockets, weaken, we're going to make another little card. Another project. Our second project in this series 8. Class project II: A Card: Now let's get started with our second class project, which is a car that you could send to someone that you love to the moon and back. You'll notice that there is no letter s in this short phrase, and that's good because it's really the only letter that's left that we haven't yet studied . Here is a look at the finished project To give you an idea of what we're aiming for. You'll notice that I've used two different pen sizes the 3.8 millimeter parallel pen for the words I love you and the 2.4 millimeter parallel pen for the rest of the text. Off course, you are totally free to modify the text, the layout or both to make this project entirely your own. I started out with 1/2 a piece of a four watercolor paper that I folded in half so that my full that card measures more or less 15 centimeters square. You may have noticed in the photo previously that I had mounted the card when it was finished on a piece of black card stock, and that's just because I thought it looked a little bland. But that choice is entirely up to you. The first thing we need to do is practice the calligraphy on the guidelines, the worksheets that are provided you're going to practice the calligraphy with the two different sizes of nips. Next, we need to transfer our guidelines onto the card stock. So if you have a light table, you can skip this step because you're just going to slip a sheet of guidelines underneath your card stock. But for the rest of us, if you don't have a light table than the easiest way to do it is to transfer the guidelines . As I'm about to show you, you're going to align the bottom of your card with one guideline on the sheets. As the aero here is showing you, then you're going to make late pencil marks on the edges of your card stock for the guidelines that you need. As I'm showing you right here, join the pencil marks with a ruler. Be careful not to press too hard, because we want to be able to completely erase the marks later on. Next, measure the width of the text in order to be able to center it on the card here for example , my text is 13 centimeters wide. Someone going to have a boat, one centimeter of plain paper before and after this text. Off course, we repeat the process for the rest of the text, practice the calligraphy and measure the width of the text. Next, I'm going to make a light pencil mark on the card stock where I'm I'm about to begin writing the phrase in calligraphy. Now go ahead and do the calligraphy. Be very sure to let the in completely dry before erasing the guidelines. This is a step that I often mess up on because I'm always in a hurry to move on. Sometimes I even use a hair dryer blow dryer to help my ink to dry a little bit faster when I need to keep moving. For the sake of dressing the text up a little bit, I added dots around the love you with a fine point Sharpie marker. And then I decided to color the background of the rest of the text, which is why I've drawn these two lines above and below the words to the moon and back. I just use a regular colored pencil to shade in between my two lines that I drew the colored pencil really shows the texture of the watercolor paper which may or may not appeal to you. I added to a little bit of shading around the letters just to add Ah, little bit of interest off course. You couldn't paint with watercolors after you've done the calligraphy because you're just going to smear the ink. I could have painted my watercolor paper right before right at the very beginning, before I even started doing the calligraphy. But to be perfectly honest, I didn't think of it at that point. So there, that's the finished project, my finished project. Now it's up to you to to do your own. Now it's your to make a card for someone that you love to the moon and back. When you're done, that next step will have a look at some of the oddball letters. See you there 9. Oddball letters: in this module, we're going to look at a group of letters that I've named the oddball letters for lack of a more sophisticated term. There's just one she to print as there are only four letters in this group and in fact, for three of the four letters arm simply proposing another version of a letter you have already learned. The only new letter in this group is the S, and it's the first time we're going to look at. So I've printed off the sheet the oddball letters that's zoom in so that you get a good look at what I'm doing. Once I found my 20 degree angle, I'm going to go over and do the middle part of the S first. Then I'll go up and add the curve at top, the curved stroke here, and then I'll finish the S with the curve stroke on the bottom. Although that being said, sometimes as you'll see right now, I do it in a different order. Sometimes they do the bottom first and then go up and finish the top. So I suppose there's really no rule that's written or engraved in stone. Do it whichever feels naturally to you. Whatever feels natural for the second version of the V, we're going to do the beginning oven I stroke or a down stroke, but we're going to leave it with a nice, rounded edge there and then go around with a curve stroke. The second stroke will be a curve stroke, which will come down and join the end of your first stroke like so now, obviously, for the double the W, the double V. We're going to repeat the first joke and then finished the V with a double part of the W exactly as we did for the letter V. So two straight strokes that have of rounded bottom and then a curved, stroked come down and touch here. Now, in the second version of the you were going to pull the rounded part at the bottom out wide . I we want our youth here to be relatively wide, so it's a nice, rounded and wide stoke at the bottom of the beginning down stroke. And then, obviously the second part is almost like the letter I that we've done where the down stroke I that we've done throughout this course there. Now I'll give you time to practice those, and then we'll move on and have a look at the numbers 10. Numbers: in this module. We are going to write numbers in the unseal style off course. Back when this style of calligraphy was popular, Roman numerals were still used. However, try doing simple math with Roman euros. It's next to impossible. Then I highly doubt that the postal systems in our world would appreciate it if you wrote an address using Roman numerals. So I'm just going to show you numbers that are written in a style that imitates unseal style. There's one sheet to print, so print the practice sheet and then let's get started on the sheet that I'm working home here. In the video, I don't have a doctors written in red, but it is written in red. It is indicated in red on the practice sheet that you're going to print so with the two were just going to find our 20 degrees and do the number two in one simple stroke. I don't lift my pan off the paper here at the end of the curve stroke and at the beginning of the horizontal stroke. I've done it all in one stroke for the three and the five, though I am going to break it down on going to go right around here to the fine point and then come back around from the left to to do the rounded bottoms of both the three here and the five here. See, I stopped there, come back around to do the rounded bottom, and then I'll add the horizontal part to the five at the top. The forest is simply a curved strokes, sort of heads off to the left and then a horizontal stroke in the middle, more or less with a straight stroke on the right to finish the four, the six and a nine to are going to be broken down. I'm going to break them at the fine points at the hairline, points in the letters here and here, come around and go back around. So I do the rounded part, a curve and come around to finish. I started the hairline, come around and then finish at the top. There is relatively simple. The number seven is going to be done in one simple stroke as well. Make sure that I got my 20 degrees and I'm just going to do Ah, horizontal beginning stroke and then a diagonal stroke without lifting my pen off the page . And for Europeans and perhaps some other people we two might at the bar in the middle, in the middle of our number seven, the eight in fact, resembles an s and off a lot. We're going to do it at almost the same way as we wouldn't s the middle stroke first, then the top part and the bottom part. The only thing is that makes it different to the yes, is that everything is closed there. The middle part, the top rounded part and the bottom rounded part. Now I haven't shown you the one or the zero. The one is simply going to be like a down stroke. The I stroke, if you will, and the zero is going to be much like our old very wide. And there you go. Now that you've got the numbers, you can write a letter for address an envelope. Let's keep going now 11. Class project III: Write to me!: and now it's time to look at our third and last project. In this course, it's going to be an envelope addressed in unseal calligraphy. Here's a glimpse of the end result. It's just an ordinary envelope onto which the address has been written in calligraphy with a 2.4 millimeter parallel pen. We're going to start by transferring the guidelines onto the front of the envelope to make that easier for you. There's a template included in this module printed off. Cut it on the dotted lines and then slide it into the envelope. If you have a light table and if you don't, then we're going to transfer the lines onto the envelope, using the same sort of method as we did for the card project. That is to say, to make light tick marks with a pencil at both the right and left sides of the envelope and then joined those marks together with a ruler. You could also mark the pen angle over on the left hand side that might help you keep your pen at the proper 20 degree angle. Once you have your guidelines traced onto the envelope, you can start to do the calligraphy. You'll notice that the first line of my address right under my name is very long and there was no way I could get it all. Ah, that I could write it all in insult and have it fit onto that one line. So my solution was to write the less important words with just the corner of my parallel pen. I chose to to justify the text to the right just to make things more complicated. Obviously, the guidelines are to be erased once the ink is dry completely dry. Here in this photo, you'll notice the stamp has been canceled. I actually did mail this letter to myself. It sounds sort of silly, but I have something to propose to you. If you write to me at my home address with the avo addressed to me in unseal calligraphy, I promised to write back to you inside the envelope that you sent to me. Be sure to include your full postal address written as it should appear on the envelope, right? Allegedly please so that I can easily read which ah, what you've written so that I avoid any mistakes on the envelope. Also be sure that you put sufficient postage on the envelope so that it actually gets to me . Here's my address in type form for you to write on the envelope that your mail to me. Put the video on, pause to copy it down or take a screenshot if he wants. So I just love this idea. It's always so much fun to get mail. It doesn't come in a window envelope. And so we can conclude by saying that the model for this module is give and you shall receive or post and you shall receive mail. Have fun with it. 12. Congrats!: and there you've done it. Congratulations for completing this insult. Calligraphy class Thanks to your concentration and your positive attitude, your optimism I'm hoping that learning this new style of calligraphy was a gratifying experience for you. Remember to address an envelope in insert calligraphy to your humble instructor so that she I may send your reply by snail mail once again. Congratulations. And I hope to see you again soon in another Crea tutto calligraphy class. Bye bye.