Writing with a brush is tough to learn. Creating interest in your strokes and crisp, defined marks is tricky, too. Been doing a lot of brush work practice lately, especially since Barbara Calzolari's Pointed Pen Variation Workshop.
She had me practicing with a brush, then the pointed pen and back again to the brush. They are essentially the same tool - just the brush is more sensitive. HIGHLY sensitive - which can be maddening. But it's good. I am in search of a brush lettering workshop and my goal is to take one from John Stevens.
While practicing with the brush, I started with black in. Then Barbara introduced me to the idea of using gouache. Now gouache is my preference. It makes my brush slow down because there is a slight chalky texture to it. It takes curves nice and slowly and I can feel the slight vibration in my hands. It's an amazing feeling.
I've been using the cheapest brushes I can find to practice with, but have just upgraded to a nicer version - Windsor Newton Series 7 Miniature Sable brushes in #00, 0, 1 and 2. They have a lovely waist on their short blue handles.
I've been using the cheapest brushes I can find to practice with, but have just upgraded to a nicer version - Windsor Newton Series 7 Miniature Sable brushes in #00, 0, 1 and 2. They have a lovely waist on their short blue handles.
2 comments:
This is amazing. I find brush lettering really difficult. Do you draw the letters in one movement or you have to repeat the shades?
Great question, Masha. I do a little of both sometimes when I want the downstrokes to be very bold - but in this case all downstrokes were made with one stroke.
Post a Comment