August 12, 2019 32

HOW TO WRITE ROMAN CAPITALS CALLIGRAPHY ALPHABET WITH NICOLO VISIOLI PART 1

HOW TO WRITE ROMAN CAPITALS CALLIGRAPHY ALPHABET WITH NICOLO VISIOLI PART 1


Hi, guys I am Nicolò Visioli and today we’re gonna make Roman Capitals
with a brush I will use a flat brush
it’s a normal one, with a short bristle Golden Sable 1500F series number 18 and we’ll use a normal acrilc diluted a bit with water,
but this depends on one’s preference I’m going to make a letter… I’m using a 100×70 cm sheet and the letters will be 11 cm high now we’re gonna load the brush it also depends on the paper you are using if you use paper.. usually to practice I use normal wrapping paper, so it’s really thin i don’t load it a lot with water because the paper
tends to get crumpled instead this paper is thicker,
it weights 120 grams you can be more fluid and thus you can load the brush with more water it also depends on the effect you want to give it if you want to give it a more fading effect, make the paper texture more visible… it depends on a lot of factors brush…
okay, here we are for the A we start with a slant of about 60° not arriving to the guide line and we always keep the same slant almost until the end of the A guideline… here we turn the brush between the fingers to create the grazia okay here we go on the trail from before to create the second grazia, always turning the brush between the fingers now we use the line that we created before to go up and to create the second part of the A and then always create the usual grazia here if it remains a little blank hole you haven’t taken the right measurements, like me now it only tooks a small stroke and it’s fine the nice thing of the Roman Capitals is that it lets you see the effective creation of the letter okay here we turn the brush towards the inside
to make a finer line and then widen it again
to not make it come out here ‘kay now we’ll start with the B okay for the B I don’t follow the guideline from zero i create a sort of arc to go to curve some more the brush here we don’t go till the end of the lineguide here we wait to make the second grazia because later we’ll need it to close the letter here we keep the tilt and we don’t finish like a simple letter of a Roman Capitals font we’re going to make the same movement of the A to go and meet the B and then go down okay now… now we’ll make the second grazia to catch up and close the letter okay now the C meanwhile I load the brush bacause as you’ve seen her you can see the texture of the paper
so it was already loaded with not enough water and we’ve loaded it again okay now for the C we make an imaginary vertical guideline so more or less from here to here to then create a half… a half circle to the left starting parallel to the guideline don’t hurry okay now to make the upper grazia we take as a guideline this part here like this and then we’re going to follow the letter and… bend the letter like this okay? for the the lower grazia, instead instead of taking this part as a guideline you take it like for the usual grazia of the others but reversed always taking this as guideline and going up letting the bristols separate
making them arrive to the end okay, here there are some imperfections,
we’re going to fix them, no problem let’s make the D okay the D is the same… it’s done like the B so we don’t create a parallelism
between the guideline and the grazia but we always make that little arc and then we go down here it’s the same as the… as the B we’ll leave the grazia here for last idem and here we go to close it, okay? let’s close it here we make the grazia okay and then we close it always following the letter here like before, if there is something left
we close it without problems and that’s for the D let’s load it with a bit of… of water just to be sure
that the brush will flow well now the E it’s again the same thing here the E is the same as the C so the grazia will be vertical okay so we take and we use the same technique
that we have used for the C a bit less… curved okay the central part of the E is like the A so bend it inside
and then it’s like the upper part of the E okay? now let’s switch to the second… line I’ve already made the guidelines because I don’t think it’s interesting
to watch me make the guidelines now let’s start with the F it’s the same process as the E only that… we don’t make the lower part, obviously okay okay, perfect now let’s go to the G which is the same process as the C only that you have to be careful with grazia of the G it must not come too much out of the…
out of the volum of the G so let’s always create our imaginary vertical line okay and we go… here it’s thinner here always following… okay now for this part of the G I always take as reference the width of the brush to have the left and the right grazia with the same width both on the left and the right and cut in the middle the right grazia mustn’t exit too much,
if you can, make the left one enter as much as possible to give it a bit more of character so here we always create the usual little arc here we come back parallel to the guideline and we go back towards the letter then for the right grazia… okay the hardest thing of these letters is to keep the same parallelism between every letter and the verticality with the sheet bacause while watching this looks “easy” but they’re letters… at least me at the beginning when I started
it was… really hard even now… I’m not saying that now they’re easy okay here if you still have color… it doesn’t matter
if the grazia isn’t super full with color for the H we wait to make the central part perfect now for the central part it’s always the same process possibly at the same height of all the other letters of the central parts of the other letters the I is like a really simple… …letter you see now, the brush leaves… it fades more so we load it with a bit of water and you’ll see that now it will be more fluid
and it won’t have this texture… you won’t see the paper texture okay for the J get some space because it will take this surface here so make… make a small mental calculation to… to imagine the curve of the J it’s always the same thing for here you go directly… …up there let’s make the K the K is one of my favorite letters in Roman Capitals because the final part then…
how can I say? it doesn’t have rules of course, if you have to… create something linear and clean but here we are making a normal alphabet
here it’s a final letter so you can launch it safely to give a bit of character to all the… all the alphabet for the K you can make a little dot here to understand where to go we start quite near, almost [the distance of] a brush it depends on the kind of brush you’re using I usually have this habit, to take a little more than a brush as distance to make the grazia that will go like this and then it’s like, if you remember, the first part of the A, with a slant here we don’t touch the letter okay we don’t touch it because we use this part here of the K to use it as a guideline okay, so you’ve seen here that it’s a final letter so there is no need to fit in the measure of the letter’s surface you can launch it towards the outside to give it more movement and now with the L sorry same process of the other grazias,
so always taking as… and now it’s like the E, for example we don’t reach the end because we want to keep this curve here, so that it won’t break when I go to make this movement here I don’t want it to break so we keep this half centimeter to give space to the brush and leave this curve here now we’ll make the upper grazia okay now it depends on how you’re used to I usually make the first grazia
and then from here I go and close the letter here clearly it’s always left a bit of… the M is more difficult because… it depends on the starting slant you give it and from there it comes the whole slant of the letter because you’ll have to follow…
the guidelines that the letter itself gives you so don’t start too diagonal because then the letter will become too big compared to the others and the whole alphabet won’t be uniform and you’ll go escalating more and more and the whole alphabet won’t be uniform so you’ll have like a letter more here and one less there so I always start quite vertical but not completely so let’s keep this slant here,
a little less than for the A more or less here the external grazia is always one of the hardest …according to me because they almost always need to have the same curve and not having a lot of space it’s hard to spin the brush like one would like to so here we use the same technique we used with the A giving it some more angle so going towards the center so we go up like this now take… from here… you already go up a bit so you give yourself a sort of guideline for later so the diffucult part of the M is that if you get wrong this and this then all the letter will come out inhomogeneous and unbalanced okay, so you make an imaginary line from here you can also make the little dot, no problem same process as here not touching the guideline so the right side of the brush… follows our imaginary line we’ve made okay? possibly always keeping the tilt and the width that we used before then we go to connect the letter here I usually tend to also… retrace it okay, here we use the same process and here we take all the brush surface always keeping in mind the titl of the first… ah, it’s unloaded
so we go to load it with water okay the N doesn’t have anything difficult compared to the M you only have to keep the verticality of the first… of the first part

32 Replies to “HOW TO WRITE ROMAN CAPITALS CALLIGRAPHY ALPHABET WITH NICOLO VISIOLI PART 1”

Leave a Reply

Your email address will not be published. Required fields are marked *

Recent Posts
Recent Comments
Tags
© Copyright 2019. Amrab Angladeshi. Designed by Space-Themes.com.