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Painted the seed library box and half painted the 'Roots and Shoots' shop frontage today, and I'm not very satisfied with either of them. Painting something shaped, where the wood grain texture is uneven and the paint coverage is also uneven, is a lot harder than doing the smooth plastic bins. The paint had a tendency to flow along the lines of the wood grain, which meant I kept having to expand the letters to cover all the runs.
Also I mistook the line I'd written to mark where the space went, for the line I'd written to mark where the end of the second 'E' went. Resulting in one E being bigger than the other. I've slightly stretched the first E to try to make it less obvious. But it's not ideal, and the S is just plain ugly.
The script I chose for 'library' is also slightly less than legible. So basically it's a learning experience all around!
The main problem with the shop sign is that I've painted one of the S's wider than all the other letters. I have a plan for rescuing that (which involved painting over it with the background colour.) But the seed library will have to be resigned to being rustic.
Eh, it's only going to go in the local (defunct) post box to be a seed library for the neighbourhood, and the one it's replacing is a plastic tub that used to contain birdseed, so the standards are not high, and it will be good enough for the purpose for which it is intended.
Sigh. I know it's going to take at least a year of practice, and that it's important to practice on lots of different types of things, and that I've learned quite a lot by doing this badly which will lead to me doing it better later, but I want to be good *right now*
Also I mistook the line I'd written to mark where the space went, for the line I'd written to mark where the end of the second 'E' went. Resulting in one E being bigger than the other. I've slightly stretched the first E to try to make it less obvious. But it's not ideal, and the S is just plain ugly.
The script I chose for 'library' is also slightly less than legible. So basically it's a learning experience all around!
The main problem with the shop sign is that I've painted one of the S's wider than all the other letters. I have a plan for rescuing that (which involved painting over it with the background colour.) But the seed library will have to be resigned to being rustic.
Eh, it's only going to go in the local (defunct) post box to be a seed library for the neighbourhood, and the one it's replacing is a plastic tub that used to contain birdseed, so the standards are not high, and it will be good enough for the purpose for which it is intended.
Sigh. I know it's going to take at least a year of practice, and that it's important to practice on lots of different types of things, and that I've learned quite a lot by doing this badly which will lead to me doing it better later, but I want to be good *right now*
no subject
Date: 2022-11-22 03:12 am (UTC)From:I'm sorry you aren't delighted with either of them, but I hope the one is fixable and the other one sounds like it's still an upgrade from what was there previously!
no subject
Date: 2022-11-22 07:57 pm (UTC)From:no subject
Date: 2022-11-23 03:12 am (UTC)From:But really, only three months isn't that long to have been practicing ANY skill! (And ugh, I sympathize deeply with the shaky hands issue. I hate that!)
no subject
Date: 2022-11-23 06:40 pm (UTC)From:no subject
Date: 2022-11-25 04:08 am (UTC)From:Imo it's always most frustrating when you hit the point where you know enough to recognize how good skilled work is... but your skills aren't at that level yet. That gap is always a struggle!
Hmm ...
Date: 2022-11-23 10:42 pm (UTC)From:https://calatrio.com/help-center/articles/4415467577883-assistive-devices-for-hand-tremors/
Also, this is another area where thicker paint might help. Highly liquid media are just damn pesky with shaky hands, but thickers ones often work better since they are more stable and less flighty. Be careful with anything made from charcoal: it has a tendency to spread violently in watercolors.
*ponder* If you don't mind that it takes for-fucking-ever to make, red ochre in linseed oil will absolutely stay put for thousands of years. It doesn't go very far, but it goes right where you put it. And it makes a splendid cinnabar color. I would expect other ochre paints (available in a wide variety of mostly warm earth tones) to behave similarly.
Re: Hmm ...
Date: 2022-11-24 08:38 pm (UTC)From:I'm mostly going to be working with enamel paint, which is great for using over any material and is suitable for being left out in the weather, but that's cool as it is a fairly thick paint, sort of creamy in consistency. It is an oil-based paint so it's probably similar to the ochre paint. I would certainly love to try that! It sounds like something that would have been used in the stoneage in cave painting, or to be buried with. Do you have to grind it yourself?
Re: Hmm ...
Date: 2022-11-24 09:13 pm (UTC)From:They are many and marvelous in this day and age. I have found quite fascinating things while researching things for my writing or for a friend. We don't have a set weekly schedule, so when I spotted a day-of-the-week clock, I bought one.
>> I like the things that go over your pencil (or in this case, paintbrush) to help the grip.<<
Grip assists are among the biggest categories of adaptive equipment. You can buy them or make your own. The main subdivisions are things that go on your hand (or other body part) to hold something, things that go over a handle to make it easier to hold, and tools with easy-grip handles.
https://www.sportaid.com/grip-aids/
https://www.neurorehabdirectory.com/product-category/grip-aid/
Make yourself a DIY toolkit for creating adaptive handles or other assists:
https://www.handihelp.net/6994/index.html
>> I've been just hoping that with practice I will train myself out of it.<<
Well ... that actually is possible. Mind over matter; tremors often come from the brain sending wrong or confusing signals. (Tremors originating from distal limb damage are harder to fix this way, but not quite impossible.) The catch is, this requires major skill. Buddhist monks have demonstrated stupendous, superpower level control over their bodies. It can be done. It takes years of concerted effort.
However! That effort generates other benefits after just 2-3 weeks. Meditation in general helps people feel calm and happy. Meditation to understand and control your body makes it easier to fix things like hiccups or feel warmer in cold weather.
It can be combined with other activities in a form of moving meditation. Zen painting is a huge thing. I didn't mention it earlier because it deals with very watery ink, but there are lots of resources if you want to try gaining control this way.
>> As you say, a thicker paint helps, and the brushes are also designed to help. So I won't despair of my hands until I've learned how to get the best out of the brushes.<<
That's a good approach.
>> I'm mostly going to be working with enamel paint, which is great for using over any material and is suitable for being left out in the weather, but that's cool as it is a fairly thick paint, sort of creamy in consistency. <<
Oh, that's interesting. I may have worked with hobby enamel paint long ago? But not much, so it is cool to hear about.
>>It is an oil-based paint so it's probably similar to the ochre paint. I would certainly love to try that! It sounds like something that would have been used in the stoneage in cave painting, or to be buried with.<<
That's exactly where I encountered it in this life, Ancient Lifeways Camp. We were painting a mammoth on a cave wall. 20-30 minutes of rubbing a nugget of red ochre into a puddle of linseed oil on a rock, yielded about ... one or two tablespoons? ... of very thick opaque permanent paint that covered maybe a couple of inches. Concentrated, powerful stuff.
>> Do you have to grind it yourself? <<
We didn't grind it and mix it. We rubbed lumps into the oil until paint became. This is probably the oldest method of making pigment paint, not counting things like doodling on the wall with a burnt stick. Based on what I've seen in catalogs, I believe the modern method involves mixing prepowdered earth pigment into an oil or other carrier. But somebody probably still sells lump pigment if you look around. Some folks might want to grind their own or use the rubbing method. Given your hands, mixing powder into a carrier is probably easier, and you can always experiment with different consistencies. Or you can buy premixed earth paints from some companies, but then it's a lot harder to tweak the consistency if needed.
Note: when I say permanent, I mean ochre paint can last for 50,000+ years. Use dropcloths, wear painting clothes, and if you don't want brick-colored skin, consider gloves. I didn't mind going around with red-dyed fingertips for a while because to me red ochre is sacred, but modern folks usually feel differently about it.
Many earth pigments are extremely durable. If you are painting signs, this is an advantage. That stuff will soak right in and go nowhere. Obviously, it works on rock too. Weathering of exposed surfaces will eventually wear it off by removing the surface to which the paint is attached, but with a sealant or in a sheltered area, it just lasts and lasts.
If you enjoy paints, especially thick creamy ones, then earth pigments are well worth exploring.
Re: Hmm ...
Date: 2022-11-25 08:50 pm (UTC)From:I've been looking at other hand painted signs around the town today and I realize that even the professionally painted signs show signs of hand wobble. So that makes me feel a little better. It's probably one of the things that makes hand painted signs have more charm than machine made ones.
That Lifeways Camp sounds like a fantastic experience! The closest I've come has been a day course that taught me how to knap flint and make cordage out of nettles. I'm not sure that I was very good at the flint knapping - though I at least got a cutter and a scraper out of my pre-prepared core. But I did very much enjoy making the cordage, and I'm no longer afraid of nettles as a bonus :)
Re: Hmm ...
Date: 2022-11-26 02:29 am (UTC)From:There are diverse approaches, some with calligraphy and others with artwork.
https://www.musicofwisdom.com/post/hitsuzend%C5%8D-the-practice-of-zen-brush-painting
https://n-lightenment.com/techniques-zen-brush-painting/
https://www.artistsnetwork.com/art-mediums/watercolor/zen-painting/
https://www.ingetang.com/praxis/anewdrawing/12-right-side-the-zen-of-drawing-drawing-out-the-artist-within/
>>I've done some mindfulness meditation before against anxiety, and I do find myself applying some of the principles to painting - using deep breaths to calm myself and put myself in a state where I'm really concentrating on the brush. It does help :)
I'm glad that works for you. Mindfulness and breathing are helpful for many things.
>>I've been looking at other hand painted signs around the town today and I realize that even the professionally painted signs show signs of hand wobble. So that makes me feel a little better. It's probably one of the things that makes hand painted signs have more charm than machine made ones.<<
There are whole, huge branches of aesthetics along these lines.
* While some creators strive for perfection, many feel that imperfection and natural variation are the whole point of handicrafts. Frex, the appeal of handspun yarn is its texture and variation; you don't get that with factory yarn. That's how you distinguish handspun from factory yarn.
* Imperfections can be beautiful. Wabi-sabi is about the beauty of things which are flawed, fleeting, or old. Related traditions include bohemian/hippie, rustic, and shabby-chic.
* Some craft media are designed to produce and celebrate variations and surprises instead of control. Some watercolor paints spread wildly. Tie-dye is only somewhat controllable, and if you have a dye with multiple pigments (which is most of them) you can make it "break" with capillary action to reveal its hidden colors. There are ceramic glazes that always make unpredictable patterns, and ceramic artists who love to turn random things into glazes, like Pepto-Bismol or Milk of Magnesia or dead leaves. Driftwood, beach glass, and other weathered media are very popular. Artists who love these media often think of art as a collaboration between artist and materials.
* In some traditions, things are expected to be imperfect so the artist always leaves out or deliberately musses one detail. This can be because they believe only the Divine can create perfection. It can be to avoid activating a normally spiritual object so that a replica can be sold safely as a souvenir. It can be to avoid the risk of something coming to life.
Think about your beliefs and feelings on perfection and imperfection. Why do you seek perfection or control? Are there any things you appreciate about imperfection or surprises?
Definitely continue to study signs. What do you like or dislike about them? What makes a sign memorable or eye-catching? Are there techniques you'd like to try?
Letting go of perfection and just experimenting with media can be lots of fun. Also, obsessing over perfection can make you miss opportunities. Life is about making mistakes, art is knowing which ones to keep. Techniques like painting with salt or sand probably started with accidents. If you are painting on diverse, sometimes uneven surfaces then you'll have many opportunities to learn about what those surfaces can do. Don't waste them.
I love the Bob Ross approach: "We don't make mistakes. We just have happy accidents. Let's make 'em birds! Yeah, they're birds now."
>>That Lifeways Camp sounds like a fantastic experience! <<
It really was.
>> The closest I've come has been a day course that taught me how to knap flint and make cordage out of nettles. I'm not sure that I was very good at the flint knapping - though I at least got a cutter and a scraper out of my pre-prepared core. But I did very much enjoy making the cordage, and I'm no longer afraid of nettles as a bonus :)
We knapped flint. We used drop-spindles with wool, not nettles. We dug, cleaned, shaped, and fired clay. It was very interesting, and for me, very nostalgic.
Nowadays it is easy to find many old crafts that used to be extremely hard to find. There are instructions and video tutorials everywhere. I like that.
Speaking of old things, whether you meant it or not, you duplicated the oldest type of sign: a picture of the thing. You may wish to remember that in making modern signs, since not everyone reads or speaks English. To a reader it's decorative to put a pot plant on a sign that says "Roots & Shoots" but to a nonreader that picture is the sign. Plus it's pretty and adds charm to handmade signs. Up to you.
Re: Hmm ...
Date: 2022-11-26 11:23 pm (UTC)From:You've definitely made me think about signs on top of the signs. I hadn't really thought about how the pot plants were also signs that told a viewer what kinds of things this shop sold, but that is something I'll think about now. Thank you!
Re: Hmm ...
Date: 2022-11-27 01:55 am (UTC)From:Yes, definitely. If you like making signs from salvaged materials (e.g. pallets) then that meshes nicely too.
Here's an interesting exercise for you: if a signboard has a rough knothole, or an actual hole, then how do you accommodate that in the design of the sign? Bit more advanced than your current level, but worth considering.
>> the degrowth that's necessary to establish a more sustainable lifestyle.<<
It's not necessarily degrowth -- although I agree that fewer humans would be less burdensome on the Earth -- but rather different growth. Technology can have many different bases. The biology that goes into making a dense permaculture is just as much technology as a computer, but it has a different purpose and style. There is a great deal more science and sophistication in this areas than most people realize, and if they knew more about it, they might respect it more. Sure there are some things I'd like to toss, like fast fashion, but most of those have alternatives to replace them, like slow fashion and hand sewing.
>> I clicked on the Rustic link and followed it down to discover that my own personal look is known as thriftcore :) That makes me feel like I'm much more stylish than I am.<<
Oh, that's interesting, I hadn't heard that one.
Mine is wildly eclectic, but if I had to specify, it's probably closest to hippie/bohemian. I'm sitting here in tie-dye top and pants with machine-embroidered cuffs. My home design is the same. The fairy window, Dad built that giant planter for Mom when I was little, so yeah I still have a hippie plant window. I've got a braided-rag rug-style wall hanging in my office. Sparkly and spinny things in a lot of windows.
Of course, a lot of that stuff is thrifted. Our massive farmhouse dining table we got secondhand, as well as the library-pyramid paperback bookcases.
>>You've definitely made me think about signs on top of the signs. I hadn't really thought about how the pot plants were also signs that told a viewer what kinds of things this shop sold, but that is something I'll think about now. Thank you!<<
I'm happy I could help. Other options to explore:
* History of signmaking that goes back to times when many people were not good at reading.
* History of heraldry, you can't beat it for analysis of legibility over distance in chaotic conditions. Like don't put a metal (yellow/gold or white/silver) on a metal or a color on a color (everything else) because it's harder to read than the higher contrast of metal-color compositions.
* Advertising theory from places like Africa with high language diversity and low literacy. Gerber baby food had to redesign its entire packaging for Africa. The stuff we get from our African market usually has English text, Arabic or some other language, and a picture of the contents. Well, the freezer stuff is often just wrapped with a text sign on the door ... the goat heads are new.
* Theory from signmaking, fontmaking, book cover design, website design, etc. that deals in how aspects of color choice and font shape correspond to different moods or subjects. I do this when compiling my poems into series collections. The font I chose for Daughters of the Apocalypse has kind of a ragged look. The one for the Steamsmith is sleek and the ends of the letters have lines that make them look kind of like pipes. So there's a lot of interesting psychology in how things communicate information that is not explicit in the text itself, and which can vary across different cultures.
These things are worth considering because, while some sign buyers may come to you with a very specific idea in hand, others are likely to have a more general request. In the later case, it's up to you as the designer to compose a sign that will look good, be legible, and attract as many customers as possible. The more of the theory you know, the better you can do that part of the job. Besides, some of the stuff is cool to explore.
Re: Hmm ...
Date: 2022-11-29 09:25 pm (UTC)From:(Fast fashion is definitely one of the things that would have to go, in favour of clothes made from resources that were farmed regeneratively. It would be 'degrowth' because if you loved having a whole new wardrobe every season, you'd have to de-grow to having maybe one outfit a year and taking care of your clothes instead.)
I would love to be more hippie/bohemian! That's a good style, and probably the stuff that I like best, but it's hard to get hold of, and also not great in the winter.
Re: Hmm ...
Date: 2022-11-29 10:55 pm (UTC)From:I think of degrowth specifically as shrinkage. So for instance, degrowth would be a good thing regarding cattle, because they are terrible for the biosphere.
Sustainable growth, closed-loop manufacturing, and other things are also important aspects of future development. For instance, more bison would be good, as they are ecosystem engineers and also made of delicious meat. It's not all about shrinkage, which is good because shrinkage is a very hard sell. Few people want to get by with less.
>>So much business at the moment is predicated on the idea that there must be growth - they must earn more this year than last year or they are failing. Likewise people are expected to achieve more and more and earn/own more and more year by year.<<
... which is the philosophy of the cancer cell. :/
>> Degrowth as a concept is about learning to be satisfied with a reasonably comfortable level of material existence so that the resources can go to making sure others also have enough.<<
I would call that sufficiency, which can be stable. Voluntary simplicity is another version, which specifies a low stable rate of consumption. People set their threshold at different levels though.
>> (Fast fashion is definitely one of the things that would have to go, in favour of clothes made from resources that were farmed regeneratively.<<
Not just farmed regeneratively, but made to last instead of fall apart after a few weeks or months. Or the first damn wash. :/
>> It would be 'degrowth' because if you loved having a whole new wardrobe every season, you'd have to de-grow to having maybe one outfit a year and taking care of your clothes instead.) <<
True. See the capsule wardrobe movement for an example of this. I have found several different capsules that work well. I also wrote a post on how to simplify fashion.
However, this approach requires two things, which aren't always easy to get: 1) clothing that actually will last for years, and 2) a body shape stable enough that you can wear the same clothes for years instead of needing a different size/shape of clothes. The latter is especially challenging with regard to mothers and children. In such cases, thrift shops can help, but not everyone is willing or able to do that. Anyone who needs unusual sizes, features, etc. will have little or no luck thrifting.
Another option is making your own clothes, which is what everyone used to do. This permits a better level of fitting than off-the-rack clothes do ... if you have enough skill.
>>I would love to be more hippie/bohemian! That's a good style, and probably the stuff that I like best, but it's hard to get hold of, and also not great in the winter.<<
That sounds like your experiences are very different from mine. I see bohemian stuff everywhere (in central Illinois, but also online).
Tie-dye, a classic hippie motif, is now readily available online or at street faires, and occasionally in stores. Fibercrafts -- knit, crochet, weaving, macrame, etc. -- are also very boho. Look for things that show texture, like cableknit. You've got multiple palette options: psychedelic (neons and brights), earth tones (terracotta, goldenrod, avocado, etc.), or antique (ivory, rosepetal, sage, etc.). There are a few actual bohemian stores, like Earthbound, which have all kinds of goodies; and more than a few fashion designers.
You can make darn near anything boho by altering it. See a cardigan or vest you like? Remove the plain matching buttons and replace them with mismatched funky ones like cut glass, antler, carved wood, etc. You can often find fancy old buttons in an antique or thrift shop. You can also sew flat buttons of different colors around the hems of pants. Add trim of lace, embroidery, fringe, beads, or pom-poms to things. Much beadwork and embroidery is bohemian. So is most patchwork. Denim or canvas can be hipped up by drawing on it. Use fabric marker if you want to get fancy, but most hippie jeans were embellished with either ballpoint pen or magic marker. Visible mending is as hip as it gets. Just look for upcycling ideas in clothing and you'll find tons of options.
As for winter, it depends on two things: material and layering. Bohemian fashion favors natural fibers like wool, cotton, bamboo, hemp, and silk. Cotton isn't good in the coldest weather, but is fine for moderate cold. Wool is the warmest but some people are allergic to it. Bamboo, hemp, and silk are temperature-responsive, meaning they tend to feel cool in hot weather and warm in cold weather.
Bohemian fashion also runs to layering. Two or more skirts, a vest or duster over a shirt, etc. You can take this as far as you wish. The modern term is "lagenlook" or literally layered look. There are designers who cater to this, but you can do it with darn near anything. Layering is good not only for trapping warm air, but for adjusting as your environment changes.
If you want to explore further, my guide post to hippie / bohemian culture is here:
https://ysabetwordsmith.dreamwidth.org/13517044.html
Oh, and your love of signwriting? Totally boho. Hippies painted everything that stood still long enough. Paint inspiring words or flowering vines on chair seats or backs, footstools, ladder sides ... you could make a whole business selling that stuff. Low overhead if you buy it from a junkshop, or free if you have a knack for basic furniture repairs because then you can salvage broken things. If you don't mind working with kiddie stuff, some parents will pay ridiculous sums for their kid's name on things. If nothing else it's good practice for cheap materials.
Re: Hmm ...
Date: 2022-12-01 09:54 am (UTC)From:Heh, yeah. I find both of those challenging. I'm not sure I've yet found a stable weight, and because I'm only trying to buy natural fibre clothes (particularly wool) the moths have a field day in my wardrobe. Which does mean that I do a lot of visible mending!
I do also buy all my clothes from the charity shop *and* I'm a plus size, so I'm limited as to what I can find. In practice I end up dressing mostly like an early 20th Century gentleman farmer - corderoy trousers and big wooly jumpers, and tweed where I can get it.
I'm sure the main factor in my inability to find a specific look, though, is that I don't prioritize the look enough. I'm like 'is it comfortable and do I like it?' and if it meets those two criteria I will wear it whether it's stylish or not. Sometimes I see women wearing the lagenlook style and think wistfully 'I wish I could look like that,' but then I go back to wearing whatever's available in my size.
I have thought about sewing my own stuff, and I think if I did that I would want to buy one of those lagenlook dresses and take it apart to make a pattern, then re-make some in warmer fabric. But other things keep taking priority. Maybe I'm just stealth bohemian, and that's okay :)
no subject
Date: 2022-11-22 03:41 am (UTC)From:It sounds like it's going to be a definite improvement over the previous seedbin! I'm sure the neighbourhood will enjoy it :)
no subject
Date: 2022-11-22 07:41 pm (UTC)From:Thoughts
Date: 2022-11-22 11:53 pm (UTC)From:I think it looks beautiful. Rustic things don't always look good if made "too slick."
>>Painting something shaped, where the wood grain texture is uneven and the paint coverage is also uneven, is a lot harder than doing the smooth plastic bins.<<
True. Possible solutions include:
* Thicker paint compensates better for rough surfaces.
* Sand before painting.
* Apply primer or gesso before painting.
* Paint something flat and screw it onto the rough background.
>> The paint had a tendency to flow along the lines of the wood grain, which meant I kept having to expand the letters to cover all the runs.<<
Possible solutions include:
* Use thicker paint throughout.
* Outline in thicker paint, fill with thinner paint.
* Outline with something else, like thick clear craft glue.
>>Also I mistook the line I'd written to mark where the space went, for the line I'd written to mark where the end of the second 'E' went. Resulting in one E being bigger than the other. I've slightly stretched the first E to try to make it less obvious. But it's not ideal, and the S is just plain ugly.<<
Okay, I can see the flaws now that you have pointed them out. But when I saw the picture, I thought, "Wow, that looks cool!"
When people see it, they will almost certainly think, "Yay a seed library I wonder what's inside!" and not "The S looks wonky."
There's a big shear in making crafts. Most of us who make things will focus on flaws. But looking at crafts -- even crafters looking at someone else's work, let alone noncrafters -- are much more inclined to see the positive instead.
>>The script I chose for 'library' is also slightly less than legible. So basically it's a learning experience all around!<<
I agree that it's less than legible, and a different font would be better in future projects. Here you can simply take advantage of the human brain's resilience. The legible portion "SEED Lib----" is enough for most folks to fill in the end of that word.
>>Eh, it's only going to go in the local (defunct) post box to be a seed library for the neighbourhood, and the one it's replacing is a plastic tub that used to contain birdseed, so the standards are not high, and it will be good enough for the purpose for which it is intended.<<
A sensible approach.
>> Sigh. I know it's going to take at least a year of practice, and that it's important to practice on lots of different types of things, and that I've learned quite a lot by doing this badly which will lead to me doing it better later, but I want to be good *right now*<<
Totally understandable.
If you want to practice writing in general, I recommend calligraphy worksheets or exercises on paper.
If you want to practice on different surfaces, use trash (e.g. cardboard boxes, styrofoam).
If you want to practice on wood, you may be able to find scraps for free at a lumberyard, home improvement store, or anywhere that gives away pallets.
Not all practice has to be done on projects. It's less frustrating when it's literally just practice. I wound up with the best Cyrillic handwriting in Russian class, because I was writing the vocabulary words in the back of my notebook, over and over. Don't underestimate the benefits of sheer mass in practice. It's boring but it really works.
Also, it's helpful to keep a record of your work, like posting project photos here. Then you can see the progress over time, which will make the year or so less frustrating.
Re: Thoughts
Date: 2022-11-23 05:51 pm (UTC)From:I definitely want to learn how to paint well on uneven surfaces, and I mean to do a lot more on wood, if only because that kind of thing looks really good as ornaments and wall art etc, particularly when only partially rubbed down and stained. I do have a wooden pallet in the back garden which will do for practice when I've chopped it up and sanded it down a little.
I am trying to practice every day - Mr Man who runs the course has given us lots of practice exercises, as well as a couple of sheets of brush stroke practice we can do when we can't think of anything else. As always the problem is finding enough hours in the day.
So far my main problems seem to be
Script - can't stand script writing (probably because I never learned joined up writing at school)
Tend to draw my letters too tall and thin
Don't leave enough space around either letters or words
and of course
Shaky hands.
I hope that they will all get better over time, but for the moment I'm confined to practice pieces and painting my own stuff. I'll think again about maybe painting something public in another six months :)
Posting my project photos here sounds like a great idea! I like the idea of having them somewhere easily accessible where I only have to scroll to see whether I'm improving or not. Thank you!
Re: Thoughts
Date: 2022-11-23 11:36 pm (UTC)From:It takes practice to learn how to shift filters, but that's an essential skill for writers, artists, and other creative folks.
While creating, revising, or critiqueing your work: This is a piece of crap and needs so many fixes.
While selling or otherwise presenting your work to others: This thing is so awesome and here is why you should love it too.
>> I definitely want to learn how to paint well on uneven surfaces, and I mean to do a lot more on wood, <<
You might look for tips in the upcycling field. That involves a lot of painting on uneven surfaces, and people have interesting ideas to try. Different brushes, or other tools, can have very different effects. Stains are typically applied with a sponge. You can make a brush out of a frayed twig. Very thick traditional paints are often applied with a bone applicator.
>> if only because that kind of thing looks really good as ornaments and wall art etc, particularly when only partially rubbed down and stained. <<
I'm a big fan of wood, both polished and weathered. You can see one of my wood-related projects here:
https://ysabetwordsmith.livejournal.com/6069203.html
>> I do have a wooden pallet in the back garden which will do for practice when I've chopped it up and sanded it down a little.<<
That is an excellent plan.
>> I am trying to practice every day - Mr Man who runs the course has given us lots of practice exercises, as well as a couple of sheets of brush stroke practice we can do when we can't think of anything else. As always the problem is finding enough hours in the day.<<
Good idea. Anything that breaks down a complex skill into individual steps, like brush strokes, is very helpful in the beginning. I've done a lot of that. It's much easier to focus on one thing at a time, then string them together, than it is trying to learn a bunch of things all mashed into each other.
You might try comparing different types of brush or applicator, different types of paint, or different consistencies of paint to see what is comfortable for you. Some things like milk paint or earth paint can be purchased as powder, then you mix it to the consistency you want -- and both of those work great for rustic woodcrafts. You can even get artist pigments.
https://www.thisoldhouse.com/painting/21528976/all-about-milk-paint
https://naturalearthpaint.com/earth-mineral-pigments/
https://www.artnews.com/art-news/product-recommendations/best-pigment-powders-1202688380/
https://naturalearthpaint.com/blognatural-binders-for-natural-pigments-top-9-mediums-for-ecofriendly-painting/
>> So far my main problems seem to be
Script - can't stand script writing (probably because I never learned joined up writing at school) <<
Readily addressed with practice pages. These are available for calligraphy (in many fonts) and for basic cursive handwriting (in a few fonts). If you are a logical learner rather than a manual learner, you may find it helpful to examine how fonts are made, because they talk about different ways of joining letters in script. Knowing how something is done can make it easier to do, but this method doesn't work for manual learners.
https://thepostmansknock.com/all-of-tpks-free-calligraphy-worksheets-a-master-list/
https://www.k5learning.com/cursive-writing-worksheets
>> Tend to draw my letters too tall and thin <<
Practice and worksheets will help. You might consider using multi-lined paper that helps learn proportions for letters. Consider a broader tool, or one that allows you to vary the width, to deal with the thin issue.
>> Don't leave enough space around either letters or words <<
That's a kerning problem. Kerning is a super important aspect of font design, signwriting, calligraphy, and related crafts. It can be studied technically by examining geometry, measurements, and design theory; or intuitively by examining and copying many different examples of written things to see which are more legible.
https://www.adobe.com/creativecloud/design/discover/kerning.html
https://www.canva.com/learn/kerning/
https://www.thesignchef.com/article/how-to-design-a-sign-secrets-to-kerning
The easiest thing to work on first: spaces between letters should be narrower than those between words, which should be narrower than those between sentences. Getting the spacing between letters to look good is finicky and takes a lot longer to learn, because of how all the different shapes fit together. Or not.
>> and of course
Shaky hands.<<
That sucks, and is challenging to compensate for.
>> I hope that they will all get better over time, <<
Good practice makes good progress.
>> but for the moment I'm confined to practice pieces and painting my own stuff.<<
That's a good place to start.
>> I'll think again about maybe painting something public in another six months :)
You'll certainly make a lot of progress in six. You might make enough in three, so check then and compare current work to past work.
>>Posting my project photos here sounds like a great idea! I like the idea of having them somewhere easily accessible where I only have to scroll to see whether I'm improving or not. Thank you!<<
Useful tags might be "crafts," "woodworking," "signwriting," "photos," etc. Think about how you'd like to sort things, and especially, what you think you'll want to view in a sequence later on.
It will be fun to watch this over time!
Re: Thoughts
Date: 2022-11-24 09:30 pm (UTC)From:Thanks so much for the calligraphy practice sheets. I'd been wondering if calligraphy might be a useful practice that I could do in front of the TV when it's too inconvenient to bring out the paints. And it would at least get me more used to script and what it was supposed to look like. My handwriting could use all the help it can get.
(Amusingly, since I've started the signwriting my handwriting has improved. An unexpected bonus.)
I'll definitely have to acquire better kerning by instinct and practice. I'm definitely not a maths person!
Re: Thoughts
Date: 2022-11-24 10:33 pm (UTC)From:It is very sparkly indeed. It is hanging in the east window of a bay window. That space is partly filled by a large planter. All three windows have many sparkly things hanging in and around them. Several others are things I've also made, like the strand of bells and clear crystals and the long double wind spinner held together with beaded strands.
>>Thanks so much for the calligraphy practice sheets.<<
You're welcome!
>> I'd been wondering if calligraphy might be a useful practice that I could do in front of the TV when it's too inconvenient to bring out the paints. And it would at least get me more used to script and what it was supposed to look like. My handwriting could use all the help it can get.<<
Calligraphy is a very useful practice for improving handwriting or dexterity in general. There are extensive resources for it, free or paid. Also, if people get good enough, it pays.
>> (Amusingly, since I've started the signwriting my handwriting has improved. An unexpected bonus.) <<
Sure, that makes sense. Any kind of writing will carry over. So will certain types of art, like geometric art; and anything with a pen, pencil, or small paintbrush.
>> I'll definitely have to acquire better kerning by instinct and practice. I'm definitely not a maths person! <<
Okay, then try geometry. That's based on shapes instead of numbers. (I am less worse with geometry than with more numeric math.) So then, look at examples in nature, like the Golden Spiral. That will help your eyes learn how things fit together in relation to each other. Good geometry "looks beautiful" to most people. Examine the shapes of letters and how they fit together, or not. If you like fidgets, consider getting a set of play letters, like the kind for sticking on a refrigerator, that don't have a square background but are exact letter shapes. You can move them around to feel with your hands how they fit, as well as looking with your eyes. A very fun exercise for word art is to take any two letters, or later on words, and fit them together in as many ways as possible to find what looks interesting. Kerning is just an odd sort of jigsaw puzzle with letters.