Okay, so it's not like I'm writing to-do lists with my paints and brush. (Well, unless it's a super mundane day or I need to see my tasks under a more beautiful light, but still.) Why not tackle calligraphy when it's so popular? Why use brush script?
Call it my love for variety that keeps me playing with thick and thin. Now add the twist of color gradations that happen both with using different colors and when using varying amounts of water. Check out what you've got: a triple whammy of diversity.
I'm a huge fan of line quality. I know you've heard me ramble about line quality here and there--its ability to render with the degree of pressure you apply. Al Hirschfeld was a genius at wielding the sword line quality. If you're fuzzy about what that is, just glance at his portfolio; it's like an exhaustive visual glossary.
Running dry of the medium in your utensil can look pretty great actually. When ink runs out of a calligraphy pen, you get a blank scrape; but when the paint runs out of your brush, you get a different lightness or texture. It doesn't leave you hanging. Light lines are left that you can work on top of... or just leave to dry in their own rendition of minimalist glory.
A practical reason that I stick to my brush over a marker or a calligraphy pen (which I sometimes use) is this: everything else is being done. A LOT. So if I'm good with something that's tricky for the masses to tackle... why not? I'm always eager to fill a niche that is not tapped well. I prefer to have a unique look over doing a repeat of what has worked well.
I fear that brush script's days in the shared limelight are counted. (Trend is an illustrator's frenemy.) But the good news is that it's just beginning. I'll be kicking it until carpal tunnel kicks me!
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