Brush Calligraphy, which are the most suitable brushes?

Brush Calligraphy or Calligraphy: which are the most suitable brushes?

The evolution and the great diffusion of the art of Calligraphy has been translated especially in recent years in modern compositions and with the use of many different techniques of application.

Spectacular works composed of calligraphic signs of the most disparate dimensions, canvases and murals fill the eyes of wonder of those who surf the net looking for artistic inspiration and many are the calligraphic artists who came to the forefront of the public in recent years.

Artists who use flat tips for evolutions of Gothic and Italic and others who use round tips, modulating the pressure to obtain thick and thin strokes.

Brush Calligraphy or Calligraphy: which are the most suitable brushes? - Borciani e Bonazzi

Pictorial techniques for Brush Calligraphy

There are many pictorial techniques with which to make the Brush Calligraphy artworks

There are many pictorial techniques with which to make the Calligraphy Brush, from inks to gouache or liquid watercolors with precise and supple marks, up to almost dense acrylic paint for scratching effects, common denominator must be the precision of the Calligraphic Sign, which well defined goes to characterize the letters, the legibility and the style of the artist.

The question that unites us in front of a wonderful work of Brush Calligraphy is always the same. "How did he make it? With which brushes can I get a clear stroke and smooth movement?"

To answer adequately it will be necessary to distinguish above all the type of Font that is wanted to emulate and the material that is used.

Brushes for Brush Calligraphy: which are the most suitable? - Borciani e Bonazzi

Brushes for Brush Calligraphy: which are the most suitable?

A generous tank allows you to keep the hand position and not to break the line.

A common denominator is the brush fibre that must be medium-slow color release, flexible and tenacious, to avoid interrupting the stroke and support the evolution and the continuous changes of direction and pressure.

The long stroke is the main feature of the mark left by brushes in natural fur or synthetic with hollow and absorbent fibers, especially when you have a long outsole (the length of the hair or fiber coming out of the bezel of the brush is so called).

This ability to collect a lot of color and therefore be able to have a long and continuous stroke is called reservoir: a generous tank allows you to keep the hand position and not to break the line until the required change of direction in the letter.

In fact, writing brushes have a structure with an outer ring much longer than brushes with a round or flat tip.

Brush Calligraphy: which fibers to choose?

Going into the details of the materials used for the Calligraphy Brush you will find brushes in natural fiber and brushes in synthetic fiber completely different from each other, and equally valid in use.

Brush Calligraphy: which fibers to choose? - Borciani e Bonazzi

For the use of colors for fluid techniques such as inks, Ecoline, gouaches, inks and watercolors, where the fluid component must be released slowly and gradually while maintaining a certain elasticity in the movement, the ideal brushes for the Calligraphy Brush are series 800 and series 801 UNICO Mangusta Borciani e Bonazzi: hollow fibers that absorb and gradually release the color.

The round and flat tips are very tight and allow a precise stroke while being soft and light.

To be used on smooth supports such as fine-grained or satin watercolor paper, or on prepared plaster bases.

With diluted acrylic, glazes and paints for decoration of medium density, rigid fibers are ideal, which maintain a defined and precise, although shorter brushstroke.

Our Top Graphic Borciani e Bonazzi line is a range of extraordinary brushes that meet all these needs. The media can be porous and irregular, such as coarse-grained paper for medium mix, and the stroke continues to be precise and defined.

In the traditional lines our synthetic red-violet fiber of series 2 Borciani e Bonazzi, extremely flexible and of great resistance, is thick and compact.

Very tightly bound, it guarantees a high precision stroke both in the major pressure of the descending strokes and in the fine lines of the ascending, even with dense colors.

The fiber simplifies the feasibility of the calligraphic mark scratched with poorly diluted color, creating extremely dynamic pictorial signs. The lightweight and balanced handle significantly reduces the workload on the hand.

A separate chapter are the brushes Top Graphic IL PRECISO by Borciani e Bonazzi, that is the series 605, tips from the very short dark red-violet fibre, suitable for high precision works.

The conical shape allows to retain a quantity of color that is not expected from a tip so short and the handle is light and easy to handle, with a double ergonomic shape like the rest of the line.

The ideal fibres for single line Calligraphy are the synthetic dark red violet brushes: the stretch will be short and very detailed and the extreme versatility of micromeasures allows you to use them on miniatures and Nail Art.

Brush Calligraphy: brushes for background texture and brushes for small details

For calligraphic signs on large fields you can choose the mottlers in smaller sizes.

For calligraphic signs on large fields you can choose the mottlers in smaller sizes, such as the series 20 or the 30 or larger like series 300 and series 301 Borciani e Bonazzi in white synthetic yarn, that are extremely elastic and soft, with a long and defined brushstroke.

Brush Calligraphy: brushes for small details series 20 - Borciani e Bonazzi

Background texture and large and soft marks will be obtained with the use of diluted color, on smooth funds.

For scratched and contemporary effects that are obtained with the dense color you can use the synthetic dark red-violet brush 310 series: suitable for difficult surfaces, starting from coarse-grained paper to get to the walls.

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