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Things Greek & Gilded

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Things Greek & Gilded – Georgia Angelopoulos

Supply List
Paper
  • Small piece of tracing paper or lightweight layout paper (P43)
  • Graph paper pad (preferably one that takes ink well and without heavy lines – something comparable to John Neal's 1" or Westwind pad (If you can't find anything like this then just get good graph paper, 8 squares to the inch, preferably not with red lines.) (P22)
  • At least one sheet of Fabriano Artistico 140 HP paper, cut to 4- 11" X 15" (I like Traditional White instead of Bright White. If you can't find this paper, try BFK Rives as it's soft enough for tooling) (PS107)
  • In addition, bring any interesting papers you have had around and would like to consider experimenting with for the lettering component of the workshop – even things like papyrus, cold pressed, handmade and colored paper. We will be working out the letters on graph paper, but some may want to do finished exercises on different paper.
  • Glassine paper cut into 2- 11" X 15" to protect your gilded pages and small bits for burnishing (PS94)
  • 11" X 15" piece of millboard/davy board/book board (or the sturdy back of one of your sketch pads!) (S995)
  • One sheet of DUR-ALAR clear wet media film in .004 weight (9" X 12") *Perhaps the group can order a pad and each can get the one sheet they need… this film is for making our gold charts. (P57)

Brushes
  • Old brushes for applying ink to nibs and mixing
  • Clean brush for wiping off gold skewings (I like a ½" to ¾" flat brush with a medium-firm edge) (BR60)
  • Good quality synthetic round or pointed brushes in size 0 and 1 for applying gold size (BR30)
  • Small flat brushes for our mosaic designs (synthetic or sable; Size 0 or 1/and whatever you may have) (BR60)
  • Flat brushes if you want for lettering (BR24)
  • Small, good round sable or acrylic brushes if you want to experiment with building letters up with a brush (BR26, BR38)

Gilding
  • Ormoline Gilding Medium (John Neal via Cornelissen's/Roberson's in the UK) If you have Jerry Tresser's Gold Size that is fine too but we found that the Ormoline worked best for most people) (Optional: Water Gold Size, John Neal. This is a natural formula for a slightly raised effect in gilding; I will bring some) (S929, S473, S928)
  • Gold (I will supply what we will use, but if you have any, please bring it along as you can put a sample of it on your metals chart that you will make. I use gold that is adhered to a backing sheet/transfer, but do bring any loose gold that you have) (S189, S188, S940, S189-5)
  • Agate burnisher – only if you have one (I will have some) (S194, S903)
  • Cotton gloves if you can find them. I usually get them at the drug store in the spa section; just check that they don't contain emollients.
  • Fine ball tip burnisher/ tools for sgraffito: old needles, crochet hook, dental tools – whatever you may have to make marks on the gilding (S478, S1038)
  • Magnifying glasses (loupe)

Pigments
  • Artist quality gouache: please have Zinc White, Lamp Black, Ultramarine OR Cobalt blue, Venetian Red, Yellow Ochre. I will have all kinds of things for you to experiment with and I will have these basic pigments. (Click HERE for our selection of gouache)
  • Gum Arabic (best to put it in a smaller dispenser bottle or bring an eyedropper) (I84)

Other Supplies
  • 2H or 4H pencil for transferring designs (optional) (S142)
  • HB Pencil (mechanical is good; I use a .3mm for a light touch but .5mm is good too). If you have favorite pencils for Pressure/Release techniques, please bring. (S861)
  • Flat lead mechanical pencil (1.8mm). They are known in the UK as exam/test pencils, because they are broad enough to fill in boxes on exam papers. (S861)
  • Eraser/gentle or kneaded (E08)
  • Writing tools: Pen nibs of your choice from ½ mm to 3 for rendering the mosaic exercises (N02, N04, N09); Speedball B nib (for making round marks on our exercises and lettering) (N16); favorite edged nibs ranging from small to large/ Small pen holder with crow quill or very fine nib for 'sketching' the letters if you wish/ any tools you want to play with. (H75, N75)
  • ½" or ¾" removable painter's tape/artists' tape (S411); ½" Double-sided tape; ruler (S270); scissors (S835); small cutting mat (S504); X-Acto Knife (S417); water jar (S1005), a few palettes with multiple wells (S120-30); wipes & distilled water if you have some in a small bottle (S817); small T-square (S753); compass and any geometric stencils you may have (circles, squares, etc) (S891) if you have one for cutting out shields for our gilding.
  • Sakura Microperm permanent ultra-fine line pen 01 (this is for using to mark on vinyl/plastic – regular permanent markers don't work for our purpose. Sakura also makes the Identipen, which does the same job) (M124)
  • X-Acto blades. #16 is my favorite blade for cleaning up around the edges of gilding. (S996)
  • Favorite inks (Click HERE for our selection of inks)
  • Slant board (optional) (S690)

The $25 supply fee includes use of 10 different kinds of transfer gold and metal leaf (Please bring what you have at home if you do have, so you can include a sample of it on the metals chart we will make), use of all ground pigments, gouaches, watercolor paints (I do ask that students have Zinc White, Lamp Black, Yellow Ochre and their choice of a red earth and blue gouache), use of ground metals and metallic gouaches, use of my tools, and acetate for tooling metals.

Recommended Books:
  • Lettering as Drawing by Nicolete Gray. Out-of-print
  • A History of Lettering by Nicolete Gray. Out-of-print.


P43. Borden & Riley Tracing Pad #41
P43. Borden & Riley #41 Parchment Tracing. 50 sheet pad, 25lb paper.

A bit nicer than your normal tracing paper.

Available in 3 sizes:
9"x12"
11"x14"
14"x17"




Options:
Your Price $9.09

P22. JNB Graph Pad 8.5x11 inch
JNB Graph Pad
Blue grid (8 squares/inch). 24 lb bond.
8.5" x 11" Approx 50 sheets.

A non-bleeding paper that is great for calligraphy. (We use the same paper in our JNB Practice Pads.) Many instructors have their students use this pad in their classes. (It is the pad required by Claude Dieterich for his Academy of Art classes, and also by Ann Miller for her online class.) (For graph with slant lines P01.)

For the full size (11"x17") graph pad, please see P21.
For the slanted grid pad (for Copperplate), please see P01.



Your Price

PS107. Rives BFK Paper (180 gsm)
PS107. Rives BFK (180 gsm) 19.5"x25.5"

This printmaking papers has set the standard for every mouldmade grade manufactured in Europe.

Perhaps its best quality is its consistency. Made with 100% cotton and no optical brightening agents, it is a bright white, smooth, soft and pliable sheet. Dimensionally stable, BFK Rives is a versatile substrate with an absorbent wove surface that is suitable for all forms of printmaking. The paper works well with inks and is heavy enough for washes and watercolor. Mouldmade in France. Grain direction is parallel to underlined dimension.

100% Cotton. pH neutral. 2 natural deckles, 2 tear deckles. White.
Also available in 250 gsm (see item PS91)

This paper ships separately from books/supplies and requires an extra shipping fee which is NOT included in the price of this product. Add item 'PS00' to your cart after adding large sheets of paper. (click to read details)




Your Price $5.62

PS94. Glassine 18x24 inches
Glassine
Transparent, 100% sulphite pulp. Acid-free. USA.18"x24".

Use this thin, transparent paper as interleaving or as a protective sheet when burnishing metal leaf or smoothing down paper fibers after erasing or razor scraping. Will ship with books/supplies if folded to 9"x12".



Your Price

S995. Davey Board 15x20 inches ONE sheet
S995. Davey Board 15x20 inches, one sheet

Special item for Georgia Angelopoluos' Cheerio Fall 2016.



Your Price

FP57. Pentel Colorbrush
Pentel Color Brush

Much sought after. For brush lettering. Medium. Specify color: Light Green, Turquoise, Olive Green, Pale Orange, Steel Blue, Gray, Orange, Sepia, Purple, Black, Red, Blue, Green, Yellow, Brown, Pink, Sky Blue, Yellow-Orange.

FP 57. Pentel Colorbrush color chart





Options:
Your Price $8.75

BR60. Simply Simmons Brushes
BR60. Simply Simmons Brushes

These inexpensive, short-handle brushes are of surprisingly good quality. You can use these flat watercolor brushes for brush lettering, backgrounds, washes, and more. The Shader has longer bristles than the other brushes. Synthetic hair. Recommended by Randy Hasson.

Choose size: 1/2", 3/4", 1", or #10 Shader.




Options:
Your Price $4.85

BR30. Cotman Round WC Brush
Cotman Round Water Color Brush.

Synthetic brush that is slightly stiffer than sable. Recommended by Lisa Engelbrecht; she especially likes the #8. The secret of the Cotman Bushes, from Winsor & Newton, lies in the fibers. By blending fibers of differing thickness, we achieve the three most important qualities sought by the artist. The thicker fibers contribute strength and spring, while the thinner fibers improve color carrying capacity (which have recently been improved by 50%). The two fibers together retain their point, time after time.

Specify size.



Options:
Your Price

BR24. Raphael Kaerell Flat Brush
Raphael Kaerell 8796 Flat Brush.

These brushes can be used for chisel-edged brush writing and watercolor painting. Carl Rohrs finds these water media brushes to be good for lettering. He recommends the W&N 995 (BR01) for ½" & larger. Synthetic bristles.


Brush Sizes:
1/8" size 02
3/16" size 04
1/4" size 06
5/16" size 08
3/8" size 10
1/2" size 12
5/8" size 14

Use Dropdown menu to see sale prices!




Options:
Your Price $14.20

BR26. W&N Sceptre Gold 101 Brush
W&N Sceptre Gold 101 Brush, Round, Short Handle

For fine detail, lines & washes. A traditional and popular head shape for all-purpose water color work. Can be used for broad strokes yet it will also form a sharp point. They possess excellent color holding capacity, sensitivity, spring and durability. Recommended by Michael Sull.

High quality brushes made from a mix of sable and synthetic fibres. They are ideal for water color and suitable for use with acrylic. For watercolor media, while today's synthetic brushes perform excellently, pure sable still has the edge. With a blend you can get performance that is close to sable at a price that is close to synthetic. The blend of hair in Sceptre Gold II also gives you added benefits. Sable hair has excellent spring while the high quality synthetic filaments ensure that the brushes are soft enough to work the color but also have a strong snap so they return back to their original shape with ease. The high proportion of sable in Sceptre Gold II gives the brushes considerably more ability to make larger washes in one stroke than normal synthetic brushes, and the hairs are tapered to a fine point, giving the brush control for detailed work.

Winsor and Newton Sceptre Gold 101 Brush Round Short Handle




Options:
Your Price $8.19

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