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Uncials - The Full Story


Ewan Clayton: Uncials - The Full Story
  • Layout Bond (not smaller than 11" by 17"/ A3) (P70)
  • Pencils (PL38)
  • Pencil sharpener (PL13)
  • Ruler (S270)
  • Dip pens with a range of square edged nibs (Mitchells, or Brause or Tape or Speedball). (N09, N04, N02, N01)
  • An old watercolour brush to fill pen or mix colour (BR43)
  • Your choice of gouache (at least two, if in doubt bring red) and a plate/palette for mixing it Click HERE for gouache (S679)
  • Any non waterproof black ink - your choice, if you have any sumi bring it - especially if you want it identified. (I70, I08)
  • Eraser, pen wipe, water container (E13, S817, S1005)

Recommended Books:
No recommended books for this class

By or about Ewan Clayton
  • B3930-P. The Golden Thread: The Story of Writing by Ewan Clayton.
  • LR21-4. Ewan Clayton in Conversation by Edward Wates in Letter Arts Review Vol.21, No.4.
  • LR17-2. Profile: Lieve Cornil by Ewan Clayton in Letter Arts Review Vol.17, No.2.
Ewan contributed to:
  • B4030. The Eternal Letter: Two Millennia of the Classical Roman Capital edited by Paul Shaw.
  • LR31-3. "Opening the Toolbox" contribution by Ewan Clayton in Letter Arts Review Vol.31, No.3.


19REN. PREORDER for Rendez-vous
19REN. Preorder for Rendez-vous 2019.

Add this product to RENDEZ-VOUS 2019 preorders for no shipping charges and pick-up at the onsite JNB store at the conference.

You must place your preorder by June 12, 2019.



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P70. Gilbert Bond 25% Cotton Practice Pad 11x17inch
P70.Gilbert Bond 25% Cotton Practice Pad. 24lb.
11"x17", 50 sheets

A great pad for broad-edged pen practice. Has a nice tooth and holds good hairlines. Acid-free. Highly recommended by Peter Thornton.

also available in 8.5"x11", see item P69

"Calligraphers in Portland [Oregon] have been using Gilbert Bond for years and years and LOVE it totally. My students and I have decided that 'we are worth it' and use Gilbert for practice. We think using a better paper makes our calligraphy practice seem more important (and practice is so important!). I thoroughly recommend the paper; it would be hard to recommend Gilbert Bond too highly!" - Carol DuBosch



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PL38. Faber-Castell 9000 Series Drawing Pencils
PL38. Faber Castell 9000 Series Drawing Pencils

A classic artist's drawing pencil of the highest quality, with evenly graduated degrees of hardness and strong break-resistance. Ideal for guidelines, drawing letters, and sketching. Recommended by Amity Parks. From Germany.

"9B" = softest.
"6H" = hardest,
HB, H, or 2H are generally used for
guidelines.

Specify: 6B, 4B, 3B, 2B, HB, H, 2H, 4H, 6H.




Options:
Your Price

PL13. Long Point Pencil Sharpener
PL13. Long Point Pencil Sharpener.

This sharpener crates a long extra-smooth tip. The large hole removes the wood casing of the pencil. The smaller hole sharpens the lead to a superfine point. Comes with 1 spare blade. From Germany.




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S270. Metal Ruler:12in
S270. Stainless Steel Ruler 12"

Flexible, cork back.



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N09. Speedball C Calligraphy Nibs
American calligraphy nibs for Italic, Blackletter (Gothic, Old English), Uncial, Half Uncial, Foundational and many other hands or alphabets. C-0, C-1, C-2, C-3, C-4, C-5, C-6. C-0 is largest, C-6 is smallest. Best in larger sizes. C-2, C-3, & C-4 are popular for beginners' classes. They rust easily so let them dry thoroughly before storing them away. Speedball C Calligraphy Nibs.

For more information about Speedball C nibs, click here.




Options:
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N04. Mitchell Nibs (Round Hand)
Mitchell Rexel Round Hand Nibs
Straight cut. Sizes 0(3.3mm), 1(3mm), 1-1/2(2.5mm),
2(2.3mm), 2-1/2(1.8mm), 3(1.4mm), 3-1/2(1mm),
4(0.9mm), 5(.75mm), 6(.6mm).

Flexible calligraphy nibs from England. Straight cut. Reservoirs are purchased separately. Though they are called Round Hand, these chisel edge nibs are good for many alphabets including Carolingian, Italic, Uncials, Gothic, Foundational Hand, and Roman Caps. Used by professional calligraphers with and without the reservoirs. Some beginners may have trouble with the flexibility. One of our most popular nibs for calligraphy. Give them a try.

See N05 for Left Hand Mitchell Nibs.




Options:
Your Price $1.45

N02. Brause Calligraphy Nibs
Sizes in millimeters (0.5, 0.75, 1.0, 1.5, 2.0, 2.5, 3.0, 4.0, 5.0). Oblique-cut.

Brause calligraphy nibs are popular with both professionals and beginners. Stiffer nibs with reservoir on top. High quality nibs from Germany. Order these if you have a heavy hand and apply strong pressure when you write. These chisel edged dip nibs are great for Blackletter (Gothic/Old English), Italic, and other hands.




Options:
Your Price $2.19

N01. Hiro Tape Nib
0.5mm to 4mm

These are more flexible than Brause nibs but stiffer than Mitchell and take to the ink better when new. Reservoir on top. Right Hand sizes only. Oblique cut. A good nib for classes and beginners.





Options:
Your Price $1.25

BR43. White Bristle Brushes (pack of 3)
BR43. White Bristle Brushes (pack of 3)

Great for mixing gouache or loading ink.

Choose Flat (sizes 2,4,6) or Round (sizes 1,3,5).



Options:
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S679. 6 Well Rectangular Palette
6 well Rectangular Palette

This palette is made of hard white plastic. Contains six wells for mixing paint and gouache. Easily cleaned out and reusable.



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I70. Moon Palace Sumi Ink
Moon Palace Sumi
The Ink is now in a bottle with a Gold Label

While the packaging is a bit different, this is the highly sought after and highly recommended Japanese Sumi Ink. For both broad edge and pointed pen work. Dries waterproof. A great calligraphy ink.

"I like Moon Palace better, but both Moon Palace and Best Bottle are beautiful inks. The Moon Palace has a slight sheen to it, which I like. Michael suggested this ink to me so please tell him I said, "thank you". I just finished a job of 200 invitations with Moon Palace and the ink is beautiful. I did not dilute the ink.
A client just brought me invitations (slick paper) to address. This bride knew going into this that I probably couldn't do pointed pen. However, for fun, I tried the Sumi inks and to my surprise they worked pretty darn good. I usually have to use a sharpie on slick envelopes, yikes!!!"

--Clair F., Jan 2011.

Four sizes available:

2.0 oz (widemouthed jar)
6.0 oz (180ml)

15 & 60 oz are temporarily unavailable: arriving Dec 2019




Options:
Your Price

I08. Higgins Eternal Ink
I08. Higgins Eternal Ink.

A non-waterproof, carbon black ink for dip pens. Our most popular ink for classes. Recommended for copperplate (add a few drops of gum arabic). Perhaps the best ink for calligraphy for a beginner; it will cause the beginner the fewest problems. This ink will bleed more readily than other inks. If bleeding is a problem, try Sumi Inks. 2.5 oz.

Quantity discounts start at 6 & 12.

"For broad-pen writing, I add gouache to Higgins Eternal. Gouache gives Eternal some needed body. It doesn't necessarily have to be black gouache. Indigo or a dark red add an interesting hue to the result. In a quarter ounce of Eternal, I add about a 3/8-inch bead of gouache from a tube. Eternal doesn't give me the hairlines I want in pointed pen work, so for that I much prefer iron gall or walnut ink". - Bob Hurford




Your Price $5.75

E13. Staedtler Mars White Plastic Eraser
E13. Staedtler Mars White Plastic Eraser

A highly recommended white plastic eraser. For erasing pencil.



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S817. Viva Papertowels, 12 sheets
S817. Viva Paper towels, 12 sheets

Recommended by Harvest Crittenden for wiping pen points and brushes:
"I've used them exclusively for at least 8 years. They don't leave fuzz on the pen points or brushes."

We have made these available for those outside the USA or in areas where this brand is not readily available. This is a small pack of 12 sheets for easy shipping.



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S1005. Clic & Go Foldable Water Pot
S1005. Clic & Go Foldable Water Pot

The Faber-Castell Clic & Go is a collapsible and expandable water pot. Easy to clean and store, travels easily. Ridges on the cup are the perfect place to hold brushes in between uses. The water pot holds approximately 12 ounces. PVC- and Latex-free.



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B3930-P. Golden Thread, The (PAPER) / Clayton
B3930-P. The Golden Thread: The Story of Writing by Ewan Clayton. 2014. 407pp. 6.2"x9". Paper

Marks each step in the historical development of writing, and explores the social and cultural impact of every stage: the invention of the alphabet; the replacement of the papyrus scroll with the codex in the late Roman period; the perfecting of printing using moveable type in the fifteenth century and the ensuing spread of literacy; the industrialization of printing during the Industrial Revolution; the impact of artistic Modernism on the written word in the early twentieth century - and of the digital switchover at the century's close.

Please note: This is the paperback edition of The Golden Thread. The hardcover edition of this title, featured in our full print catalog, is no longer available.



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LR21-4. Letter Arts Review Vol.21, No.4
Ewan Clayton in Conversation
  by Edward Wates
Don’t Leave Any Tool as Is: an Interview with Alice   by Christopher Calderhead
Carl Rohrs at the Intersection of Calligraphy, Signpainting, & Typography
  by Christine Colasurdo
Dialogue: Neuenschwander / Skarsgard
  by Susan Skarsgard
Cover Artist: Ewan Clayton

Look inside this issue (cover, table of contents, selected pages). This is a large file and may take some time to load. 21.4



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LR17-2. Letter Arts Review Vol.17, No.2
Letter Arts Review Volume 17 No. 2

What is Our Guiding Idea? Part 3: The Visual, The Verbal, the Rainforest
  by Steven Skaggs
William Morris: The Art of Printed Letterforms
  by Adela Spindler Roatcap
Taking Time, Turning the Page: Nancy Leavitt
  by Donna Gold
Profile: Lieve Cornil
  by Ewan Clayton
Writing, Argument & Contemplation: Izzy Pludwinski
  by Christopher Calderhead
Hans Tisdall
  by Michael Harvey
Cover Artists: Lieve Cornil & Betina Miemietz



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B4030. Eternal Letter, The / Shaw
B4030. The Eternal Letter: Two Millennia of the Classical Roman Capital edited by Paul Shaw. 2015. 264pp. 9.125"x11.5". Hardcover.

Click the image for a preview of the book.

This is a lavishly illustrated examination of the enduring influence of the classical Roman capital letter. Its chapters - by highly regarded practitioners in the fields of typography, lettering, and stone carving - discuss the subtleties of the classical letterforms, different iterations of it over the years, and the work of famous typographers and craftsmen. Contributors include John E. Benson, Nicholas Benson, Matthew Carter, Ewan Clayton, Lance Hidy, Jost Hochuli, Jonathan Hoefler, Richard Kindersley, Scott-Martin Kosofsky, Gerry Leonidas, Martin Majoor, Steve Matteson, James Mosley, Tom Perkins, Yves Peters, Werner Schneider, Paul Shaw, Julian Waters, Maxim Zhukov.




Your Price $55.95

LR31-3. Letter Arts Review Vol.31, No.3
LR31-3. Letter Arts Review Vol.31, No.3

Editor's letter
Briefly noted: A quilt by Viviana Lombrozo
By the artist
26 of 26
By Susan Skarsgard
Opening the toolbox
With contributions from
Yukimi Annand
Joke Boudens
Ewan Clayton
Ethan Cohen
Hazel Dolby
Susan Kapuscinski Gaylord
Mike Gold
Gillian Hazeldine
Sue Hufton
Tracy Mahaffey
Amity Parks
Carl Rohrs
Lawrence Wheeler
Andrea Wunderlich
Lynne Yun



Look inside this issue (cover, table of contents, selected pages). This is a large file and may take some time to load.



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