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Sharon Zeugin

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Odyssey Conference Class Listing

A21: VISION QUEST: A Calligraphic Journey


For "practical" art techniques, the Gwen Diehn book is good, especially for beginners. Being more philosophically bent, I always encourage participants of all levels to read Free Play. - Sharon Zeugin
B1772. Free Play by Nachmanovich.
No More Second Hand Art.
B2313. Art and Fear by D. Bayles, T. Orland.
Writing Down the Bones by Natalie Goldberg.
B2638. Artist's Journals and Sketchbooks.
The Decorated Page by Gwen Diehn. Out-of-print.
B2910. The Decorated Journal by Gwen Diehn.
B2729. Drawing from Life: The Journal as Art.
The Journey is the Destination: The Journals of Dan Eldon.
B2119. Fearless Creating: by Eric Maisel.
The Unknown Craftsman by Soetsu Yanagi.
Zen Seeing, Zen Drawing, by F. Frank.
Calligraphy of the Heart by Ewan Clayton. Out of print.
B2871. The Creative Edge: Exercises to Celebrate your Creative Self by Mary Todd Beam.
B3249. Hero's Journey: Joseph Campbell on His Life and Work.
Nicolette Grey Lettering as Drawing. Out-of-print.
Betty Edwards' Drawing on the Artist Within.
Zen Seeing, Zen Drawing, by Frederick Franck.
Letter Arts Review 12.4 for the article by Hans Joachim-Burgert.
B2783. The Calligraphic Line by Hans-Joachim-Burgert. trans. by Brody Neuenschwander.

Pen/Pencils/Brushes: Your usual calligraphy supplies; at least three unusual tools of vary¬ing sizes; small loading brush (BR37); Mitchell #6 nib (N04) – and other nibs sizes, and types, too! Mi¬cron (M17) pens or equivalent. I like 005 or 01 size; "Cola" pen (we will make one if you don't have one); several large brushes for acrylics (not precious ones); about 4-5 sponges for applying paint; several small good watercolor brushes--both flat and pointed if you have them.
Ink/Paint: Sumi Ink–try Moon Palace (I70); 3 to 6 tubes of acrylic paint, I suggest double primaries plus white; gouache (WNGxxx); watercolors (WNxxx); gesso (S675 – S678).
Paper: 3 full sheets of Arches Text Wove (PS01) we may need more, but Brenda will be there to keep us well-supplied!
Misc: Picture(s) of something personally meaning¬ful; a color copy of a piece of art you love; water containers (S731); photocopies for photo transfer (use Xerox, not a laser printer); artist or masking tape; brayer (S587, S588) if you have one; linen or decorative thread (S351, S352, S353) for journal; X-acto knife (S621, S662); bone folder (S279, S308); 4 book-binding needles (S213, S218, S219); paper towels; anything else in your usual kit.
Don't worry about buying special things for this class. If you have paper and ink and a few paints, you are good to go. You can bor¬row from me, and others are usually more than willing to share.
Materials fee: $10


LR12-4. Letter Arts Review Vol.12, No.4
Letter Arts Review Volume 12 No. 4.

The Essence of Letters: The Father Catich Slates at Wichita State University
  by Bill Jackson
If One Only Knew What Calligraphy Is!
  by Hans-Joachim Burgert
Against the Grain: Archie Granot, Papercut Innovator
  by Mordechai Beck
Caressing the Elephant: Or Just What is An Artist's Book Anyway?
  by Adela Spindler Roatcap
Devotion & Desire: Views of Women in the Middle Ages & Renaissance
  by Adam S. Cohen
Written on the Body: A Collaboration Between Peter Greenaway & Brody Neuenschwander
  by Karyn L. Gilman
Foundations of Calligraphy: Part 4 Minuscule to Black Letter
  by Shiela Waters
Book Reviews: Twentieth Century Type Designers
Typographers on Type
Letter Jesters
Cover Artist: Peter Greenaway



Your Price

B2783. Calligraphic Line / Burgert
The Calligraphic Line: Thoughts on the Art of Writing
By Hans-Joachim Burgert. 2nd edition. Translated by Brody Neuenschwander. (1989) 2002. Approx. 177pp. 8.5"x11". Paper Spiral.



Presents Burgert's perspective on the role of form and function in calligraphy and writing, the history of the graphic form (symbol/writing/calligraphy), the need and development of cursive writing and alphabets. The second section presents Burgert's thoughts on the place of calligraphy in the Western world after the invention of printing from type and its relationship to type. Note that this is a photocopy reproduction. The quality of the illustrations vary, but all are photocopies.



If pg.60 of your copy is blank, see a pdf of the illustrations.



Your Price

BR37. Silverwhite Brush: Brights
Silverwhite Bright. Short handle.

Limited Stock

A blend of soft white taklon filaments (synthetic) tapered to hold a sharp edge. Has a nice spring and decent color capacity. Short, polished, white-tipped silver handles and seamless nickel ferrules. Use for mixing, painting, brush lettering, or loading your pen. Suitable for water-based media including acrylics, watercolor, gouache, inks, dyes & tempera.

Bright, Size 1 2.5 mm
Bright, Size 2 3 mm
Bright, Size 4 4mm
Bright, Size 6 5 mm
Bright, Size 8 8 mm
Bright, Size 10 15mm




Options:
Your Price $4.80

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

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

S675. Golden Gesso 8 oz Black
Golden Gesso 8 oz Black

This is recommended by Judy Melvin for black backgrounds for collage projects. Gesso and Black Gesso are ready-to-use liquid grounds formulated for use on any commonly used painting surface. They are flexible and can be applied in thin layers to conform to a variety of textured surfaces.

NOT USED FOR MANUSCRIPT GILDING.
For a modern, easy to use, raised gilding base: purchase S892. Instacoll or S596 Miniatum.



Your Price

S676. Golden Gesso 16 oz Black
Golden Gesso 16 oz Black

This is recommended by Judy Melvin for black backgrounds for collage projects. Gesso and Black Gesso are ready-to-use liquid grounds formulated for use on any commonly used painting surface. They are flexible and can be applied in thin layers to conform to a variety of textured surfaces.

NOT USED FOR MANUSCRIPT GILDING.
For a modern, easy to use, raised gilding base: purchase S892. Instacoll or S596 Miniatum.



Your Price

S677. Golden Gesso 8 oz White
Golden Gesso 8 oz White

This is recommended by Judy Melvin for white backgrounds for collage projects. Gesso and Black Gesso are ready-to-use liquid grounds formulated for use on any commonly used painting surface. They are flexible and can be applied in thin layers to conform to a variety of textured surfaces.

NOT USED FOR MANUSCRIPT GILDING.
For a modern, easy to use, raised gilding base: purchase S892. Instacoll or S596 Miniatum.



Your Price

S678. Golden Gesso 16 oz White
Golden Gesso 16 oz White

This is recommended by Judy Melvin for white backgrounds for collage projects. Gesso and Black Gesso are ready-to-use liquid grounds formulated for use on any commonly used painting surface. They are flexible and can be applied in thin layers to conform to a variety of textured surfaces.

NOT USED FOR MANUSCRIPT GILDING.
For a modern, easy to use, raised gilding base: purchase S892. Instacoll or S596 Miniatum.



Your Price

S351. 12/3 Linen Thread
Unbleached Linen Thread from the UK. 100% Flax / Linen.
50-gram spool. 12/3. Approx. 127 yd.

Because of its strength linen thread is used to sew signatures in book binding. It is often lightly waxed with Beeswax (S289).12/3, 18/3, 35/3. The first number is the thickness of the thread. The higher the number, the thinner the thread. That is 12/3 is thicker than 18/3. The second number is the number of strands that are twisted together to make the thread. 12/3 has three strands. (Flax and linen are two words for the same thing = fabric or thread made from the flax plant.)

All measurements are approximate!
12/3 = 1mm thickness
18/3 = 0.6mm thickness
35/3 = 0.4mm thickness



Your Price

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