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Brody Neuenschwander

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Brody Neuenschwander

(All week) Level: All skills are welcome
Developing Meaning

Brody Neuenschwander: A-BN - Developing Meaning

Recommended for class
B3038. Conceptual Art by Tony Godfrey. Paper $27.95

Books with work by Brody Neuenschwander:
B2917. Textasy: The Work of Brody Neuenschwander. 2006. 168pp. 9"x12.25". Hardcover $90.00
LR21-4. Letter Arts Review: Vol 21,No 4. $14.50
Articles include: Dialogue: Neuenschwander / Skarsgard Susan Skarsgard; Ewan Clayton in Conversation Edward Wates; Don't Leave Any Tool as Is: an Interview with Alice Christopher Calderhead; Carl Rohrs at the Intersection of Calligraphy, Sign painting & Typography Christine Colasurdo Index to Volume 21
LR12-4. Letter Arts Review: Vol.12, No.4. $11.00
Articles include: Written on the Body: A Collaboration Between Peter Greenaway & Brody Neuenschwander - Karyn L. Gilman; Father Catich Slates - Bill Jackson; If One Only Knew What Calligraphy Is! - Hans-Joachim Burgert; Archie Granot: Papercut Innovator - Mordechai Beck; Caressing the Elephant: Or Just What is An Artist's Book Anyway? - Adela Spindler Roatcap; Devotion & Desire: Views of Women in the Middle Ages & Renaissance - Adam S. Cohen; Foundations of Calligraphy (part 4) Minuscule to Black Letter - Shiela Waters.

Translated by Brody Neuenschwander.
B2783. The Calligraphic Line by Hans Jochim Burgert. Paper $35.00
Supply List:

Variety of pens and brushes for formal and expressive writing
• drawing tools (pencils and graphite sticks) (S142)
• gouache (WNGPDP-S, WNGDP-S)
• brushes (BR24, BR01)
• water pot (S784)
• palette (S679)
• black ink (I08, I70)
• ruler (S271)
• scissors
• cutting knife (S417)
• glue stick (S391)
• 11x17 layout or practice pad (P20) • photocopy of 1 or 2 pieces of modern art with text but NOT CALLIGRAPHY

Teacher will bring: good quality paper, book weight, which can be bought by the sheet at cost. You will probably need about 15 sheets in total. Several hand-made pens. No class fee.



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



Your Price

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

S142. Design Drawing Pencils
Design Drawing Pencils
Design 3800. Prismacolor Turquoise.


"6H" is hardest lead. "9B" is softest lead, Specify 6H, 5H, 4H, 3H, 2H, HB, H, F, B, 2B, 3B, 4B, 5B, 6B.



Options:
Your Price

WNGDP-S. W&N Gouache: Double Primary Set
Winsor & Newton Gouache: Double Primary Set

Colors (all Series 1):
Alizarin Crimson
Flame Red
Lemon Yellow
Phthalo Blue
Spectrum Yellow
Ultramarine (Blue)
Zinc White

Sheila Waters teaches color mixing using a double primary set: a warm and cool of each of red, blue and yellow. With the six primaries you can mix brighter colors. (a) The cool yellow tends toward green. The cool blue tends toward green. These two are used for mixing all the colors between yellow and blue. This includes all of the greens, greenish yellows such as chartreuse, and greenish blues such as teal. (b) The warm red tends toward orange. The warm yellow tends toward orange. These two are used for mixing all the colors between yellow and red (oranges and all orange-reds and orange-yellows). (c) The warm blue tends toward purple and is mixed with the warm red for the purplish colors. Winsor & Newton is our most popular gouache and is highly recommended. It is excellent for calligraphy.

For a lightfast Double Primary Set, purchase WNGPDP-S. It contains a similar palette of warm and cool colors, but the pigments are more permanent when exposed to light. The colors are not exactly the same, but they mix in a similar fashion.




Your Price $69.93

WNGPDP-S. W&N Gouache: Permanent Double Primary Set
Winsor & Newton Gouache: Permanent Double Primary Set.
Set of seven 14ml tubes: white plus a warm and cool each of red, blue and yellow. Colors: Permanent Alizarin Crimson (cool red); Cadmium Red (warm red) , Cadmium Yellow Pale (warm yellow), Lemon Yellow (cool yellow), and Cerulean Blue (cool blue); Ultramarine Blue (warm blue) and Zinc White .

Sheila Waters teaches color mixing using a double primary set: a warm and cool of each of red, blue and yellow. With the six primaries you can mix brighter colors. (a) The cool yellow tends toward green. The cool blue tends toward green. These two are used for mixing all the colors between yellow and blue. This includes all of the greens, greenish yellows such as chartreuse, and greenish blues such as teal. (b) The warm red tends toward orange. The warm yellow tends toward orange. These two are used for mixing all the colors between yellow and red (oranges and all orange-reds and orange-yellows). (c) The warm blue tends toward purple and is mixed with the warm red for the purplish colors. Winsor & Newton is our most popular gouache and is highly recommended. It is excellent for calligraphy.

For a lower priced Double Primary Set, purchase WNGDP-S. It contains a similar palette of warm and cool colors, but the pigments are less permanent when exposed to light. The colors are not exactly the same, but they mix in a similar fashion. All of these colors are fine for work inside of books/journals, for learning color mixing, and for envelope work, but they are not recommended for items that will hang on the wall.




Your Price $117.63

BR01. W&N 995 Chisel Lettering Brush
Chisel Edged Lettering Brush

The standard brush recommended by John Stevens, Carl Rohrs and other instructors for chisel-edged alphabets. Golden nylon flat watercolor brush with seamless nickel ferrules and clear plastic handle. Durable and responsive.
Winsor and Newton Series 995 flat watercolor brush.

Choose from three sizes:

½"
¾"
1"

Change size selector to see sale prices.




Options:
Your Price $20.29

S784. Water Container - 3 Piece
S784. Three Piece Detachable Plastic Brush Washer

Three plastic water containers that detach and fit into one. Use this handy item for rinsing pens and brushes. Great for workshops.




Your Price $5.55

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

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

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