Conceptual Art by Tony
with work by Brody Neuenschwander:
LR21-4. Letter Arts Review: Vol 21, No 4. $14.50 Articles include: Dialogue: Neuenschwander
/ Skarsgard Susan Skarsgard;
LR12-4. Letter Arts Review:
Vol.12, No.4. $12.50
include: Written on the Body: A Collaboration Between
Peter Greenaway & Brody Neuenschwander - Karyn L. Gilman;
Translated by Brody Neuenschwander.
B2783. The Calligraphic
Line by Hans JochimBurgert. Paper $35.00
of pens and brushes for formal and expressive writing (H62, H38, N02, N04,
Drawing tools such as pencils and graphite (S142) sticks
Gouache (WNG331, 335, 512, WNGDPS), brushes, water pot (S784),
Black ink (I08, I70)
Ruler (S271), scissors, cutting knife (S417), glue stick (S391);
11 x 17 (A3) layout or practice pad (P20)
10 sheets good quality paper (roughly 50 x 70 cm) good for calligraphy and a
good weight for books (i.e. maximum weight 220 gm)(PS01, PS104)
A photocopy of one or two pieces of modern non-calligraphic text-based art
This class requires some pre-class homework.
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
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
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.
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.
Excellent for fine detail, lines and washes. The round-bellied watercolor brush is the most popular watercolor brush. Quality Kolinsky sable hair, birchwood handles and seamless nickel ferrules all put together by hand to create a truly excellent brush. Has been improved to ensure a perfect point. Matte finish handle.
Recommended by Valerie Weilmuenster for illuminated letters as a good and ess expensive alternative to the Winsor & Newton Series 7.
**To see the price of each size, select the size in the box below**
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.
WNGDP-S. W&N Gouache: Double Primary Set Winsor & Newton Gouache: Double Primary Set
Colors (all Series 1):
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.