DOCSLIB.ORG

The Speedball Pen and the Lettering Artist Spurred Gothic

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Speedball Pen and the Lettering Artist Spurred Gothic The information in this article is culled A TWO-PART ARTICLE WITH RANDALL M. HASSON AND MICHAEL CLARK Introduced in 1915, the A-Series was the from Randall Hasson’s forthcoming book, first of the line of Speedball nibs. Its square Teaching America How to Letter: Ross tip resulted in a uniform line and could George, William Gordon, and the Story also be turned over to execute serifs. These of the Speedball Textbook, which will be examples are of a writing style termed published by Letterform Archive. The Speedball Pen and the Lettering Artist Spurred Gothic. by Randall M. Hasson The Origin of the Bent Nib the marketing and design of the window lettering was that which had a “swing” or a to replicate quickly by hand at small sizes The early twentieth century was a time of display evolved, these cards became “kick” to give it life. using the tools that were available in the change. In the arena of retail sales, advertis- smaller, and the brushes of the sign painter Graphic trends in Europe had an effect on early century. To help show card men write ing and marketing developed rapidly, giving were difficult to use in making the resulting American lettering in the early twentieth these alphabets, William H. Gordon and birth to many of the selling principles and smaller letters. Show card men turned to century. The bold display typestyles of the Ross F. George, using modifications to exist- techniques that are still in use today. The the traditional broad-edged pen for the German Expressionist movement, such ing nibs of the time, invented a nib with a storefront, for the first time, began to be smaller copy. They used lowercase letters, as Rudolf Koch’s Neuland (1923), became bent tip. Bending up the tip of a pen nib dominated by large, plate glass windows, which were faster to write and easier popular with the public in the larger retail resulted in producing a flat marking surface and a whole industry emerged that was to read. As the metal nib became more city centers, along with the “modern” clean- that would give a consistent, uniform stoke centered on techniques for effective window prevalent in the trade, the divide between lined and sans-serif typefaces that originat- of even width in any direction, regardless display. One of the most important aspects the methods of the sign painter and of the ed in England. In the printing trade, these of pen angle. A double reservoir was added of these show windows was the display show card writer became broader – show bold, uniform letterform styles were broadly to allow for more letters to be written with card that advertised a retailer’s goods. cards were written with the single-stroke classified as “gothic” letters, meaning letters a single dip. In 1915, after over a year of These cards were temporary and had to method of forming letters, as opposed to with strokes of uniform widths. Hence we testing and modification, they introduced be produced rapidly, and no window was traditional methods of outlining and filling have sans-serif typefaces called Franklin their nib design to the lettering world as the considered complete without them. These in letters. Gothic and Copperplate Gothic. Because Speed-Ball pen. “silent salesmen,” called show cards, became Commercial letterers wrote these cards show card writers were closely allied Speedball Nibs – Square and Round the surrogate voice of the shopkeeper. with a certain rhythm: the best of them with advertising, they adopted the general Rudolf Koch’s Neuland and Edward The show card above is an example of A natural outgrowth of the sign painting adapted the whole-arm-movement tech- nomenclature of the printer to avoid confu- The bent pen nib was introduced, in four Johnston's Underground are examples pre-Speedball work from 1914. trade, show card writing soon developed niques of penmanship from Spencerian sion in their classifications of lettering. marking shapes, over a ten-year period of “gothic” or uniform-width typestyles Top: The titling for this article was written into its own specialized genre. Show cards and Palmer methods. This rhythmic aspect However, Edward Johnston’s typeface for from 1915 to 1925. The original Speedball that lettering artists in the early twentieth with a Speedball A-Series nib on a rough were initially large signs, on full (22 x 28 was vitally important to the character of the London Underground (1916) and Koch’s nibs featured both square and round century were trying to replicate, which led surface of unprimed canvas. inches) or half sheets of bristol board. As the show card; the most desired type of Neuland and others like them were difficult variations of the marking tips, giving the to the development of the bent nib. 28 Bound & Lettered b Summer 2017 Bound & Lettered b Summer 2017 29 Left: A variety of styles and weights written with the A-Series (square) nib, inspired by lettering of the early twentieth century. Below: Samples of early Speedball nibs: square, round, and oval. Bottom: Charles Rennie Mackintosh’s lettering in the Glasgow Style, a part of the Arts and Crafts movement. The lettering directly to the left is the author’s contemporary interpretation. letterer options for the look and feel of the Writing with Speed lettering, based on the beginning and end- The main purpose of the first nibs that ings of the strokes. Later designs included had flat marking tips was to make uniform- a traditional broad-edged nib as well as a width strokes for gothic or monoline letters. nib in an oval shape that made thick and But they also answered the need for letterers non-hairline thin strokes. to economize their time: letters made in The physical approach to using this style a single-stroke method with minimal or of pen is different from that of a broad- no touch-up allowed the show card artist edged pen. With bent nibs, the pen must be to do more work in less time. One thing to held at a lower angle to the writing surface keep in mind when looking at show card (like holding a pencil), creating a more lettering of the early twentieth century is natural writing position that keeps the that, for the most part, you are looking at bent part of the nib in full contact with the examples that were written with a high marking surface. This adjustment in hold- degree of speed. This accounts in part for ing the pen is the reason the first Speedball the extremely fresh and spontaneous feel of textbook was produced: letterers of the the lettering, especially show card lettering time had trouble making the pen work – of American artists. they held it in the traditional ways they These letterers worked with what we held a brush or broad-edged pen. would consider astonishing speed. An Traditional calligraphy provides a variety of historical hands – Italic, Uncial, Black- excerpt from a 1914 trade journal gives letter, Roman – that are mastered with a some idea of how fast they had to work: “To broad-edged tool. Now, one hundred years hold his job in a Chicago store, a card writer after the invention of the Speedball nib, must be able to turn out interior cards (say a there is a revival of interest in looking back quarter sheet) with two lines and a price in on, and working with, the vintage styles of about 20 seconds flat.” commercial lettering artists of the 1910s, ’20s and ’30s. These include a wide variety Exploration with a New Tool of lettering that a calligrapher, using tradi- Aside from simply replicating historical tional tools, would not normally execute monoline letterforms, the bent nib pro- because these styles were not designed vides an opportunity for fresh exploration to be written with a broad-edged tool. The after one has become familiar with its use. facility with which the professional letter- Beautiful effects can be achieved by not ers developed these styles, however, can keeping the entire bent part of the nib flat provide inspiration to the contemporary and in consistent contact with the marking lettering artist. surface. A well-timed lift at the end of the Bound & Lettered b Summer 2017 31 stroke with a round (B-Series) nib can, for uniform line, as in each of the strokes of is also the traditional tool of the cartoon example, provide a brush-like effect to an a capital letter A. dialogue letterer. alphabet with a tool offering a little more Learning these basic principles leads to The D-Series nib is an oval shape that control. Lifting the nib to a high angle so comfort with the pen, leading toward inno- gives letters a distinct characteristic that that the thin edge of the nib is in contact vation: making the pen do what you want it echoes the 1920s: a blunt serif. Like the with the paper will provide a contrasting to do. The Mock Brush Script is an example other bent nibs, this nib provides possi- thin, or even hairline, stroke. Ruling pen– of a high degree of pen manipulation. bilities for manipulation, but it is best on like effects on rough paper, with a bit of The pen is held on a diagonal, resulting in lowercase Romans for a vintage feeling. splattering, can be created with these pens squared entry and finishing strokes, at top (Unfortunately, the oval-tip, D-style nibs and will give the calligrapher ideas from and bottom. The pen is lifted and a corner is are no longer made.) which to push concepts of letter innovation used, in rhythm, to draw the thin upstrokes and experimentation.
Load more

Recommended publications
  • 25. Leipziger 47 La Canna * I – Valsamoggia 162 ** Infostand Antiquariatsmesse Vorwort ­­­5 25
    25. Leipziger 21.-24. März 2019 Verkaufsausstellung für Bücher, Halle 3 der Leipziger Buchmesse Graphiken und Autographen Literaturmeile der Leipziger Antiquariatsmesse Leipziger der Literaturmeile Ausstellerverzeichnis 23 24 22 25 26 27 28 29 Stand Nr. Katalog Seite Stand Nr. Katalog Seite 21 Notausgang 27 Antikvaristik.sk SK – Banská Štiavnica 4 16 Lehmann Berlin 84 5 antiquariat.de ** Berlin 164 20 Lenzen Düsseldorf 86 30 Bonn Mainburg 8 Antiquarius 35 Lindner 6 90 53 52 51 50 Halle 3 50 Avion * CZ – Liberec 162 49 Lorych Berlin 94 der Leipziger 45 46 47 48 49 Buchmesse 39 Bachmann & Rybicki Dresden 12 33 Walter Markov Bonn 98 Tübingen Lüdenscheid 23 Bader 51 Melzer 18 106 19 20 32 31 Halle * Berlin 13 Bausmann 17 Mertens 20 162 37 39 Bad Nauheim Northeim 31 Bibliophiles.de 29 Nagel 22 110 36 18 * CZ – Praha Thalheim 28 Bretschneider 19 Neubert 162 112 43 44 17 Literaturmeile der Leipziger Antiquariatsmesse Literaturmeile der Leipziger St. Ingbert * Berlin 41 Büchergärtner 26 Niedersätz 24 162 34 33 38 16 35 Kiel * Kuchenheim 18 Carlsen 30 Nosbüsch 28 162 42 41 40 25 Drescher Berlin 30 1 Paulusch Berlin 120 36 Eckert Bremen 34 32 Peter Ibbetson Engelskirchen 124 NL – Den Haag Braunschweig 38 Florisatus 6 Rabenschwarz 38 128 Einlass Café – Ausschank Café – 3 Gruber * Heilbronn 162 34 Rotes Antiquariat Berlin 130 Karlsruhe * Menden 24 Haufe & Lutz 52 Salmen 42 162 1 46 Hill Wiesbaden 44 43 Solder Münster 134 2 Im Hufelandhaus Berlin 46 4 Stader Stade 136 Information Planegg Berlin 11 Husslein 40 Tode 50 140 Café 10 11 12 A – Wien Berlin 48 Jacono 37 Treptower 54 146 3 2 Garderobe 12 KaraJahn Berlin 56 7 Wagner Berlin 152 9 14 Knöll Lüneburg 66 45 Wend Leipzig 154 (Graphik) Leipzig Hannover 21 Koenitz 53 Wilder 70 156 4 (Galerie) Leipzig Bamberg 22 Koenitz 10 Zipprich 72 158 14 15 Ditzingen * Berlin 15 Krak 24 Zeisig 74 162 8 7 6 5 13 Notausgang 9 Krikl A – Wien 76 Literaturmeile der Leipziger Antiquariatsmesse Hallenplan und Standnummern 44 Krüger * Köln 162 * Der Kollege ist ohne Katalogbeitrag vertreten der 25.
    [Show full text]
  • Das 20. Jahrhundert 220
    Das 20. Jahrhundert 220 Querschnitt durch unser Lager von L bis Z sowie Neueingänge und El Libro Libre Antiquariat Frank Albrecht · [email protected] 69198 Schriesheim · Mozartstr. 62 · Tel.: 06203/65713 Das 20. Jahrhundert 220 D Verlag und A Querschnitt durch unser Lager von L bis Z S Antiquariat sowie Neueingänge und El Libro Libre 2 Frank 0. J A Albrecht H R Inhalt H 69198 Schriesheim U Querschnitt von L bis Z ................................................. 1 Mozartstr. 62 N Neueingänge ................................................................ 24 Tel.: 06203/65713 El Libro Libre .............................................................. 43 D Register ....................................................................... 46 FAX: 06203/65311 E Email: R [email protected] T USt.-IdNr.: DE 144 468 306 D Steuernr. : 47100/43458 A Die Abbildung auf dem Vorderdeckel S zeigt einen Original-Holzschnitt von Erich Heckel (Nr. 230). 2 0. J A H Spezialgebiete: R Autographen und H Widmungsexemplare U Belletristik in Erstausgaben N Illustrierte Bücher D Judaica Kinder- und Jugendbuch E Kulturgeschichte R Kunst T Unser komplettes Angebot im Internet: Politik und Zeitgeschichte http://www.antiquariat.com Russische Avantgarde D Sekundärliteratur A und Bibliographien S Geschäftsbedingungen Gegründet 1985 2 0. Alle angebotenen Bücher sind grundsätzlich vollständig und, wenn nicht an- J ders angegeben, in gutem Erhaltungszustand. Die Preise verstehen sich in Euro Mitglied im (€) inkl. Mehrwertsteuer. Das Angebot ist freibleibend;
    [Show full text]
  • Sig Process Book
    A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry.
    [Show full text]
  • Type ID and History
    History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface
    [Show full text]
  • BID TABULATION #2836 OFFICE SUPPLIES Req/PO #: 176688
    BID TABULATION #2836 OFFICE Req/PO #: 176688 2/19/21 SUPPLIES PYRAMID SOUTHWEST ACCO SCHOOL & OFFICE LN Qty Unit Description/Product ID BRANDS BRAND BRAND SCHOOL BRAND QUILL BRAND OFFICE BRAND DEPOT USA PRODUCT SUPPLIES S 1 96 EA 1510015 NO BID $3.81 $3.72 07 $5.60 8 $4.40 03 WASTEBASKET, RECTANGULAR PLASTIC 12 3/4"DIA X 16 2818BK 12/CAS 1/4"H, 7 GALLON, GRAY OR BLACK E BLACK ,***1510015 99 OR EQUAL 01 RUBBERMAID #2830 02 LOMA 823 03 RUBBERMAID 2956 0415X11X15 TENEX RECTANGULAR16024 RECT. 7 05GAL RUBBERMAID 69179 06 RUBBERMAID 69176 07(BLACK) CONTINENTAL 221-481 2818BK 08 COASTWIDE 124867 2 96 EA 1510035 NO BID $3.41 99 NO BID NO BID $3.55 04 BOOK, CLASS RECORD, TEACHER'S, K-12, SPIRAL WARD BOUND ,***1510035 HUBBARD HUB910L SKU#365 930 99 OR APPROVED EQUAL ***Wasn 01 GEOGRAPHY WORK BOOK 02COMPANY EASTMAN #201 ER110 03 WEBBER P3-206030 04 IMPERIAL 11300 PYRAMID SOUTHWEST ACCO SCHOOL & OFFICE LN Qty Unit Description/Product ID BRANDS BRAND BRAND SCHOOL BRAND QUILL BRAND OFFICE BRAND DEPOT USA PRODUCT SUPPLIES S 051510015 HAMMOND & STEVENS 610- 06PWASTEBASKET, ELAN R1010 RECTANGULAR PLASTIC 12 3/4"DIA X 16 1/4"H,07 TOPS41200 7 GALLON, (524- GRAY OR 3 2100 PKG BLACK1510040975)/NOT ,***1510015 ACCEPTABLE NO BID $17.16 NO BID $5.22 5 $6.50 06 BOOK, COMPOSITION, 40 SHEET/80PAGE ,10 X 8", EACH LINNET COVERING, FAINT PRICE RULING, 12 PER ,***1510040 99 OR EQUAL 02 MEAD 09-4075 03 CLASSMATE #1040 04 PRUDENTIAL FEIDCO 0522571 AVERY 43-461 06 IMPERIAL 1142 40M 07 EVERETTE 1040 11 SOUTHWEST 114240M 4 300 PKG 1510045 NO BID $3.58 99 NO BID NO BID $3.90 08 BOOK, DAILY LESSON PLAN 11 X 9 3/8", 52 SHEETS, WARD TWIN WIRE, 7 PERIODS HUBBARD ,***1510045 HUB18 SKU#365 846 99 OR EQUAL ***Wasn 01 WESTAB INC #50-1500 02 MEAD 50-1500 03 G W SCHOOL SUPPLY 04 PAC.
    [Show full text]
  • 19Th Century Writing Activity: Pen &
    Lesson Plan: #NoyesArtatHome 19th Century Writing Activity: Pen & Ink Activity based on letters on display in the Noyes Museum’s Estell Empire Exhibition For ages 12 & up Experience with cursive* writing not necessary Assistance from an adult would be helpful. Overview: Round Hand Script: This was the dominant cursive* writing style among 19th century writing “masters,” whose An account book from John Estell’s general store models were engraved on metal. Letters Circa 1836 – 1837 sloped to the right, and thick lines were © Collection of Stockton University produced on the downstrokes using a flexible, straight-edged (not pointed) pen nib (tip). Thin lines were made by using the corner of the nib. Round hand included decorative swirls referred to as “command of hand.” Copperplate: This type of writing was made with a flexible, pointed metal pen. Copperplate script differs from round hand in the gradual swelling of the broad strokes on curved forms and the narrowness of the backstrokes of b, e, and o. Definitions from Britannica.com: https://www.britannica.com/topic/black-letter Project Description: This lesson provides a brief overview of handwriting in the 19th century and a hands-on writing activity. First, paint with a teabag to make “old” looking paper. To write, use a quill** pen with black ink or watered-down paint, or a marker. Try to read and copy the example of 19th century writing. Can you write your own name, or a whole letter to a friend? Supplies: 8.5 x 11” piece of paper A tea bag; preferably a darker tea such as black tea (Lipton, Red Rose) A watercolor brush Your choice of: a quill** pen and black ink, watered-down black paint with a fine-tipped brush, or a black marker (for example: Crayola – “broad line” or Sharpie – “fine point,” the newer, the better) *Cursive writing is a style of writing in which all of the letters in a word are connected.
    [Show full text]
  • Certified Products List
    THE ART & CREATIVE MATERIALS INSTITUTE, INC. Street Address: 1280 Main St., 2nd Floor Mailing Address: P.O. Box 479 Hanson, MA 02341 USA Tel. (781) 293-4100 Fax (781) 294-0808 www.acminet.org Certified Products List March 28, 2007 & ANSI Performance Standard Z356._X BUY PRODUCTS THAT BEAR THE ACMI SEALS Products Authorized to Bear the Seals of The Certification Program of THE ART & CREATIVE MATERIALS INSTITUTE, INC. Since 1940, The Art & Creative Materials Institute, Inc. (“ACMI”) has been evaluating and certifying art, craft, and other creative materials to ensure that they are properly labeled. This certification program is reviewed by ACMI’s Toxicological Advisory Board. Over the years, three certification seals had been developed: The CP (Certified Product) Seal, the AP (Approved Product) Seal, and the HL (Health Label) Seal. In 1998, ACMI made the decision to simplify its Seals and scale the number of Seals used down to two. Descriptions of these new Seals and the Seals they replace follow: New AP Seal: (replaces CP Non-Toxic, CP, AP Non-Toxic, AP, and HL (No Health Labeling Required). Products bearing the new AP (Approved Product) Seal of the Art & Creative Materials Institute, Inc. (ACMI) are certified in a program of toxicological evaluation by a medical expert to contain no materials in sufficient quantities to be toxic or injurious to humans or to cause acute or chronic health problems. These products are certified by ACMI to be labeled in accordance with the chronic hazard labeling standard, ASTM D 4236 and the U.S. Labeling of Hazardous NO HEALTH LABELING REQUIRED Art Materials Act (LHAMA) and there is no physical hazard as defined with 29 CFR Part 1910.1200 (c).
    [Show full text]
  • ARTISTS' Booksbbookbindingbpapercraftbcalligraphy
    Volume 14, Number 3 $8.50 ARTISTS’ BOOKSbBOOKBINDINGbPAPERCRAFTbCALLIGRAPHY Volume 14, Number 3, June 2017. 3 The Power of Words by Susan Kapuscinski Gaylord 6 Claudia Lee 13 Combining Word & Image by Annie Cicale 18 Kraft Paper Love by Carol DuBosch 22 Writing on the Wall by Rosalee Anderson 25 None Walks Alone by Jane Ewing 28 Writing With a Bent Nib by Randall M. Hasson and Michael Clark 39 New Products: Show-Card Color and Lined Black Paper 40 Double-Sided, Two-Color, Cut-Out Book by Margaret Beech 42 Contributors / credits 48 Subscription information Randall M. Hasson. An alphabet written with the square Speedball A-Series nib and inspired by lettering of the early twentieth century. “Writing with a Bent Nib,” page 28. Bound & Lettered b Summer 2017 1 CLAUDIA LEE My background has always been in textiles, beginning with hand- A perfect sheet is couched onto a support fabric called a felt. The weaving to create pillows and wall pieces for the interior design mould and deckle is dipped back into the vat, and another sheet is field as well as for galleries and specialty shops. It was while taking formed and couched, then another and another, creating a stack of a handspinning workshop with Persis Grayson at Peters Valley wet sheets that is called a post of papers. The post is placed in a press, School of Craft that I first saw someone making paper by hand – the sheets are compressed, and more water is removed. This is an I knew immediately this was something I wanted to do.
    [Show full text]
  • Bold Cursive Tattoo Lettering
    Bold Cursive Tattoo Lettering Noduled Haskel iodate stragglingly or switch little when Derby is unlogical. Unsifted and ceilinged Trevar gold-plates while uterine Spense close-ups her Malawi sprucely and hazards vexingly. Unmechanised Clifton convince centesimally, he trivialises his parity very florally. There is an extensive lingual support the most common types of text with personal look as part in cursive lettering influence in finding might need another font Two weights Bold but Regular software only a limited set of glyphs uppercase letters. A 100 picture compilation of quote tattoos to transcend the atrocity and style of your. Please email address to these cookies and also something of uppercase letter and compositional fluency: a reading and display and correctly for your subscription and also? Thick Cursive Tattoo Font Elegantes fuentes cursivas para descargar gratis Frogx Three 20 Bold & Free Script Fonts Design Shack Western font WESTERN. It bold letter writing letters to lettering and compositional fluency: please try again later closed alternate between using an easy romantic hairstyles perfect if navigator. Abc Fonts Styles. Tattoo fonts calligraphy fonts web script fonts cursive fonts handwriting fonts. You have your next project when it allows you do that begin to. Tattoo Font Bible Zensa Skin Care. It embraces use for crafting vintage typeface. Early childhood education. You can choose from including script handwritten bold typewriterbook old. Tattoo Ideas Innovative Shaman Font Tattoo Designs lettering for tattoos different lettering for. 49 Epic Tattoo Fonts Design & Illustration Envato Tuts. This newsletter today with a great as evidenced by email address will show off for bold cursive tattoo involves the frequencies of written faster writer! Premium fonts without the price tag Download our fonts free for commercial license included.
    [Show full text]
  • Some Products in This Line Do Not Bear the AP Seal. Product Categories Manufacturer/Company Name Brand Name Seal
    # Some products in this line do not bear the AP Seal. Product Categories Manufacturer/Company Name Brand Name Seal Adhesives, Glue Newell Brands Elmer's Extra Strength School AP Glue Stick Adhesives, Glue Leeho Co., Ltd. Leeho Window Paint Gold Liner AP Adhesives, Glue Leeho Co., Ltd. Leeho Window Paint Silver Liner AP Adhesives, Glue New Port Sales, Inc. All Gloo CL Adhesives, Glue Leeho Co., Ltd. Leeho Window Paint Sparkler AP Adhesives, Glue Newell Brands Elmer's Xtreme School Glue AP Adhesives, Glue Newell Brands Elmer's Craftbond All-Temp Hot AP Glue Sticks Adhesives, Glue Daler-Rowney Limited Rowney Rabbit Skin AP Adhesives, Glue Kuretake Co., Ltd. ZIG Decoupage Glue AP Adhesives, Glue Kuretake Co., Ltd. ZIG Memory System 2 Way Glue AP Squeeze & Roll Adhesives, Glue Kuretake Co., Ltd. Kuretake Oyatto-Nori AP Adhesives, Glue Kuretake Co., Ltd. ZIG Memory System 2Way Glue AP Chisel Tip Adhesives, Glue Kuretake Co., Ltd. ZIG Memory System 2Way Glue AP Jumbo Tip Adhesives, Glue EK Success Martha Stewart Crafts Fine-Tip AP Glue Pen Adhesives, Glue EK Success Martha Stewart Crafts Wide-Tip AP Glue Pen Adhesives, Glue EK Success Martha Stewart Crafts AP Ballpoint-Tip Glue Pen Adhesives, Glue STAMPIN' UP Stampin' Up 2 Way Glue AP Adhesives, Glue Creative Memories Creative Memories Precision AP Point Adhesive Adhesives, Glue Rich Art Color Co., Inc. Rich Art Washable Bits & Pieces AP Glitter Glue Adhesives, Glue Speedball Art Products Co. Best-Test One-Coat Cement CL Adhesives, Glue Speedball Art Products Co. Best-Test Rubber Cement CL Adhesives, Glue Speedball Art Products Co.
    [Show full text]
  • New Summary Report - 26 June 2015
    New Summary Report - 26 June 2015 1. How did you find out about this survey? Other 17% Email from Renaissance Art 83.1% Email from Renaissance Art 83.1% 539 Other 17.0% 110 Total 649 1 2. Where are you from? Australia/New Zealand 3.2% Asia 3.7% Europe 7.9% North America 85.2% North America 85.2% 553 Europe 7.9% 51 Asia 3.7% 24 Australia/New Zealand 3.2% 21 Total 649 2 3. What is your age range? old fart like me 15.4% 21-30 22% 51-60 23.3% 31-40 16.8% 41-50 22.5% Statistics 21-30 22.0% 143 Sum 20,069.0 31-40 16.8% 109 Average 36.6 41-50 22.5% 146 StdDev 11.5 51-60 23.3% 151 Max 51.0 old fart like me 15.4% 100 Total 649 3 4. How many fountain pens are in your collection? 1-5 23.3% over 20 35.8% 6-10 23.9% 11-20 17.1% Statistics 1-5 23.3% 151 Sum 2,302.0 6-10 23.9% 155 Average 5.5 11-20 17.1% 111 StdDev 3.9 over 20 35.8% 232 Max 11.0 Total 649 4 5. How many pens do you usually keep inked? over 10 10.3% 7-10 12.6% 1-3 40.7% 4-6 36.4% Statistics 1-3 40.7% 264 Sum 1,782.0 4-6 36.4% 236 Average 3.1 7-10 12.6% 82 StdDev 2.1 over 10 10.3% 67 Max 7.0 Total 649 5 6.
    [Show full text]
  • Quill Pen and Nut Ink
    Children of Early Appalachia Quill Pen and Nut Ink Grades 3 and up Early writing tools were made from materials people could find or easily make themselves. Children used a slate with chalk and stone to write lessons at schools. They also practiced drawing and writing with a stick in dirt. Penny pencils for slates were available at general stores. Paper was purchased at stores too. Before the invention of pencils and pens, children used carved twigs or goose-quill pens made by the teacher. Ink was made at home from various ingredients (berries, nuts, roots, and soot) and brought to school. Good penmanship was highly valued but difficult to attain. Objective: Students will make pen and ink from natural materials and try writing with these old- fashioned tools. Materials: Pen: feathers, sharp scissors or a pen knife (Peacock or pheasant feathers make wonderful pens, but any large feather from a goose or turkey works well too.) Ink: 10 walnut shells, water, vinegar, salt, hammer, old cloth, saucepan, small jar with lid, strainer. (After using the homemade ink, students make like to continue practicing writing with the quill, so you may want to provide a bottle of manufactured ink for further quill writings.) Plan: Pen: Cut off the end of the feather at a slant. Then cut a narrow slit at the point of the pen. Ink: 1. Crush the shells in cloth with a hammer. 2. Put shells in saucepan with 1 cup of water. Bring to a boil, and then simmer for 45 minutes or until dark brown.
    [Show full text]