Book Description
In an age of myriad computer fonts and instant communication, your handwriting style is increasingly a very personal creation. In this book, Margaret Shepherd, America's premier calligrapher, shows you that calligraphy is not simply a craft you can learn, but an elegant art form that you can make your own.
Calligraphy remains perennially popular, often adorning wedding invitations, diplomas, and commercial signs. Whether it is Roman, Gothic, Celtic, Bookhand, or Italic style, calligraphy conveys class and elegance. Margaret Shepherd makes this ancient art form accessible in a completely hand-lettered technical guide that will:
* Provide context for calligraphy as an art, exploring the rich tradition of hand-lettering and mapping the evolution of the most popular styles.
* Give detailed technical advice on choosing pens, paper, and inks, setting up your workspace, mastering various pen angles, along with step-by-step illustrations to guide you as you practice.
* Explain which alphabets are appropriate for different forms of writing. For example, the Roman alphabet works well for short, unpunctuated passages, while the Italic alphabet is more suited to informal everyday communication.
* Encourage you to personalize your lettering by using variant strokes and interpreting how you would like the words to look on the page.
* Inspire you with carefully chosen illustrations and examples, which bring letters to life.
In Margaret Shepherd's own words, "Calligraphy trains not only your eye and hand, but your mind as well."
Learn Calligraphy is the authoritative primer for this age-old craft, and will help develop a new appreciation for lettering as you discover your creative personality.
Customer Reviews:
Art in hand writting.......2007-09-19
Margaret Shepherd has written many books about this subject (Calligarphy), this is special because include a sort of recomendations for students.
I really enjoyed this book.
Good buy.......2007-06-06
This book is excellent. When I received my book, I started to practice for 1 week and now my handwritting is pretty.
Great Author, great books.......2007-04-14
I was really having a hard time picking out calligraphy how to books so i went to the book store. unfortunately they do not have a lot to choose from, at the second store i found a better selection and found Margaret Sheperd's books. Wow, great books and great way to learn, she has a funny side to her and this book is incredible, not only do you learn you have fun doing it. i also saw a few more books in her name. Unfortunately i didn't have very much time to look at them all and i cant wait to go back to see the rest. I am thinking of picking up all her books.
I think this is the best of the starter books. Very easy and a fun read too!
Cheryl
Response with gratitude.......2005-05-26
I am the author of this book and just want to respond that I agree with the very critical reviewer who felt strongly that Copperplate should have been included. I wish so too. But it would need a whole other set of supplies and hand positions. Copperplate comes along much later, and is really outside the main core of the broad-pen historic hands. Maybe some day!
To respond to Gary Bisaqa's review, I agree and I have covered the business end of calligraphy as a free-lance job, in a whole other book, Calligraphy Projects for Pleasure and Profit.
I wrote this, like all my other books, because I wish I'd had such a book when I started out. Thank you to others who wrote in to say that it helped them start out too.
Excellent book for learning.......2003-06-10
I am learning calligraphy and have looked at a number of books on the subject. This book is almost perfect. She gives you so much more than alphabets: key exercises to do before you start the alphabets, typical beginner's problems (most of which I have experienced!), practice pages you can reproduce. Her sections on swashes and "accessorizing" Gothic capitals are also wonderful - what had always seemed highly mysterious to me turns out to be a matter of combining building blocks, creativity, and - who would have thought - a lot of fun.
One thing she does not do is to cover every hand imaginable. There are lots of books like that out there. Rather, she only covers a small number of hands, but covers them very thoroughly, with a special eye to us novices. For example, once I got the basic hands down, I found one of my main problems was spacing the letters. Nothing looks worse than inconsistent horizontal spacing. She gives good coverage to this important issue, for example suggesting that you step back and look at it from a distance. Try it - if you're a novice, you'll be surprised at how different (and maybe bad) it looks.
I also very much enjoy the samples of projects that she shows as examples of how to apply each hand. In this she highlights the talents of (I assume) her friends, and it adds to the book. Looking at alphabet after alphabet as is done in typical calligraphy books, you don't get a good feel for how you'd use each one, and variations you can apply. Her other book "Calligraphy Projects for Pleasure and Profit" (which I also have) gives you lots more along these lines, but the ones in this book are different and I find them just as valuable.
I even like the way she letters the whole book in her (what she admits is slightly idiosyncratic) italic hand. You want examples - there's a whole book-length example. I don't agree with the other reviewer that this detracts from the book. It's as if she does it because it's fun - an important thing to remember when you're doing the drudgery of straight lines or circles.
The only tiny drawback, if it is one, is that the book doesn't contain a lot that is good to know about techniques of setting up a drawing table, selling, etc. For that (as well as an excellent chapter on type design by Hermann Zapf himself), the book "Calligraphy and Illumination" provides more than you ever wanted to know. I don't think that book replaces this one, however. I find Margaret's explanations well worth the small amount this book costs, and she is much more complete. She'll even autograph it for you (see her web site for details).
This is a wonderful book that every calligraphy student should have. If you can only have one, this is it.
Average customer rating:
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Sultan Ibrahim Mirza's Haft Awrang: A Princely Manuscript from Sixteenth-Century Iran
Marianna Shreve Simpson
Manufacturer: Yale University Press
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ASIN: 0300068026 |
Customer Reviews:
of turk art.......1999-02-10
I'm student and I have very intrese for the ottoman art for islamic. the miniature of this kultur ýs very nice.
Book Description
Scrapbookers will discover more than 15 new alphabets created by the nation's top scrapbook lettering artists as well as find the favorite lettering styles from Memory Makers over the past five years. With styles ranging from elegantly classic to cutting-edge creative, there's sure to be a font to suit every scrapbook project.
Every lettering style is featured on a completed scrapbook page and the book is designed to make it easy for scrapbookers to photocopy or trace the alphabets for use in their own albums. In addition, the book includes a multitude of ways to personalize and customize the lettering styles using torn paper, beads, chalk and more. Every scrapbooker can use these stunning alphabet styles to create page titles that pop!
Customer Reviews:
Best variety of draw-it-yourself alphabets for scrapbookers.......2003-06-11
This book is relatively new on the scrapbooking scene, but already I find myself pulling it off the shelf frequently. It is great to be able to create my own titles in the ideal lettering styles, sizes and colors for each page, rather than having to rely on letter stickers and die cuts.
Scrapbook Lettering starts with a short, helpful introduction that runs through basic tools and techniques, then illustrates the process of freehand lettering. The main body however is devoted to the 50 alphabets. Each font has a two-page spread devoted to it that features its use in sample layouts. The authors are very thorough about explaining the simple techniques you will use to draw each alphabet yourself. Suggested theme pages that go particularly well with the alphabet are included, along with variation ideas & tips. I love the last ten alphabets, which are organized chronologically according to which decade they best complement ý great for those heritage pages!
Hereýs what I discovered after practicing with other creative lettering books: the font styles that can be ýfleshed outý from a basic outline alphabet tend to have a fun, casual feeling to them, but quickly run out of designs for more formal titles and pages. The impressive thing about Scrapbook Lettering on the other hand is that the alphabets are designed by about 20 different published lettering artists, so there is enough style variety that you can match a font to suit any page from wedding albums to baby books. You can draw more than half of them completely freehand; with the rest you will need some help from photocopiers, grids or some tracing paper in order to accurately transfer the lines and maintain the precise look of the fancier fonts.
Some scrapbookers, who are used to completely freehanding the more casual styles of other lettering books, may feel that this is too much trouble to go to for a page title. My advice would be not to give up so easily on your artistic instincts! I think that if you find a more technically involved alphabet that you think would put the perfect finishing touch on your memory page, you should invest the little extra effort it will take to transfer it with grid paper or enlarge with a photocopier first. It will be worth it.
-Andrea, aka Merribelle
Customer Reviews:
More Confusion on Chinese Writing.......2005-09-12
Trying to learn Chinese calligraphy, alone, from a book, is probably akin to trying to learn martial arts or ballet from a video or DVD - perhaps useless, potentially dangerous. Yet the book still deserves credit on the principle that in remote lands, a poor map made by a foreigner is better than no map at all. In fact, there is an apparent gap in the literature in English on this subject: a perusal of copious material available at Shanghai Foreign Language Bookstore on Fuzhou Rd reveals nothing any better. There is simply no authoritative English reference.
In any case, there are numerous points of contention within this book, concerning the presentation of basic strokes, composite strokes, stroke ordering rules, etc. The author presents the `basic' strokes as follows:
heng2, shu4, pie3, na4, tiao3, dian3, gou1, zhe2
The author presents tiao3 as a basic stroke. The stroke he is evidently describing is referred to elsewhere in the literature as ti2: `an upwards diagonal character stroke, rising from left to right; or a lifting brush stroke in painting'. In no other reference can I find this stroke named as tiao3.
The author presents gou1, `a hook stroke appended to other strokes', as a basic stroke with four variants. A hook stroke can definitely be appended to the basic strokes heng2, shu4, pie3, such that these strokes exist in `unhooked' and `hooked' variants. But as noted in other references, gou1 can also be be used to create wan1 gou1 `bent hooked', xie2 gou1 `slanting hooked', and wo4 gou1 `crouching hooked' as valid composite strokes, as well as heng2 zhe2 gou1, heng2 zhe2 wan1 gou1, heng2 zhe2 zhe2 gou1, shu4 wan1 gou1, shu4 zhe2 zhe2 gou1, heng2 zhe2 xie2 gou1, etc, which brings the number of variations to a dozen or more.
The author presents zhe2 `to fold, to turn' as a basic stroke with two variants. The author ignores wan1 `bend, bent', and xie2 `slanting', which are also used to describe direction or directional changes in composite characters, but with an obvious visual difference from zhe2. A useful visual comparison of the composite strokes (a) heng2 zhe2 heng2, (b) heng2 zhe2 heng2 wan1, (c) heng2 zhe2 heng2 zhe2, and (d) heng2 zh2 heng2 zhe2 should make the differences obvious. In fact, the two variants the author discusses are heng2 zhe2 and shu4 zhe2. These are only two of numerous uses of zhe2 in composite strokes. Other `variants' of zhe2 include: heng2 zhe2 ti2, heng2 zhe2 heng2, heng2 zhe2 heng2 wan1, heng2 zhe2 heng2 zhe2, heng2 zhe2 gou1, heng2 zhe2 zhe2 pie3, heng2 zhe2 wan1 gou1, heng2 zhe2 zhe2 gou1, heng2 zhe2 xie2 gou1, shu4 zhe2 zhe2 gou1, etc.
The author dismisses the study of composite strokes as unnecessary:
"These composite strokes can be seen as combinations of the eight basic strokes, and it is not really necessary to practice them separately."
This is nonsense.
The models or example characters the author provides for his basic strokes consistently use basic strokes not yet studied, and composite strokes, which the author dismisses as unworthy of study. For example, like every other book on Chinese calligraphy, the author presents the character yong3, meaning `forever', as a model for studying the basic strokes, but glosses over the composite strokes used in yong3.
In fairness, the literature in English on Chinese calligraphy is inconsistent, contradictory, confusing; and Bjorksten's book is a cut above the sorry lot. But it's discouraging to think that by following Bjorksten's method of practicing basic strokes over and over again, with no feedback from a teacher, that one may be ingraining incorrect knowledge and technique.
Insightful presentation.......2005-03-05
First, I have now been studying Chinese for about 4 years, and this was an early book I got cheap from a used book store. I have changed my mind about it several times over the years. The discouraging part of the book is indicating how many times you would need to practice a character to get good at it. In the beginning, this was definitely true becasue a newbie simply cannot understand the important parts of a character and the relative alignment of strokes. As you acquire more characters, it becomes clearer what is important within the character.
In the beginning, this is tough. You need to write them again and again until your hand moves fluidly, not haltingly. This book gives you directions to achieve this, and key pieces (or parts) of strokes that will distinguish your writing from a first grader. There a fixed number of actual strokes, the difficulty is this relative positioning that's the killer.
The book is short, but gets to the point. I would have preferred larger and more examples, but he nevertheless gives you what you need.
The issue of stroke order has arisen. In my Chinese class, the native-born instructor says we should not obsess on stroke order. BUT it is important. I find that it is easy to correct an order, less easy to recognize characters in beautiful balance. This book helps.
So, do I write well. My teacher says I need more work. A ball point pen or pencil does not emulate a brush very well. The book focusses on that. I still think the book in less focussed on "calligraphy" vs. good character writing. Calligraphy is much more than writing characters accurately: it's an art form usually deviating from a standard printed/written character. This book focusses less on the art form, and more on the appearance and quality of a character. A western analogy: the book improves printing, not cursive script.
I really like the book. Before you can do calligraphy, you must be able to write characters in the regular way. [That segment in "Hero" on calligraphy was excellent!]
Get the book now, before you develop bad habits.
Very Interesting.......2004-03-18
This book was quite helpful by helping one to gain a better understanding of the background and make-up of Chinese characters which helps one to better appreciate both their historical and aesthetic value. I definitely recommend this book for anyone who wants to seriously learn about Chinese characters.
Not a primer, but good in its own right.......2004-02-04
I'm learning Chinese as part of my major and wanted a good book on characters, specifically for things like stroke order, and picked this up expecting it to be a practical tutorial on how to write basic Chinese characters. What it actually is is more of a guidebook for calligraphy. Now, as that, it is very good. The author definitely conveys the mindset one needs to be a skilled calligrapher, and gives great step by step instructions on how to write well. For that, I don't regret picking this up. However, if you, like myself, are more concerned with learning how to write the 2000 or so most used characters towards the end of being functionally literate in Chinese, this is not the book to purchase. It would be something like teaching calligraphy to kindergarten students. Also, the stroke order illustrations for the characters towards the end of the book, while representing commonly used characters, are really small, and presume that you've gone through the prior half of the book as recommended, that is practicing each stroke for a half hour a day until mastered. If you're learning calligraphy for it's own sake, or just have lots of time, this is great. If however you need to develop a functional writing ability in Chinese relatively quickly, I would personally recommend buying another book first and coming back to this.
Do Not Try This At Home (without this text!!).......2002-11-26
I have just started learning to write Chinese characters and THIS is the holy grail of beiginners' books. I looked through many listmania and reviews on Amazon.com's site (thank you ALL!) and decided to start with this primer. As a hands-on learner, I know now why it has been recommended so highly by those who teach, speak, or are just learning the Chinese language.
I am reminded of the first days in school when we had to practice writing our ABCs on a tablet with pencil. We wrote those damned letters over and over again, didn't we? The teacher stood at the blackboard and showed us the best way to make the lines and the order of the "character's strokes."
This book is the Mrs. Hatfield of my first grade class in Chinese. Each stroke is shown carefully. Each stroke is also shown when it is not written correctly and gives the "name" of the error (eg. "fish hook, etc.)
Tao only knows how a Swedish author conceived of and wrote such a wonderful primer to the language. It makes sense, however, that a person whose first language is NOT Chinese would be so specific about the right and wrong way to hold the pen, use the correct posture and table angle, and keep "between the lines."
I don't get too hard on myself when I can't make a character look the way they does in the book. I look back at how I wrote my name in first grade and now understand the true meaning of "penmanship". The author urges the learner to practice each stroke at least one hundred times until you go on to the next stroke. Add them together and you get a beautiful character. Don't practice each stroke individually over the course of days and many sheets of paper, and the character resemble the rough letters I wrote in my first grade homeworlk.
DO NOT attempt to do this at home (learn to write Chinese characters) without this very important primer. It is invaluable, extraordinary, and shows a great deal of thought and study by the author and those who assisted him in compiling this material. I do my 100 + strokes a day. I don't jump ahead and do what I thought I could do -- "Oh that character looks easy, it's just an upside down Y."
I know this edition will get dog eared and I will probably buy another to replace this text. It has no equal. Aside from the friends in China who supported me and applaud me for learning their language, this small text tells me that I CAN learn a language and fulfill a longtime dream. Hurrah! and thank you, Mr. Bjorksten.
from Lodro Dawa, my Buddhist nickname.
(Someday I will learn to write it AND learn its lesson for wisdom in this lifetime.)
Book Description
Comic Book Lettering the Comicraft Way by Richard Starkings and John 'JG' Roshell
Because You Demanded It! 64 pages of comic book lettering tips and tricks from the award-winning Comicraft studio. This full color step-by-step guide is superbly illustrated with two HIP FLASK strips: one created by Kurt Busiek & Stuart Immonen and the other by Jeph Loeb & Ian Churchill.
64 Full Color pages, cover by Brian Bolland
Average customer rating:
- The Book of Kells: informing and illuminating
- The Book of Kells: An Illustrated Introduction
- Darkness into Light
- awesome pictures, horrible writing
- "The most precious object in the western world"
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The Book of Kells: An Illustrated Introduction to the Manuscript in Trinity College Dublin
Bernard Meehan
Manufacturer: Thames & Hudson
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The Book of Kells
ASIN: 0500277907 |
Customer Reviews:
The Book of Kells: informing and illuminating.......2007-09-30
The Book of Kells is one of the most beautiful manuscripts in existence. This booklet enables those of us who are unlikely to ever see the real manuscript to feast our eyes on many of the illustrations as well as to learn a little of its history and preparation. Most of the illustrations are in colour and their vibrancy is still apparent across 12 centuries.
I consider that this booklet is worth acquiring for the illustrations alone. It also contains a lot of useful information for those interested in the physical preparation of such manuscripts as well as the underlying historical significance of this particular manuscript.
Highly recommended.
Jennifer Cameron-Smith
The Book of Kells: An Illustrated Introduction.......2007-01-13
The book was just what I was expecting. Shipping was quick.
Darkness into Light.......2005-08-25
I was glad I had this book along with me when I went to see the real Book of Kells at the Trinity College Library in Dublin. The lines of tourists waiting to view this famous eighth century manuscript were about a quarter of a mile long, and the museum proctors were really hustling us through the area where a small sampling of pages were actually on view.
(If you take the tour, be sure to check out the main chamber of the Old Library with its first editions of Newton and Darwin, plus the harp that is (alas, falsely) attributed to Brian Boru, high king of Ireland).
The first facsimile of the Book of Kells was published in 1974, and although this book only advertises itself as 'an illustrated introduction to the manuscript...' it contains good color plates of many of the most famous pages, e.g. the symbols of the four evangelists and the beginning of the 'Breves causae' of Matthew, among others.
Author, Bernard Meehan, the current Keeper of Manuscripts at Trinity College states that "the sacred text itself was copied in the Book of Kells with a remarkable degree of inaccuracy." It consists of the Latin text of the Gospels, illuminated in the very ornate Hiberno-Saxon style ('Hiberno' refers to the Irish, or Hibernians).
Legend has it that the Book of Kells was produced by St. Colum Cille on the island of Iona off western Scotland. Although it was probably begun in the Irish monastery on Iona, it was taken to the monastery of Kells in County Meath, after a series of Viking raids. The monastery on Iona was pillaged in 795, and again in 802. According to the author, "In 806, sixty-eight of the community were killed in another raid. The following year, the survivors migrated to Ireland and began to erect conventual buildings at Kells..." where the illumination of the manuscript was probably completed.
If you are interested in the historical background of the Book of Kells, the author devotes a whole Appendix to it.
Alas, according to this book's second Appendix, "Losses, Additions and Marginalia," the Book of Kells has not remained intact down through the centuries. "At present there are 340 folios, but around thirty folios, including some major decorated pages have been lost." The monks also used blank spaces in the manuscript to record details of property transactions in the late eleventh and twelfth centuries.
Meehan's book is definitely worth viewing and reading. It also contains a wealth of the smaller decorative illustrations that do not always relate to the sacred text, e.g. hares, dogs, horses, and at least one moth. The color and minute details of these decorations are a source of endless fascination, and the scholarly text, although a trifle dry, is also very interesting.
awesome pictures, horrible writing.......2005-05-16
I like how the author gives various images of the book of kells, but gets really confusing and goes all over the place while writing about it. I think a lot could be learned from this book, but the author crams so many examples into the work that it starts to get annoying. Ever line seems to have parenthesis around something and folio this or that. For that alone i give the book two stars, multiple examples are good, just not when you plague every line with one. It hardly gives the reader a chance to understand the first few.
"The most precious object in the western world".......2002-12-01
Resting at Trinity College Dublin is one of the truly singular products of early European art. This is 'The Book of Kells,' an ornately illuminated rendition of the four gospels, rendered sometime in the Ninth Century. It has been both an influence and an inspiration since the time of its making, illustrating both the story it tells, and the subtle mind of symbolists who wove the story and the art together.
One of the key problems the student of illustrated art suffers in any attempt to study 'The Book of Kells' is the simple matter of access. I believe that the replica edition of the book cost nearly $20,000 when it was published, and most other resources limit themselves to only the most famous of the pages. Only a few detailed studies exist, and this one, written by Bernard Meehan (Keeper of Manuscripts at Trinity College), is one of the best, both in terms of quality and quantity of reproduction as well as a literate and thorough discussion.
Meehan covers the book's history, influences and parallels, the decorative scheme, and many of the decorative themes used by the illuminators. He also spends time on the more technical aspects of ink and paper. He does this in a pleasant, straightforward yet academically thorough style that is often a fount of information. Where he does not go himself, he provides indications of other possibilities for research and thought. Meehan's agenda is simply to present one of the wonders of human creativity for all to see and enjoy, and he succeeds admirably.
Average customer rating:
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Women as Scribes: Book Production and Monastic Reform in Twelfth-Century Bavaria (Cambridge Studies in Palaeography and Codicology)
Alison I. Beach
Manufacturer: Cambridge University Press
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Book Description
Alison Beach's book on female scribes in twelfth-century Bavaria is based on the belief that the scriptorium was vital to the intellectual revival of the Middle Ages and that women played a role in this renaissance. Beach's focus on manuscript production at three rather different religious houses, and the religious, intellectual, social and economic factors which influenced that production, enables her to draw wide-ranging conclusions of interest to palaeographers as well as others interested in religious and gender history.
Book Description
Illuminated manuscripts survive in great numbers from the Middle Ages. They are often beautifully preserved, enabling us to appreciate the skilled design and craftsmanship of the people who created them.
Christopher de Hamel describes each stage of production from the preparation of the vellum, pens, paints and inks to the writing of the scripts and the final decoration and illumination of the book. He then examines the role of the stationer or bookshop in co-ordinating book production and describes the supply of exemplars and the accuracy of texts. He follows the careers of a number of specific scribes and illuminators who emerge not as anonymous monks but as identifiable professional lay artisans. He also looks at those who bought the completed books, why they did so, and how much they paid.
His survey ranges from the eleventh century through the golden age of the thirteenth and fourteenth centuries to the luxurious manuscripts existing at the invention of printing.
Customer Reviews:
A nice introduction to manuscript production.......2004-02-16
Christopher De Hamel's, Scribes and Illuminators is a short book, replete with illustrations, that I read in a single session. It is strictly an introduction rather than a scholarly work. Some topics are covered in more detail than others - the technique of illumination has more coverage than the selection and creation of miniatures or marginalia. The illustrations, in the main, are from medieval manuscripts and depict both the scribe/illuminator at work and examples of finished, and unfinished, pages. The pictures of unfinished pages are particularly useful in illustrating how the scribes and illuminators worked. There are some photographs of the tools used in manuscript production, but a few more would have been nice - especially of the frame used to sew the quires together. Some interesting facts embedded in the text are: parchment tended to curl toward the hair-side of the page because it shrank more, there were a significant number of women scribes, scribes would write around holes made accidentally during the creation of the parchment. Despite the brevity De Hamel manages to cover nearly the whole of manuscript production. And in that light the book is worth reading. However, if you are interested in the minute details of binding, calligraphy, miniatures, marginalia, and/or the tools of the trade you would be better off reading a different book.
Only Buying One Book on this Topic? Get This One!.......2000-07-02
Like all this series, this book is a real gem. Clearly written, interesting, informative, with a fine selection of pictures (most in colour), it's truly amazing how much it covers in a small book. Particularly useful are the contemporary illustrations of scribes and painters at work, showing such details as a scribe's sloping desk with holes to hold his quills and inkhorn (cover illustration). The whole construction of a medieval book is explained, from makig the parchment to the final cover. Examples of unfinished manuscripts, not shown in facimile books, provide fascinating insight into the whole production process. The inclusion of charming pictures such as the self-portrait of a scribe and his apprentice, cursing a mouse running off with the the cheese from their lunch table, brings the lives of these workers into immediate and human detail.
If you are only going to get one book about medieval scribes and illuminators, this is the one to buy.
Book Description
The ancient art of illuminating manuscripts is currently attracting many new enthusiasts among artists, art students, and lovers of calligraphy. The Bible of Illuminated Letters is a volume they'll all want to add to their collections. It presents step-by-step instructions for recreating twelve illuminated alphabets. Among them are Celtic, Saxon, Gothic, Romanesque, Modern Revival, and seven more, including several modern scripts. Detailed diagrams instruct on creating upper- and lower-case letters, as well as on ways for designing borders and decorations. More ambitious students can also follow clear directions for gilding—decorating with gold leaf—as was originally done in medieval European monasteries. Readers and students of illumination who open this book will find: a history of illumination; required tools, techniques, and materials for illuminating; instruction in layout and design; and steps to follow in order to create 12 alphabet styles. This beautiful book also features a picture gallery of outstanding historical and contemporary illuminated letters, as well as a glossary and index. More than 400 inspiring color illustrations in total.
Customer Reviews:
Great book for intermediate "scribes".......2007-04-14
I wish I could recommend this book for complete beginners, but I can't. Some of the techniques in this book will require lots and lots of practice (as it did me) to get up to speed. You can't just jump right in and turn out a beautiful illuminated manuscript on the level of "The Book of Hours".
To get going, I'd purchase a learning book on the art of calligraphy (which is plenty of fun on its own, and beautiful to boot!) with lessons, otherwise you'll wind up in the position of creating a nicely illuminated letter and the botch the calligraphic text, losing all your hard work. By all means, get this book to add the beautiful finishing touch of illumination to your work once you're happy with your writing.
In all, this book covers what you'll need to start illuminating, the techniques and pitfalls you'll meet along the way, some calligraphy techniques, and the styles of illumination from Gothic to contemporary.
Awesome.......2006-08-08
This book offered great examples of many different lettering styles. Also, they showed all of the products that you need, for simple and elaborate projects. Most importantly, this book showed how to set up the calligraphy pen, which was the hardest part for me. I would highly recommend this book to those interested in learning how to write with illuminated letters. Also, the book had great color pictures, and even a little history.
With modern examples in full color.......2006-07-22
Plenty of books describe the literature and art of illuminated letters but few provide instructions for recreating illuminated alphabets from six historical periods, as does THE BIBLE OF ILLUMINATED LETTERS. Each section explores how these letters can be adapted to create a personal style, with modern examples in full color enhancing step-by-step color photos of production.
Diane C. Donovan
California Bookwatch
Excellent!.......2006-07-19
This is a step by step guide on how to illuminate letters, from the basic supplies needed to the finished product, with chapters on letterforms popular by century. Very informative and inspiring, easy to understand, with lots of pictures. Once you own it, you will never lend this to anyone! A fabulous addition to the artist's library...
Book Description
OPULENT REPRODUCTIONS OF ILLUMINATED MANUSCRIPTS SPANNING 12 CENTURIES
This oversized and magnificently printed tour de force contains examples from 167 of the most dazzling and significant illuminated manuscripts in existence. Presented in chronological order, each reproduction illustrates a one-of-a-kind painting originally created for the church, for royalty or for the wealthiest private benefactors. Although the focus is on European manuscripts (French, Dutch, German, Italian, English and Spanish), nearly two dozen examples have also been included from Persia, Turkey and India - cultures with their own rich traditions of exquisite miniature painting.
The highly readable text is both factual and informational. Each entry provides the date and place of origin, format, content, name of miniaturist, number of illustrations, owner and provenance for the featured manuscript. Enriching the facts are essays describing the circumstances of the commission, description of the technique, history of the workshop from which it came, and much more.
CODICES ILLUSTRES is an unparalleled reference, but also an irresistible story book, revealing to the reader the significance of imagery used, and sharing fascinating facts about the painters who created these treasures and the patrons who were lucky enough to possess them.
A thirty-six page appendix contains biographies of the artists, an extensive bibliography, an index, and a glossary in which the technical terms used in the book can quickly be found. Flanking the page numbers are charming characters and symbols taken from the manuscripts, providing a witty decorative grace note to what is already an embarrassment of riches. Of special note; a fifth color - gold - was used in the printing of two hundred and twelve pages of CODICES ILLUSTRES. This complicated and costly process is the only way to genuinely reproduce the lavish gilding used in so many medieval manuscripts and the book wouldn't be the same without it.
CODICES ILLUSTRES is an essential addition to the library of anyone with an interest illuminated manuscripts, medieval art, and the history of books before the invention of printing.
**Hardcover with Vellum Dust Jacket
Customer Reviews:
A joy to hold and behold.......2006-12-14
Illumination has fascinated me since I was a boy. This is the best book I have seen of illuminations. The scope includes books in Greek, Latin, Old Church Slavonic, Persian, and Mayan. The printing is superb. Detailed descriptions tell who did the work, who patronized it, who owned the book, where it is now, and so forth. Great for browsing for enjoyment and as a source of inspiration. I expect this book to be a favorite for many years to come. Anybody who enjoys calligraphy and illumination would be delighted to own this book.
One of the coolest books I own!!.......2006-07-06
This book is worth every penny! It has fantastic HUGE pictures full of great detail. As an artist who specialises in ancient illuminated manuscripts, I value this book above all others in my personal library. So many great manuscripts are represented here. Truely high art!
A great book on medieval illumination.......2005-11-11
This book deserves a seven stars score, as it is magnificent in every sense: Paper, Colour palette reproduction, basic and reliable information accompanying every depicted facsimil, and specially because of the scope of the compendium, involving manuscript examples from arabic countries as well as a XIII century mexican manuscript (The Borgia Codex currently held at the Biblioteca Vaticana) This collection shows (as rarely done by supossedly comprehensive treatises) that Mesoamerican, Chinese and Arabic cultures do also possess a very rich medieval heritage, characterised by a colourful tradition in art production. I strongly recommend this book for anyone interested in Medieval illumination, as well as for those modern illuminators concerned with applying only authentic medieval colours (mostly inorganic compounds) in their manuscript reproductions and finally, this book serves also as a comprehensive guide for visiting great libraries and museums all around the world where some of these manuscripts are exhibited (Do not forget to visit the Condé Museum and The Marmottan-Monet Museum in France).
A magnificent, unwieldly place to begin.......2002-12-04
For those interested in the sheer beauty of medieval illumination, this book is a wonder. Color repro values among the best I've seen, and the range of both period and style is superb. The huge size and great weight are the only reasons this did not get 5 stars - it is so big that I clamp it in my portable easel when I'm using it as an exemplar.
For those, like me, who also do illumination as a hobby this book offers a good range of exemplars of very high caliber. Just remember that this represents the best of many times and places, and don't be intimidated by the quality of the work displayed here. Codices Illustres is big enough to be a coffee table book, but is serves much better as a reference in the scriptorium.
YIS,
THL Ragnar Ketilsson
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