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Add a note of elegance to countless graphic arts and craft projects with 166 black-and-white designs depicting lovely swirls and curlicues reminiscent of 18th-century pen flourishes. Designed by Kiyoshi Takahashi, these copyright-free motifs will add a delicate touch to ads, newsletters, posters, scrolls, certificates and more.
Blending the old and the new . . . the elegance of eighteenth-century pen flourishing, replete with elaborate swirls and curlicues, and the precision of modern graphic design, boasting clean lines free of feathering, blotting, and other irregularities . . . in this spirit, artist Kiyoshi Takahashi offers this collection of 850 original calligraphic ornaments. Created in response to the recurring needs of his own design studio, Mr. Takahashi's expertly drawn, top-quality ornaments include delicate calligraphic swirls, scrolls, frames, borders, cartouches, and other design elements suitable to any number of commercial and crafts uses. They lend decorative flair to menus, posters, bookplates, stationery, honorary scrolls, and certificates, and are ideal for enclosing, enhancing, or drawing attention to advertising copy or any other graphic message. Two pages of examples show just how well these ornaments can embellish modern typography. And, best of all, Mr. Takahashi's ornaments are readily usable and completely copyright free. Commercial artists, graphic designers, illustrators, craftspeople, and calligraphers will appreciate this collection of 850 precisely rendered modern ornaments recalling the graceful pen flourishing of the eighteenth century.
Arthur Baker's first collection of original calligraphic broad pen designs, including horizontal elements, arrows, pointing hands, brackets, frames, ovals, swirls, spirals, flowers, hearts lozenges, circles, birds, fish and other ornaments and flourishes. Design elements are suitable to any number of commercial and personal craft uses, and are readily usable and copyright-free.
Featuring the timeless elegance of swirls, curves, and flourishes of calligraphic illustration, this collection features 378 black-and-white angels, animals, abstracts, and other motifs, all chosen from vintage sources.
Handy archive of royalty-free typefaces ideal for ads, signs, menus, etc. Calico Casual, Designer Raleigh, Easter Gothic, Galaxy One, many other fonts. Use with any copier for an endless source of condensed type.
"Beginner's guide to materials and techniques for learning to do calligraphy. Includes instructional DVD-ROM"--Provided by publisher.
Graphic artists, illustrators, and craftspeople will welcome this treasury of beautifully engraved ornate frames, scrollwork, and other highly decorative designs — 800 in all — reproduced from an extremely rare mid-19th-century style book. Comprising 142 plates, the volume features a lavish assortment of ornaments, bedecked with flowers, mythological creatures, and other fanciful touches, all beautifully rendered in meticulous detail. Other striking designs incorporate a rich selection of classical columns, plus heraldic designs — shields, coats-of-arms, seals, and insignias from Austria, Russia, Denmark, France, and many other countries — for a touch of medieval flair or aristocratic ambience. In addition, this collection offers a variety of charming calligraphic alphabets in styles ranging from plain to majestic. An invaluable source of inspiration and a treasury of designs for permission-free use, these distinctive images are ideal for enhancing such print projects as ads, brochures, newsletters, posters, signs, catalog copy, and much more.
Illustrates 110 complete alphabets in various type styles in capital letters, and includes sixteen complete lower case alphabets, and seventy sets of numbers and other symbols.
Now back in print, “the ultimate book-lover’s gift book” (Los Angeles Times) In 1561–62 the master calligrapher Georg Bocskay (died 1575), imperial secretary to the Holy Roman Emperor Ferdinand I, created Mira calligraphiae monumenta (Model Book of Calligraphy) as a demonstration of his own preeminence among scribes. Some thirty years later, Ferdinand’s grandson, the Emperor Rudolf II, commissioned Europe’s last great manuscript illuminator, Joris Hoefnagel (1542–1600), to embellish the work. The resulting book is at once a treasury of extraordinary beauty and a landmark in the cultural debate between word and image. Bocskay assembled a vast selection of contemporary and historical scripts for a work that summarized all that had been learned about writing to date—a testament to the universal power of the written word. Hoefnagel, desiring to prove the superiority of his art over Bocskay’s words, employed every resource of illusionism, color, and form to devise all manner of brilliant grotesques, from flowers, fruit, insects, and animals to monsters and masks. Unavailable for nearly a decade, this gorgeous volume features over 180 color illustrations, as well as scholarly commentary and biographies of both artists to inspire scholars, bibliophiles, graphic designers, typographers, and calligraphers.
Over the last forty years, graffiti and street-art have become a global phenomenon within the visual arts. Whilst they have increasingly been taken seriously by the art establishment (or perhaps the art market), their academic and popular examination still remains within old debates which argue over whether these acts are vandalism or art, and which examine the role of graffiti in gang culture and in terms of visual pollution. Based on an in-depth ethnographic study working with some of the world’s most influential Independent Public Artists, this book takes a completely new approach. Placing these illicit aesthetic practices within a broader historical, political, and aesthetic context, it argues that they are in fact both intrinsically ornamental (working within a classic architectonic framework), as well as innately ordered (within a highly ritualized, performative structure). Rather than disharmonic, destructive forms, rather than ones solely working within the dynamics of the market, these insurgent images are seen to reface rather than deface the city, operating within a modality of contemporary civic ritual. The book is divided into two main sections, Ornament and Order. Ornament focuses upon the physical artifacts themselves, the various meanings these public artists ascribe to their images as well as the tensions and communicative schemata emerging out of their material form. Using two very different understandings of political action, it places these illicit icons within the wider theoretical debate over the public sphere that they materially re-present. Order is focused more closely on the ephemeral trace of these spatial acts, the explicitly performative, practice-based elements of their aesthetic production. Exploring thematics such as carnival and play, risk and creativity, it tracks how the very residue of this cultural production structures and shapes the socio-ethico guidelines of these artists’ lifeworlds.