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Bryan Nash Gill’s relief prints made from slices of ash, willow, and honey locust trees, respectively. See more of this body of work in Woodcut, available now.
Bryan Nash Gill’s relief from his book Woodcut #papress
Engraving Workshop at powerHouse Arena
Water and Main Streets, DUMBO, Brooklyn
Monday, September 24, 7–9pm
Join The Complete Engraver author Nancy Sharon Collins for a hands-on workshop investigating the history and etiquette of engraved social stationery. Emerse yourself in the almost forgotten world of vintage lettering styles, monograms, crests, seals, and calling cards.
Try your hand at engraving a letterform with centuries-old techniques, learn how to wield a graver or a burin, find inspiration in vintage printed specimens, and enjoy a glass of wine with the author.
The Complete Engraver will be available for sale and signing at the workshop.
“Nancy Sharon Collins is a New Orleans-based graphic designer who is also known for her luxurious stationery designs, which are witty, chic and thoughtful at the same time.” —T Magazine
Bryan Nash Gill, author of Woodcut, is featured in a video on Martha Stewart’s site. He takes us to his studio in Connecticut to show some of the process behind his prints. Click on the still below to see the video.
Bryan is also featured in the October issue of Martha Stewart Living as part of “The Makers Series”.
Behind the Scenes
Press proofs for Everything All at Once: The Software, Film, and Architecture of MOS. Lots of beautiful fluorescent 2-color printing. Look for it this Fall!
Plate and detail from François Nicolas Bédigis, L’art d’écrire
(Paris: Butard, 1768)
In the sixteenth to nineteenth centuries, a small but brilliant movement arose in which gifted writing masters produced prints and specimens of lettering with the tools and devices of engraving, calligraphic in nature and unsurpassed in beauty, for the instruction of proper penmanship, proportion, drawing, and literary ruminations on culture. These so-called copy books, or writing manuals, are fantastically decorative and minutely controlled, with great swoops and long, arching but delicate loops demonstrating alphabets, flourishes, and inspirational sentences. Calligraphic engraving was not for the faint of heart: it required absolute command of both engraving and calligraphy.
From The Complete Engraver by Nancy Sharon Collins
Menus for Chez Panisse
1–3. Menus printed on letterpress by Patricia Curtan
4. Curtan with her century-old Chandler & Price platen press