Cosmic color sharpies: Cosmic Color Permanent Markers by Sharpie® SAN2033572

UPC 071641140646 – Sharpie Cosmic Colors Marker Sets, 24-Markers, Ultra-Fine

UPC 071641140646

UPC 071641140646 is associated with Sharpie Cosmic Colors Marker Sets, 24-Markers, Ultra-Fine

  1. Office Supplies > Office Instruments > Writing & Drawing Instruments > Markers & Highlighters

UPC 071641140646 has following Product Name Variations:

  1. Sharpie Cosmic Color Ultra Fine Point Markers 24/Pkg-
  2. Sharpie Cosmic Color Permanent Markers Extra-Fine Needle Tip Assorted Colors
  3. Cosmic Color Permanent Markers Extra-fine Needle Tip Assorted Colors 24/pack – A
  4. Sharpie Permanent Markers Ultra Fine Point Cosmic Color Limited Edition 24 Count
  5. Sanford 2033572 Cosmic Color Ultra Fine Point Markers – Pack of 24
  6. Cosmic Color ultra fine set of 24
  7. Sharpie Cosmic Colors Marker Sets, 24-Markers, Ultra-Fine
  8. Cosmic Color Permanent Markers
  9. Sharpie Marker,Uf Cosmic,24st,Ast 2033572

– more –

More Info

UPC-A: 0 71641 14064 6
EAN-13: 0 071641 140646
Country of Registration: United States
Brand: Sharpie
Model #: 2033572
Color: Brown
Weight: 1. 00 lbs
Last Scanned: 2021-07-20 00:10:25
Shopping Info

Products with UPC 071641140646 were listed on the following websites. Product prices are accurate as of the date/time indicated and are subject to change.

Stores Product Info Price Last Updated
eBay.com Sharpie Cosmic Color Permanent Markers Extra-Fine Needle Tip Assorted Colors $22.25 2021-06-17 07:57:51
Shop.com Cosmic Color Permanent Markers Extra-fine Needle Tip Assorted Colors 24/pack – A $26.48 2021-07-20 00:10:25
UnbeatableSale. com Sanford 2033572 Cosmic Color Ultra Fine Point Markers – Pack of 24 $29.79 2021-07-19 05:59:44
Newegg.com Sharpie Cosmic Color Permanent Markers Extra-Fine Needle Tip Assorted Colors $29.99 2021-07-03 20:04:26
Wal-Mart.com Sharpie Cosmic Colors Marker Sets, 24-Markers, Ultra-Fine $32.29 2021-07-19 14:02:48
Jet.com Sharpie Cosmic Color Ultra Fine Point Markers 24/Pkg- $15.48 2018-09-09 18:13:38
eBay US Used Sharpie Permanent Markers Ultra Fine Point Cosmic Color Limited Edition 24 Count $29. 62 2020-11-15 05:41:27
MisterArt.com Cosmic Color ultra fine set of 24 $30.99 2021-04-29 03:30:20
Rakuten(Buy.com) Sanford 2033572 Cosmic Color Ultra Fine Point Markers – Pack of 24 $31.32 2020-08-24 08:38:06
OnBuy.com Sharpie Cosmic Color Ultra Fine Point Markers 24/Pkg- ₤31.68 2019-10-18 22:52:01
MassGenie Sanford 2033572 Cosmic Color Ultra Fine Point Markers – Pack of 24 $32.78 2018-12-06 05:08:42
Shoplet.com Cosmic Color Permanent Markers $36. 38 2019-10-03 06:01:52
Newegg Canada Sharpie Marker,Uf Cosmic,24st,Ast 2033572 CAD66.42 2019-06-10 23:35:22

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Complete List of Sharpie Marker Colors, Fine and Ultra Fine

Click here to get this chart and a swatch chart!

The current Sharpie marker colors are: valley girl violet, ultra violet, boysenberry, magenta, power pink, electric pink, berry, rocket fuel red, jellie pink, neon pink, ruby, pink, jupiter red, solar flare red, red, racey red, pink lemonade, peach, orion orange, optic orange, leg warmer orange, neon orange, tangerine, banana clip yellow, yellow, neon yellow, almond, supersonic yellow, martian green, venus green, lime, neon green, galaxy green, green, mint, argyle green, aqua, jetset jade, emerald, nano blue, turquoise, saffire, blue ice, neon blue, brilliant blue, surf, techno blue, blue, navy, sky, intergalactic indigo, purple, lilac, metallic gold, metallic bronze, brown, black, dark matter gray, slate gray, celestial gray, metallic silver, purple fluorite, tanzanite, peacock blue, teal tiger’s eye, jasper green, amber, cabochon coral, rose quartz, citrine, aquamarine, geode, violet chalcedony, light blue topaz, and lavender mica.

Here is the swatch chart I created for all the Sharpie colors. It can be used to track which Sharpies are in a collection and easily find out which ones are needed. All the Sharpie colors have distinct caps that usually match up with one another. I did find an oddity in the Cosmic Color set. The color caps for magenta and sky do not match up. The ink color is the same. 

Click here to get this swatch chart.

To understand all the colors Sharpie offers it is necessary to understand how the release history. Sharpie has long been around for a very long time. It was introduced in 1964 and was touted as a marker that could write on anything. In 1979 new colors were introduced, blue, brown and green. They started to expand their color line up from there. Right now Sharpie is focusing on standard packs of individual colors, 8, 12 and 24 and specialty themed sets that range from 5 markers to 115. They also expanded their tip selections. I have listed where each color comes currently in the information below. In 2003 they started introducing limited editions with unique colors.

The big question is: How does one get all the colors? I wish there was a box where all the colors could be found, but for now a bunch of different packs must be purchased and there will be many duplicates! All the colors can be purchased with by getting the 45 collection, Mystic Gems and the 115 collection, but that is a lot of money. I have the 45 collection and a bunch of others. I am hoping to get my hands on all of them! Some of the colors can be bought open stock too at stores such as Michael’s and JoAnn Fabrics. Here is a chart that list what colors come in each box.

There is also no fanfare for releasing new colors or retiring colors. Who knows what colors will disappear this year?

Here are all the packs with what colors are in them. There are specialty sets that come out at the holidays, but I have not listed them because they are usually only available for a short time.

Standard 8

  • Black, Yellow, Purple, Red, Green, Brown, Orange, Blue, Aqua, Berry, Lime, and Turquoise

Standard 12

  • Black, Yellow, Purple, Red, Green, Brown, Orange, Blue, Aqua, Berry, Lime, and Turquoise

Here are some themed 12 pack sets

Hero Original Colors

See above for color chart, same as standard.

  • Black, Blue, Turquoise, Aqua, Green, Lime, Yellow, Orange, Berry, Red, Purple, and Brown

Hero Vibrant Colors

  • Slate Grey, Brilliant Blue, Nano Blue, Jetset Jade, Mint, Supersonic Yellow, Tangerine, Jellie Pink, Magenta, Racey Red, Ultra Violet, and Valley Girl Violet

Ultimate Collection Boxes

The Ultimate Collection Boxes are my favorite. They come in beautifully decorated boxes that are easy to display and store all the Sharpies. I may end up getting the 115 count box, taking out the Sharpies in it and putting in all the unique colors to display!

45 Ulitmate Collection

This set contains 34 unique colors. This box contains many colors that can not be found in the 72 and 115 count boxes. I have specified with on the chart an F for Fine Markers and UF for Ultra Fine markers. 

  • Fine
    • black, celestial gray, slate gray, dark matter gray, lilac, purple, intergalactic indigo, navy, blue, aqua, green, galaxy green, lime, martian green, venus green, yellow, orange, orion orange, solar flare red, red, pink lemonade, magenta, brown, rocket fuel red, jupiter red
  • Ultra Fine
    • black, celestial gray, dark matter gray, valley girl violet, boysenberry, intergalactic indigo, blue ice, sky, galaxy green, mint, venus green, martian green, banana clip yellow, tangerine, peach, solar flare red, orion orange, rocket fuel red, pink, jupiter red

72 Ultimate Collection 

This set contains 48 unique colors. All the colors in this box are available in the 115 count box. It does have a pretty Van Goh design that makes me want to get it. I have specified with on the chart an F for Fine Markers and UF for Ultra Fine markers. 

  • Fine
    • racey red, red, optic orange, orange, tangerine, peach, yellow, super sonic yellow, lime, green, jetset jade, aqua, sky blue, turquoise, nano blue, blue ice, brilliant blue, surf, blue, navy, purple, ultra violet, boysenberry, berry, power pink, electric pink, pink, pink lemonade, almond, brown, slate gray, black, neon orange, neon yellow, neon green, neon blue, neon pink
  • Ultra Fine
    • racey red, red, orange, leg warmer orange, tangerine, yellow, supersonic yellow, lime, green, argyle green, mint, aqua, blue ice, turquoise, surf, blue, techno blue, navy, purple, valley girl violet, lilac, boysenberry, berry, magenta, jellie pink, pink, brown, slate gray, black, metallic bronze times 2, metallic gold x 2, metallic silver x 2

115 Ultimate Collection

This box contains 49 unique colors. Right now this is the best box to get to get a bunch of different Sharpie colors. I have specified with on the chart an F for Fine Markers, UF for Ultra Fine, TT for Twin Tip and C for Chisel markers. 

  • Fine
    • racey red, red, optic orange, orange, leg warmer orange, tangerine, peach, yellow, banana clip yellow, super sonic yellow, lime, green, argyle green, mint, jetset jade, aqua green, turquoise, nano blue, brilliant blue, blue ice, sky blue, surf, blue, navy, techno blue, purple, ultra violet, valley girl violet, lilac, boysenberry, berry, magenta, power pink, jellie pink, electric pink, pink, pink lemonade, brown, slate grey, black, neon orange, neon yellow, neon green, neon blue, neon pink, metallic bronze x 2, metallic gold x 2, metallic silver x 4
  • Twin Tip
    • red, orange, lime, green, sky blue, turquoise, blue, navy, purple, berry, magenta, black
  • Chisel
    • red, green, turquoise, blue, navy, magenta, slate grey, black
  • Ultra Fine
    • racey red, red, optic orange, orange, leg warmer orange, tangerine, peach, yellow, banana clip yellow, super sonic yellow, lime, green, argyle green, mint, jetset jade, aqua, blue ice, sky blue, turquoise, nano blue, brilliant blue, blue x 2, navy, techno blue, purple, ultra violet, valley girl violet, lilac, boysenberry, berry, magenta, power pink, jellie pink, electric pink, pink, pink lemonade, almond, brown, slate grey, black x 2

Specialty Packs and Colors

In 2003 Sharpie started releasing limited edition packs starting with Earth Tones. After that they released Nature Tones, Summer splash, Caribbean, Couleurs Café, Pastels, 80’s Glam in 2012, Electro Pop and Color Burst. This year they are releasing Mystic Gems in 14 new colors! One of the most confusing things about these sets is they sell them in various sizes and for various tips and the colors can differ. I have tried to list the biggest box size available with the unique colors listed. Sometimes the colors disappear and sometimes they stay around and are put in other boxes or packs. It is a real mystery which ones will Stay or go.

Mystic Gems 24

The Mystic Gems come in 12,  20 and 24 containing other colors mixed in. There are 14 unique colors. The 20 packs have only 5 Mystic Gems. The 12 has all Mystic Gems and the 24 all 14 with 10 other colors included.

  • Red, Cabochon Coral, Orion Orange, Amber, Green, Jasper Green, Teal Tiger’s Eye, Peacock Blue, Blue, Tanzanite, Purple Fluorite, Purple, Black, Pink, Rose Quartz, Peach, Citrine, Mint, Geode Green, Aquamarine, Light Blue Topaz, Violet Chalcedony, Lavender Mica, and Celestial Gray

Electro Pop

These are the unique Electro Pop colors.

  • ultra violet, nano blue, optic orange, techno blue, electric pink

Here is what is in the 25 Fine Electro Pop Pack.

  • yellow, lime, slate gray, techno blue, purple, blue, blue ice, electric pink, sky, optic orange, nano blue, brown, boysenberry, pink lemonade, green, peach, black, ultra violet, turquoise, magenta, red, orange, navy, mint, berry

Here is what is in the 34 Ultra Fine Electro Pop pack

  • lilac, jetset jade, electric pink, almond, slate gray, tangerine, red, green, lime, ultra violet, navy, mint, power pink, brown, peach, berry, turquoise, yellow, black, aqua, purple, techno blue, yellow, pink, blue, sky, brilliant blue, optic orange, boysenberry, nano blue, orange, blue ice, racey red, magenta, super sonic yellow

Color Burst

Here are the colors in the Fine and Ultra Fine Color Burst Packs.

  • Power Pink, Racey Red, Supersonic Yellow, Jetset Jade, Brilliant Blue, Aqua, Berry, Black, Blue, Blue Ice, Brown, Green, Lime, Magenta, Mint, Navy, Orange, Peach, Pink Lemonade, Purple, Red, Slate Gray, Turquoise Blue, and Yellow

Cosmic Colors

Here are the colors in the Fine Cosmic colors pack.

  • boysenberry, magenta, rocket fuel red, jupiter red, solar flare red, red, peach, orange, orion orange, yellow, green, galaxy green, venus green, martian green, aqua, blue, navy, sky, brown, lilac, intergalactic indigo, black, dark matter gray, celestial gray

Here are the colors in the Ultra Fine Cosmic Colors pack. I think it is slightly different including jellie pink instead of magenta and sky blue instead of sky because the caps are different colors.

  • boysenberry, jellie pink, rocket fuel red, jupiter red, solar flare red, red, peach, orange, orion orange, yellow, green, galaxy green, venus green, martian green, aqua, blue, navy, sky blue, brown, lilac, intergalactic indigo, black, dark matter gray, celestial gray

Neon

  • neon orange, neon yellow, neon green, neon blue, neon pink

Metallic

  • metallic ruby, metallic emerald, metallic sapphire, metallic silver, metallic bronze, metallic gold

80’s Glam

  • valley girl violet, jellie pink, leg warmer orange, argyle green, banana clip yellow

Pastel

  • sky blue, pink, lilac, peach, mint

Retired Packs

For the retired boxes I do not have swatches of the old color names, but I have included what was in each box. Thank you for documenting these 2old2color! Thank you Jason Cospelich for your careful research so I could complete this list.

The officially retired colors from Sharpie are: burgundy, marigold, olive, plum, brick red, dandelion, ocean blue, spruce green, kiwi, coconut, flamingo, lime daiquiri, stingray, blueberry, early gray, hibiscus tea, mocha, rain shower, clover, pumpkin, rose, violet, teal blue and pomegranate. Let me know if there are others. The retired ones are in italics.

Nature Tones (2003)

  • burgundy, marigold, navy, olive, plum

Earth Tones (2004)

  • brick red, dandelion, ocean blue, slate gray, spruce green

Summer Splash (2006)

  • almond, blue ice, boysenberry, kiwi, pink lemonade

Wild Flowers (2006)

  • rain shower, clover, pumpkin, rose, violet

Couleurs Cafe (2008)

  • blueberry, early gray, hibiscus tea, mocha, pomegranate

Caribbean (2009)

  • coconut, flamingo, lime daiquiri, stingray, surf

Special Release (2015)

Wood Touch UP, not official retired colors, but retired product

Sharpie permanent markers ultra fine point

Sharpie Twin Tip Fine Point and Ultra Fine Point Permanent Markers, Black Marker [32101PP] Pack of 8. File:Sharpie-marker-types.jpg. Language. English: A variety of Sharpie-brand markers. A retractable, fine point and ultra fine point.item 2 sharpie ultra fine black permanent marker pen 12 pack box UK stock fast ship 2 -sharpie ultra fine black permanent marker pen 12 Milwaukee INKZALL Inkzall Jobsite Fine Point Marker – 48223100. 4.9 out of 5 stars based on 93 product ratings(93).Overview for Sanford SN37001/BX Sharpie Ultra Fine Point Permanent Marker. Its ultra-fine tip is great for creating bold lines with precision. It dries quickly and marks permanently on a wide variety of surfaces including paper plastic, metal, and many others.Best Deal: Sharpie 24-Pack Ultra-Fine Point Permanent Marker (Electro Pop) from Amazon.com for $10.89. Published on 02/20/2020 Dec 30, 2020 · SHARPIE – Colorful options: Includes 12 Black Sharpie permanent markers. Intensely brilliant colors create eye-popping, vibrant impressions. Proudly permanent ink marks on paper, plastic, metal, and most other surfaces. Endlessly versatile ultra-fine point has a precise, narrow tip for extreme control. Sep 04, 2017 · A Sharpie in Every Color! 🌈 Hop on over to Amazon where you can score this 24 Count Pack of Sharpie Ultra Fine Point Permanent Markers for just $9.10. Get free shipping on a $25 order OR snag free 2-day shipping on ANY size order with Amazon Prime (you can sign up for a FREE 30-day trial here ). Mar 19, 2013 · View. Sharpie Ultra Fine Point Permanent Markers, Assorted Colors, 8 Ct. Sharpie Ultra Fine Point Permanent Markers, Assorted Colors, 8 Ct 0.21 – Further Info All Sharpie Ultra-Fine Point Markers are non-toxic. These pens have an AP certification. Parents should still monitor their children while using. Yes, the Sharpie Extra-Fine Point Permanent Marker is waterproof once it dries. It is has a quick drying formula. The marker ink dries within a few seconds…Endlessly versatile ultra-fine point has a precise, narrow tip for extreme control. Colorful options: Includes 12 Black Sharpie permanent markers. Bold to the max, permanent to the core, and offering the ultimate in precision, Sharpie Ultra Fine Point Permanent Markers inspire you to tell…DetailsUltra-fine point tip that marks permanently on most hard-to-mark surfaces.Quick-drying, alcohol-based ink formulaFade- and water-resistant inkUltra-fine point tip produces detailed linesAP-certified nontoxic Dec 30, 2020 · SHARPIE – Colorful options: Includes 12 Black Sharpie permanent markers. Intensely brilliant colors create eye-popping, vibrant impressions. Proudly permanent ink marks on paper, plastic, metal, and most other surfaces. Endlessly versatile ultra-fine point has a precise, narrow tip for extreme control. Marker Fluorescencyjny Sharpie Permanent Marker Neon. 💥 Brush Pen Kuretake White Ultra Fine CNBW-02S pigmentowy tusz, silnie kryjący, z nowy systemem dozowania tuszu przez pokrętło w tylnej części obudowy.Sharpie Fine Point Markers have been around for decades. They are the “original” permanent marker. You have probably even used one at Permanent on almost any porous surface, including fabric, leather, wood, paper, and more. For heat setting the manufacture recommends placing the…The permanent marker for precise, detailed marking. Water- and fade-resistant ink. Make a lasting impression on most hard-to-mark surfaces – use on wood, plastic, glass, and metal. Specs. Item Weight: 0.63. Brand: Sharpie. Assembly Required: false.Presision Ultra Fine point 24-Set includes: Black, Red, Blue Green, Brown, Purple, Orange, Yellow, Turquoise, Aqua, Lime Green, Cranberry Enjoy free shipping to the US when you spend $35+ at this shop. Description. Color Sharpie Ultra-Fine-Point Permanent Markers, 24 Pack Colored Markers.Mar 19, 2013 · View. Sharpie Ultra Fine Point Permanent Markers, Assorted Colors, 8 Ct. Sharpie Ultra Fine Point Permanent Markers, Assorted Colors, 8 Ct 0.21 – Further Info Sharpie Permanent Marker, Ultra Fine Point, Red, 24 ct Permanent ink marks on paper, plastic, metal, and most other surfaces. Intensely brilliant colors create eye-popping, vibrant impressions. Endlessly versatile ultra-fine point is perfect for countless uses in the classroom, office, home, and beyond. Crank up the colour with this limited edition Sharpie Color Burst permanent markers! Intensely bright, the supercharged shades create energising visuals that always stand out. Each marker also features bold, vivid ink that’s quick drying, water resistant and permanent for lasting impressions on almost any surface. Sharpie Ultra Fine Point Permanent Markers, Black Ink, Resists Fading and Water, Blister Pack with 2 Markers (37161PP)

Sharpie Markers with an ultra-fine point tip mark on most hard-to-mark surfaces, and the mark is permanent on most surfaces. Extra precise narrowed tip allows extreme control and accuracy. Ideal for identifying and labeling. Quick-drying, nontoxic alcohol-based ink is fade-resistant and water-resistant.

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Sharpie Ultra Fine Point Permanent Marker Bold to the max, permanent to the core, and offering the ultimate in precision, Sharpie® Ultra Fine Point Permanent Markers inspire you to make your point. Proudly permanent ink marks on paper, plastic, metal, and most other surfaces Intensely brilliant colors create eye-popping, vibrant impressions Remarkably resilient ink dries quickly and resists …

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Sharpie Permanent Markers Ultimate Collection, Fine and Ultra Fine Points, Assorted Colors, 72 Count. Product Features -. Permanent, quick drying ink great for use on paper, plastic, wood and leather. Fine-point tip is durable and great for details.

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Metallic Fine Point Permanent Markers, Bullet Tip, Silver, Dozen. The Sharpie permanent marker has become a staple writing instrument for many homes, offices and workplaces. They are so iconic and popular that it’s hard to imagine not having at least a few around when you want to write or draw…

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Sharpie® Black Ultra-Fine Point Retractable Permanent Marker, Package Of 12 – Mfg #1735790

Sharpie Ultra Fine Point Permanent Markers, Black Ink, Resists Fading and Water, Blister Pack with 2 Markers (37161PP)

My ultra fine point sharpies are what I turn to lately instead of the other markers and pencils I have. The ultra fine tip allows for coloring of small and detailed spaces. However, despite the small tip, these markers work on a bit of a larger space too.

Presision Ultra Fine point 24-Set includes: Black, Red, Blue Green, Brown, Purple, Orange, Yellow, Turquoise, Aqua, Lime Green, Cranberry Enjoy free shipping to the US when you spend $35+ at this shop. Description. Color Sharpie Ultra-Fine-Point Permanent Markers, 24 Pack Colored Markers.

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Dec 26, 2020 · Head online to save on the Sharpie Cosmic Colors Permanent Markers 5-Count on Amazon. These ultra fine point pens in this set are in the colors boysenberry, navy, aqua, Venus green, and Jupiter red. Get free two-day shipping with Amazon Prime. Not a member? Sign up for a free 30-day trial now. Otherwise, shipping is free on orders of $25 or more.

Sharpie Markers with an ultra-fine point tip mark on most hard-to-mark surfaces, and the mark is permanent on most surfaces. Extra precise narrowed tip allows extreme control and accuracy. Ideal for identifying and labeling. Quick-drying, nontoxic alcohol-based ink is fade-resistant and water-resistant.

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The original permanent marker, Sharpie has iconic ink that dries quickly and resists both water and fading. While pale imitations wither away, Sharpie markers make creations that endure. Sharpie Ultra-fine pens. Excellent, permanent pens which are my favorite ‘go to’ writing instruments.

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Featuring an ultra-fine point built for precise marking and writing, Sharpie Color Burst Ultra Fine Point Permanent Markers ignite courageous self-expression. Permanent ink marks on paper, plastic, metal, and most other surfaces. Intensely brilliant colors create eye-popping, vibrant impressions.

Sharpie 1735790 Retractable Permanent Markers, Ultra Fine Point, Black, 12 Count Forget about a cap–just click and create! These Fine Point Retractable Sharpie Permanent Markers are easy to use, bold to the max, and permanent to the core, inspiring you to transform ordinary surfaces into passionately creative statements.

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Crank up the colour with this limited edition Sharpie Color Burst permanent markers! Intensely bright, the supercharged shades create energising visuals that always stand out. Each marker also features bold, vivid ink that’s quick drying, water resistant and permanent for lasting impressions on almost any surface. BrickSeek’s powerful price comparison tool is unlike any other. Compare an item’s pricing and availability across the web and in-store to ensure you are getting the absolute best possible deal. Sharpie Twin Tip Permanent Markers, Fine and Ultra Fine, Black, 12 Count •Proudly permanent ink marks on paper, plastic, metal, and most other surfaces. Sharpie Color Burst Permanent Markers, Fine Point, Assorted, 5/Pack •Intensely bright limited edition colors. Endlessly versatile fine point is…

The Longhand Film | Filmmaker Magazine

Solitary Acts #6 (courtesy of Nazlı Dinçel)

For the past six years, I sought out amateur travel films made by women in the first half of the 20th century, which I collected in an all-archival essay film, Terra Femme. In the process, I watched dozens of hours of footage of everything under the sun: biblical gardens, women doing laundry, ice fields, a tapir, mounds in a cemetery. Occasionally, there is a handwritten intertitle. “Crossing the Equator” reads one, and the filmmaker has added little serif marks to the letters in “Equator.” What follows is footage shot onboard a boat during a line-crossing ceremony, in which Poseidon and his goons haze anyone crossing for the first time by slathering them in shaving cream and throwing them in a pool—an equatorial baptism. Elsewhere, title cards show up with facts (“Had lunch here”) or bits of acquired wisdom (“Camel wisdom: if you stand behind them, they can’t spit on you, if you stand in front, they can’t kick you.”). By turn spectacular, mundane and cliched, the films also feature hand-drawn maps and shots of signage or tourist pamphlets. The effect is of a moving image scrapbook, annotating journeys through vanished worlds. 

With the advent of home movie cameras in the 1920s, products quickly came on the market that allowed amateur filmmakers to make printed intertitles with borders and decorative fonts. Premade title sets were also advertised, a few feet of leader that could be affixed to the head of a film, with stock titles like “Symphony in Color” and instructions on what should be shot—in this case, spring blossoms. Other suggested subjects included airports, auto races, birthday parties and a scenario called “Hold the Phone” in which a housewife has her phone call interrupted by a “child crying, a salesman at the door, a collector, etc.” In contrast to this preordained content (and the predestined activities of female lives), women’s travel films are comparatively anarchic, seemingly driven by an urge to capture chance events, then collate the world according to them, with private notations and other forms of text stitching them together. Their haphazard arrangement and personal touches set them firmly apart from professional travel documentaries of the time. These were not aspirational endeavors, nor were many of the women I researched involved in the (male-dominated) amateur cine-club circuit. These films seem, by and large, to have been private documents, intended for the friends and families of their makers or for the makers themselves. 

In his essay “In Defense of Amateur,” Stan Brakhage noted that the word in Latin meant “lover” and wondered why, by 1971 (when he published the piece), it had acquired a derogatory connotation. He extols the dedication of the home-movie maker, who photographs “the events of his happiness and personal importance.” Brakhage sees himself and other experimental practitioners as successors to this tradition. (He is in agreement here with Quentin Tarantino, who once stated, “I like holding on to my amateur status.”). As an experimental film canon took shape in the 1970s and ’80s, filmmakers like Hollis Frampton and Fred Worden used handwriting to call attention to the nature of word and image in a film, and to create palimpsestic studies of the different drafts living inside a finished work in films like Frampton’s Poetic Justice and Worden’s How The Hell I Ripped Jack Goldstein’s Painting In The Elevator. Brakhage himself “signed” many of his films by scratching cursive letters into successive frames of celluloid leader—when projected, the frames write the filmmaker’s signature across the screen in light. In 2021, we have seen the near-elimination of the line between professional and amateur. We use screens to scribble on Instagram stories and dash off memes. But handwriting continues to show up purposefully in experimental and nonfiction films, even as longhand writing becomes increasingly obsolete (cursive is no longer taught in many primary schools). What does handwriting convey when it shows up in a film? What is its relationship to past modes of vernacular writing? How does written text imbue or even subvert the information it conveys? 


In The History and Uncertain Future of Handwriting, Anne Trubek points out that early writing was primarily a form of counting. Cave paintings are less works of self-expression, it is believed, than tallies of goods—an early form of data visualization. Many of the Mesopotamian tablets that have survived are receipts, the minuscule marks of ancient cuneiform recording a trade of linen under the rule of a particular king or providing a list of temple holdings. It would be several millennia before the notion of personal handwriting, and the belief that it reveals attributes of the individual, entered the public imagination. For the centuries in between, written scripts operated more like fonts, and the point was to adhere to them. The Romans wrote inscriptions in capitalis, the classically balanced serif script to which, perhaps, the filmmaker makes homage in her embellished “Equator” (and from whence we get the term capital letters). The geographically distinct scripts that proliferated in Europe through the Middle Ages were so ornate they were often unintelligible across regions. They were conformed to diligently by the monks who copied books and manuscripts and, following the advent of the printing press in the 15th century, found themselves in demand as tutors of penmanship. Formal calligraphy had a new application in Europe: the drawing up of documents and bureaucratic papers in the conquest of territories.

The analysis of character through handwriting came about in the 19th century and was briefly linked to the occult and divinatory practices like palmistry. But it gained steam as an empirically tested collection of truths that could bridge science and religion by revealing how the soul shows itself scientifically through writing. These ideas especially took hold in France, where to this day it is common to ask job applicants to provide handwriting samples, which are then analyzed by graphologists, or handwriting experts. Strong-willed people cross their t’s with force; low-hanging g’s and y’s are evidence of sadness. Pioneering graphologist Jean-Hippolyte Michon wrote, “Who can doubt that every word is the spontaneous and immediate translation of thought? And who can doubt that handwriting is as spontaneous and immediate a translation of thought as speech? All handwriting, like all language, is the immediate manifestation of the intimate, intellectual and moral being.” That the written word is the uninterrupted route from self to page is essentially the logic behind the signature, that mark of the unique self that binds us irrevocably to time—to debt, marriage and more. It becomes physical evidence, and this instant memorialization of the moment of writing links the pen to the camera, which can only ever film the present moment. 

Handwriting often shows up in fiction films, as when a character reads or writes a letter or makes a written confession, as in Bresson’s Diary of a Country Priest. Usually, it is a way of conveying internal emotions to the viewer or simply a means of moving the story forward. In nonfiction filmmaking, it could easily be seen as a neutral technology—just another way of making words, an ornamental flourish. But longhand writing carries with it more than just the information it conveys. In it lies the mystery of the author, a person living and writing in time. While the history of writing calls to mind learned volumes and chiseled inscriptions, and all the forms of perpetuity that humans have sought after, it is conspicuous evidence of frailty and disputation, of the provisional nature of factual knowledge. Authors die or change their minds. Libraries burn. Buildings fall. Ink fades.


Handwriting often shows up in films that feature nudity. In Mona Hatoum’s 1988 epistolary short Measures of Distance, we hear letters read aloud from the filmmaker’s Palestinian mother, exiled in Beirut. Arabic writing is layered upon what we learn are nude pictures of the mother taken by the daughter on a previous trip, before the current war that prevents Mona from returning. The mother’s letters, read aloud, tell of car bombs and the circumspect eye of her husband. She writes, “You asked me in your last letter, if you can use my pictures in your work. Go ahead and use them, and don’t mention a thing about it to your father. You remember how he was shocked when he caught us taking the pictures in the shower during his afternoon nap…. He still nags me about it, as if I had given you something that only belongs to him.” What is illicit in the film are not the naked pictures but the secret intimacy, forged in the text that overlays them. The letters speak to the constraints of female life; the fact of writing is a form of resistance.

In Maryam Tafakory’s short I Have Sinned A Rapturous Sin, made 30 years later, the filmmaker’s arms, but not her face, can be seen writing Farsi in chalk on black fabric. The words are lines from Sin, the poem by Forugh Farrokhzad (who would also direct the immaculate film The House Is Black). The lines, published when the Iranian poet was only 19, describe a bliss found in submission, beginning:

I have sinned a rapturous sin / in a warm enflamed embrace / sinned in a pair of vindictive arms / arms violent and ablaze

As she writes, Tafakory whispers the words aloud in a voice of urgent defiance. English subtitling in the form of cascading typed text fills up pockets of black in the frame, like echoes of the handwritten pleasure. The filmmaker writes me via email, “typed text and handwriting are different voices for me: handwriting is more quiet, a little shy and secretive. often cryptic or blended into the image. it can be dismissed or lost. my handwriting is always in farsi. typed text is more rigid, has a louder and more arrogant tone with fake authority and/or contradictory remarks. my typed text is mostly in english.” The scenes of writing are contrasted with footage of male commentators, offering their own take on female sexual energies: “In order to reduce her lust and unbridled passion, woman should eat lettuce.”

Written text is by its very nature an act of friction. In Goodbye to Language, Jean-Luc Godard’s 3D feature, the author Mary Shelley is depicted writing outdoors, her quill squeaking buoyantly on the page, as if to suggest that the loss of the written word is the loss of a kind of intercourse. Scratching words into celluloid is analogously erotic, like grazing skin with a needle. It’s also incredibly time-consuming. For just a few seconds of a word onscreen, one must carve the same word into hundreds of individual frames of film. The end effect is something coarse and alive. In 1967’s White Calligraphy, Takahiko Iimura carved an entire eighth century Japanese fable into black leader, one character per frame. It is too rapid to read and becomes pure choreography—a flurry of line and curvature. Writing is, after all, a form of drawing, and character languages carry in them earlier modes of representational sketches. In Su Friedrich’s film Gently Down the Stream from 1981, the filmmaker relays a series of dreams she had, interspersed with impressionistic images. “Wander through / large quiet / rooms” read the first three frames, in what appears to be liquid chalk but is revealed to be inscription on the film itself. The shifting allography (ways of making letters) suggests the mutability of dream space, in which one is some sense both writer and reader. The text HOWLS in sharp capitals when a woman cries out or gets tidy and nearly translucent when another shivers. From the handwriting analysis perspective, is variation the equivalent of the soul engaging in open play? An old book on handwriting analysis says that the letter t alone can tell you a lot about a person. A high t means you’re vain, a looped cursive t means you’re sensitive, a low stem on the looped t means you’re sensitive, but you try not to show it. Try to be less sensitive, the book advises. But the film is uninterested in this kind of external analysis. The self is a conjurer. When the dreamer makes a second vagina next to her first one, she wonders: Which is the original? 

As a viewer, waiting for words in the frame causes a shift in the images. In Friedrich’s film, highlights on the surface of a pool start to look like letters attempting to form, which also carries an edging, erotic charge. “I lie in a gutter giving birth to myself,” the text finally declares. In the films of Nazlı Dinçel, hand-scratching (and typing, and hammer-punching) agitates the surface of explicit images as a way of claiming them. In her series of “Private Acts” films, the filmmaker recalls forbidden scenes: early experiences masturbating with a showerhead and other forms of autoeroticism, first sex following a divorce. These recollections are scratched into haptic imagery—the thumbing of a flower stamen is as charged as the jerking off of an anonymous penis—firmly imposing her own articulation of events upon tender scenes, an act against shame.


In another scene from Goodbye to Language, a voice asks from offscreen, “To live one’s life? Or to tell it?” The line is quoted by Moyra Davey in her 2016 video Hemlock Forest. Davey says that when she asked her son if he keeps a diary, he replied that he’d rather live his life than narrate it. Handwritten ruptures threaten to destabilize the image, to force time into review even as it unfolds. But they also open the frame to a different kind of truth-telling, which comes from earned knowledge and intellectual itinerancy. They are interested in what gathers over time, similar to a coral reef or the marked-up margins of a book. Language time differs from visual time because what is written has already happened, has been experienced, processed and transformed into words. Handwriting adds to this the accumulated time of the physical being, beginning with the years it took the child to learn to write. 

Films use handwriting to summon the pasts that lie dormant in the present, not only for individuals, but within the physical landscape. Hope Tucker’s The Sea [Is Still] Around Us is what the filmmaker calls a salvage ethnography. The 2012 short film uses postcards sent from Corinna, Maine, over the course of the 20th century. The text is laid over contemporary shots of Corinna’s buildings and landscapes while Tucker’s quivering hand holds the postcard itself in the frame, showing earlier versions of the contemporary places. The chronology of postcards describe decades of industrial exploitation, starting with fragments of text from the years before the mill came—“I have a dandy tan on”—which give way to descriptions of choked waterways and overdevelopment. What began as handwritten messages transitions to typewritten text. One can’t be sure if this mirrors what is on the back of the cards we are shown, but the switch is clearly meant to suggest the same mechanization imposed upon the land.

Longhand is the mark of the living human; mechanical type is the mark of The Man. It is near-consensus among historians of type that something was lost in the transition to networked writing systems—not only in the loss of intimacy between the writer and the word, but the loss of intimacy found in vernacular modes of writing such as the postcard, with its shorthand convivialities. “Aloha!” reads a postcard from Hawaii sent in 1961 (and acquired by me at a thrift store a half-century later). “Mickey Rooney stayed here while visiting Honolulu. Most of the movie actors and actresses stayed here. Warm today 80 degrees. Looks like rain but when it rains it lasts about five minutes. Just a drizzle. Liquid sunshine. Los Angeles tomorrow.”

But then tragedy falls into our lives: A loss, an illness, a pandemic interrupts the route we were on, remapping our geographies. All proximities become personal. In Instructions on Parting (2018), the filmmaker and artist Amy Jenkins documents a period in her life during which, in rapid succession, she became pregnant, then lost her sister, her mother and her brother, all to cancer, in a matter of a few years. The intensities of this time period are punctuated with notes of handwritten grief, stated frankly, ellipses between locations during an intense series of transits between dying family members in an endless succession of final visits. What can be told to the page is different than what can be spoken aloud, and this holds true of spoken voiceover. In 2017’s Tip of My Tongue, Lynne Sachs, on the event of her half-century birthday, gathers people born the same year but from other parts of the world, to think through the major historical events of the past 50 years as refracted through place and perspective. The film opens with a sequence of notations scanned from notebooks. Jotting and crossed-out phrases alight on the screen, then burn out like coals in time. They echo the feeling of living through historic events, when what is happening feels too fast to ever quite grasp except in retrospect. Plato wrote that written words can do nothing more than remind one of what one already knows or has already experienced, and the film is an homage to orality, the idea of writing as a prompt for performance and dialogue. As Socrates quipped, “If you ask a piece of writing a question, it remains silent.” 

Baseball marginalia from James Benning’s private collection are linked to the diary of a would-be assassin in American Dreams: Lost and Found (1984), an iconographic exploration of the American social landscape. The scrolling cursive text at the bottom of the screen belongs to the diaries of Arthur Bremer, who, intent on shooting president Nixon, found an easier target in Democratic candidate George Wallace (Wallace survived). Hank Aaron memorabilia are presented in the upper quadrant of the frame, while the soundtrack offers key audio from the era: “You don’t have Nixon to kick around anymore,” advertising jingles, news coverage, rock ballads. This approach of multivalence through ephemera has the effect of being both lovingly culled and openly incomplete, acknowledging its own limits through the sheer specificity of what has been chosen for inclusion. We get the contours of a subtractive intelligence, collating debris and sifting through transmissions, striving not for completion but for insight. Benning’s cursive hand shows up again in 1992’s North on Evers. This time, it’s his own diaries that scroll over the physical landscape, often disappearing behind darker patches in the frame, then reemerging over grass or a window, like thoughts that dip into the arcane and return unfazed. He visits some friends in San Antonio. “They have a four year old daughter,” the words announce over sand. “I like kids at that age. They want to learn so bad.”

A figure walks through what appears to be a smoldering forest in Sky Hopinka’s Fainting Spells (2018), whose form makes homage to Benning. The film is an imagined conversation between someone younger asking someone older to tell them the story of how the ho-chunk began using the Xąwįska (Indian pipe plant) to revive people who have fainted. Text scrolls across land and sky, though maybe this terrain is less a place, like Benning’s America, than a substrate upon which knowledge is remembered:

“Night is falling and the spirits can see us. / It’s time to go home. / You had told me, ‘When you see the red / oaks, follow the water. / Then, when you find a fork in the river there / will be a lovely piece of land. / Remove everything that shines from your / hands, from your neck, from your body, and / swim to the nearest shore.’ / Xąwsįska, you’ve fainted again.”


Magnetic poles determine the earth’s latitude lines and the equator, but lines of longitude are a human invention, drawn onto the earth arbitrarily. A conference to decide where to place the Prime Meridian took place in 1884, at which representatives from several nations (the colonizing ones) met in Washington, D.C., to agree upon a common zero longitude line. Each nation had used its own navigation for maritime maps—on French maps, deviations of longitude were measured from Paris and so on.  But the equally essential point of the conference was to standardize time zones so that clocks around the world would sync. At the time in America, neighboring cities sometimes had different times of day, making train schedules rather complicated. The record of the conference attendees vying for a longitude zero that centered themselves reads a bit like a Monty Python script. The delegate of France shoots down the British delegate’s pretext for a longitude zero cutting through Greenwich, England (that the British Empire had the largest tonnage of world shipping), as “entirely devoid of any claim on the impartial solicitude of science.” In other words, it would simply be a flex on the part of Great Britain. The conference adjourns with Greenwich as longitude zero, initiating Greenwich mean time. One imagines the world’s globe-makers updating their globes, drawing the longitude lines on by hand. Imperial perspective has been subsumed into the appearance of objectivity. Writing in its earliest form: a transaction receipt. 

In Kevin Jerome Everson’s short film Partial Differential Equation (2020), a college student fills a chalkboard with a long mathematical proof. Differential equations include a changing, unknown variable, often stemming from the physical world. What is the force on the object? Where is it going? Partial differential equations are concerned with the multiplicity of factors at play in a given situation: position, temperature, orientation. These variables can end up encompassing almost everything, and solutions can blow up to infinity as they evolve in time, becoming unsolvable. We never learn what is being represented in the equation on the chalkboard. It takes more than eight minutes to write it out, filling the chalkboard (but safely by the end of the 16mm reel).

Those who read in languages that move left to right on the page, like English, tend to experience screen motion the same way: a car driving toward screen right has the sense of forward momentum and progress. Movement toward screen left is going somewhere else, as in Behrouz Rae’s short film Untitled. When the filmmaker draws a line in pencil “backward” across a world map in a book labeled Retreat of Colonialism in the Postwar Period, he charts his own path from his native Iran to his adopted home, the United States. Mapmaking is a way humans assert control over the physical world. Like the drawing up of contracts, it was an essential tactic of imperialism. Drawing one’s own path into an atlas, or making a moving image version of one, is an alternate form of mapmaking. Both add another variable to the two-dimensionality of the map—the variable of time. The use of handwritten language in non-narrative cinema is similar. Language, in these genres, is often used to deliver facts and information, which are supposed to have no point of view. But by including their own written hand, the filmmaker uses these tools as a means of finding out what the filmmaker themself knows, embracing the infinite contingencies that have acted upon them, and which may even be encoded in their handwriting. I find my own to be inconsistent; the graphology book tells me that variability is the result of a desire for change. 

“One day, time will make every road map in the known universe obsolete and useless.  And then we’ll all get lost,” says Bill Brown in his short documentary Roswell (1994), filmed on desert roads in and around New Mexico. Brown isn’t so much interested in whether a UFO crashed in Roswell in 1947 as he is in the burden of space and time that acts upon those on earth. What must it have been like for that UFO captain, navigating above the big blank desert without a map? Phrases of spoken voiceover are occasionally scrawled in strong Sharpie letters in the filmmaker’s “secret diary”: “ON THE ROAD TO CORONA I REMEMBERED (the page is turned) A REALLY SAD STORY…” A solitary woman, living out on the land during pioneer days, would write love letters, then release them into the open wind. The narrator speculates that one of these letters reached an alien starboy, who came to New Mexico looking for her. Maybe, he speculates, the Roswell crash is less a terrestrial mystery than a cosmic tragedy: the story of a woman who almost had the chance to outrun her own fate by vanishing in a UFO. A woman who, through desperation or optimism, wrote tender greetings into a void—to no one in particular. 

How to draw space, astronaut and rocket

in stages and beautifully with markers

✔ Sketchbook TsuSketch Marker Top 20 * 20;

✔ Simple HB pencil;

✔ Eraser-nag Faber-Castell;

✔ Black liners Faber-Castell 0.1 mm and 0.8 mm;

✔ Markers (all markers that I use in this tutorial have two writing nodes – a chisel and a brush):
Copic: B21, BV02, B95, E35, R83, E27, B93, R24, E07, C3
Sketchmarker: B110, B111 (V12). New designations are indicated in brackets.
Touch: P282, PB274;

✔ Sakura Gell Roll 10 white gel pen;

✔ Silver liner Edding 2185 0.7 mm.

Where to start drawing our space? First, we create a pencil sketch of our work. To do this, we take an ordinary HB pencil, and outline where the main objects will be compositionally – donuts and gingerbread figures. Here the main “secret” is not to draw these objects at the same distance from each other, keep a slight carelessness in your work, then it will be even “livelier”.

We also immediately leave space for the phrase, I will have it in the central part of the work.Empty space can be filled with small objects that will not carry a large information load, and therefore will not draw attention to themselves. In this case, I filled it with little gingerbread stars.

Now we will learn how to draw space with markers. As with any work, we start with the bright areas. Take the light blue B21 marker and go through with soft chaotic movements in the center of the upper right donut. To get a more realistic effect, we try to draw exactly along the donut’s circumference, that is, in a circle.By the same principle, add the same color to another bagel, and also add a subtle purple BV02 to it. And here and there we will blend the border between them with a lighter marker, and somewhere we will leave more contrasting combinations.

I want to make the top donut more contrasting, so with the second color I use a rather bright shade – magenta P282. And in the same way, somewhere we shade, somewhere we leave it as it is. In general, space is a combination of both smooth gradients and clear contrast.Therefore, we will use this in our future work. For the second donut, let’s take a closer contrasting color – B95.

Let’s add E35 sand color to donuts and cookies. We go through several layers with this color with blotting movements to show its heterogeneity. Add an even darker purple color PB274 to the edges of the right donut, which will make it more voluminous. Periodically go back to the previous colors to blend some areas.Paint the shadow of the frosting with a more brown E27 color and add it to the cookies. Let’s continue working with donuts. Use pale pink R83 in the empty spaces on the top donut, blend the transitions with light blue B21. As a result, you should get smooth gentle gradient transitions, going side by side with contrasting dark areas. Darken the left donut with B110 and B111 along the edges, leaving the middle lighter. Also add some pink in the center for color variety.

Cosmonautics Day was celebrated in the Beskudnikovsky District of the SAO with a large-scale festive event

The first holiday this year “We Live on Planet Earth” took place in the Svyatoslav Fedorov Park and was dedicated to an important event – the 60th anniversary of manned space flight – Cosmonautics Day.The participants of the event were greeted by the head of the Beskudnikovsky district council Denis Kanukov, the director of the State Budgetary Institution of the Central Sports and Traffic Police Department “Vostochnoye Degunino” Galina Pacheko-Reinaga, the director of the leisure center “Artgrad” – Elena Stukalova.

The program of the event included numerous master classes on space themes, an illusion show “Space Magic”, a musical animation interactive program “Space Launches”.

With incredible interest and curiosity, children and adolescents participated in master classes.So, for example, under the strict guidance of the teachers of the leisure club “Artgrad” it was possible to embody their creative ideas on the theme “Space” with oil pastels on easels, to give colorfulness to the original panel called “Exploration of the surface of Mars”, to paint the surface of plastic balls by painting your planet with colored markers with a metallic sheen. Also, imagination could be shown on the asphalt, creating a drawing on the theme of “Space”.

To demonstrate your knowledge and learn many new facts from the life of the first man in space, Yuri Gagarin, it was possible to explore the map of the starry sky in more detail by taking part in thematic quizzes.For all comers, board games were organized here, the theme of which was devoted to space travel.

It was possible to plunge into the history of space exploration, having studied the exposition, where copies of Soviet central newspapers were presented with messages about the first space flights of our cosmonauts from the fund of the Museum of Cosmonautics. Those who appreciate and love art, artistic creation, visited the exhibition of fine works by the pupils of the “Artgrad” club on the topic “Space”.And for the smallest participants of the event, they prepared coloring pages on the theme “Space”. The teachers of the Vostochnoye Degunino family center delighted with the “cosmic face painting” and the applied master class “Dove of Peace”. It is worth noting that both children and adults took part in the master classes with great pleasure. Absolutely everyone was fascinated.

Also, as part of the festive event, an ecological action “Moskvorechnik” was held, for which children attending the Vostochnoye Degunino Family Center prepared beautiful, bright birdhouses.Svetlana Grafova, Chief Specialist of the Department of Environmental Education of the State Budgetary Institution “Mospriroda”, greeted the participants of the holiday and spoke about the importance of respect for the environment, flora and fauna of our planet. Everyone who did not stay away from the cognitive master classes received sweets with cosmic names for their participation.

Colored cardboard 10l 10tsv EKSMO Cosmic adventures Magic

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»» Canvases *

»» Sketchbooks & Sketchpads *

»Easels and sketchbooks

»Artistic brushes, palette knives, modeling brushes and tools *

»» Professional brushes

»» Brushes assorted

»» Palette knife

»» Modeling brushes and tools and silicone

»Folders and tubes for pictures *

»Primers, varnishes, thinners, palettes *

Creativity, games

” Creation***

Notebooks, notebook covers, diaries

»Notebooks on rings, replaceable blocks for them

»Notebooks A4

»Notebooks A5

»» Notebooks A5 from 12 to 24 sheets

»» Notebooks A5 from 36 to 60 sheets

»» Notebooks A5 from 80 to 120 sheets

»» Subject notebooks, dictionaries

»Notebooks A6

»Notebooks for notes

»Covers for notebooks, diaries and textbooks

»School diaries

»» Diaries for elementary grades

»» Diaries for high school

»» Diaries are universal

»» Diaries of a music school

»Bookmarks for books

»Cool magazines

Technique

»Calculators

»Computer disks, cleaning products

»Flash drives, memory cards

»Computer mice

»Headphones, headsets

»Fixtures and bulbs

Tutorials

»Globes, maps

»Educational cards, posters

»Counting materials, cash-fans, alphabets

»Training simulators

»Portfolio, lesson schedules

Photo goods

»Photo frames

»Photo albums

»Photo paper *

School textiles

»Folders for school

»Satchels and rucksacks

»Pencil cases

»Bags and bags for shoes

»Aprons and armbands

»Hanging organizers

Stamp products

»Dates and numerators

»Self-type stamps

»Stamps with standard terms

»Stamp ink and pads

»Equipment for seals and stamps

»Accessories and consumables

Batteries

»Finger batteries

»Little finger batteries

»Button batteries (watch), disk

»Other batteries

»Batteries

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