30 Years of Snow: Calligraphy by Anna Pinto
Hoboken Historical Museum, 1301 Hudson Street, Upper Gallery, Hoboken NJ
Free & open to the public: Tue to Thu, 2–7pm, Fri 1–5pm, Sat/Sun 12–5pm
Artist Talk and Q&A on Saturday, December 9, 2017 at 4pm

A hand-crafted card is a gift in itself, in an age when computer-generated “hand-writing” typefaces attempt to mimic the personal touch without quite pulling off the illusion. Hoboken-based lettering artist Anna Pinto has produced snow-themed calligraphic holiday cards for more than 30 years.

“My holiday cards are an opportunity to create something completely for my own pleasure, that I can also share with family, friends and clients,” she adds. Her cards often combine hand-lettering with photographs or drawings, and occasionally hand-coloring or stencils and individual tiny collages.

“After a series of cards based on lines from Dylan Thomas’ “A Child’s Christmas in Wales,” I decided if I just used winter and/or snow as a theme, I wouldn’t have to worry if I was late with my cards as long as they got out before the first day of spring!” The theme continued to resurface as a theme in her cards, as she keeps an eye out for references to snow in her reading throughout the year.

An exhibit of her work, “Thirty Years of Snow: Calligraphy by Anna Pinto,” will be on display at the Hoboken Museum through December 31, featuring her printed cards, along with original pieces using some of the same quotations used in the cards. The exhibit also will include examples of preliminary work and writing for a few of the cards, to give visitors an idea of how they were done. In some cases, the size of the lettering has been reduced dramatically for the final card — so having the original writing will demystify the cards a bit. Her card formats vary quite a bit, often with unusual folds that allow her to include a greeting without printing on both sides.

The exhibit at the Hoboken Museum will include both originals and printed cards available for purchase. Join the artist for a talk and Q&A about her work on Saturday, December 9, at 4 pm at the Museum. For a glimpse of her work, visit

Hours & Directions: here.


Basics of Blackletter with Lynne Yun & Ethan Cohen
Saturday/Sunday, December 9 & 10, 2017
More details and registration here.

Blackletter is a genre of calligraphic hands that is characterized by its bold and dense texture. It evolved from Carolingian minuscules starting during the 12th century and was used throughout Europe for several hundred years. We will focus on Gothic Textura which, in addition to being a beautiful hand unto itself, is an excellent starting point for understanding and studying the myriad hands that fall under the blackletter umbrella, such as Fraktur and Batârde. Students will learn a basic Textura alphabet with special focus on spacing, rhythm, and consistency.


On Softer Ground: An Art & Poetry Talk with Sherrie Lovler
Sunday, November 5, 2017 from 4:30 to 5:30 pm
SVA Annex, 214 E. 21st Street, Room 702A
Free and open to the public. Guests are welcome. More here.

The Society of Scribes is pleased to welcome California calligrapher, painter, and poet Sherrie Lovler to lead the workshop Big Magic: Taking Calligraphy Out of the Box on November 4 & 5. Sherrie was the top student of the late, legendary Dick Beasley and over the last 30 years she has gone on to winning awards for her imaginative book design and poetry combined with her evocative paintings. I have visited her Santa Rosa studio on numerous occasions and recently posed these questions to her regarding her work and the forthcoming class. Her workshop is sold out, but everyone is invited to her Poetry Reading & Art Talk on Sunday, so you may still join the conversation!

You have been an accomplished lettering artist for many years, but there has been a dramatic transition in recent years to calligraphic painting. What has caused this shift, and how has it evolved?

My interest in abstract calligraphic painting began in 1988 when I studied with Dick Beasley in Flagstaff, Arizona for a year and a half. After a time painting “in his style” I needed to go deeper into my own path. My breakthrough happened in 2010 after I began writing poetry as a disciplined practice. I set myself the task of doing a painting for each of my poems to post on a blog I was starting. I wanted my paintings to feel like a companion to the poems, to feel like they came from the same source.

Your poetry is lyrical and abounds with sensuous imagery. Did you find that just making beautiful letters was not enough to convey the message and tone of your writing?

It wasn’t so much of a decision, but an evolution. The more I used my own words I felt a freedom in not being a servant to the words anymore. The paintings came from the words, but had a different purpose.


Has your painting influenced your poetry? Has your poetry influenced your painting? I know that the paintings are abstract compositions and cannot be conceptualized, but after having written a poem to your satisfaction do you sometimes get an urge to paint something to accompany it? Can you translate those emotions into something concrete?

My poetry has definitely influenced my painting, since I usually write the poem first and then do a painting to accompany it. My aim is to translate the emotions of the poem into a visual presentation. On occasion I have written a poem inspired by a painting. But something even deeper happens. When I began writing poetry I felt like I opened a gateway into the unknown, the intuitive realm. My aim was to keep that gateway open as I painted. By working in both disciplines something magical seems to happen. It’s like doing collaboration with someone you work really well with.

Were you always interested in language?

I began writing poetry in the 4th grade and won a poetry competition in 6th grade. Between the ages of 16-20, having learned calligraphy at 15 in a high school graphics arts class in the Bronx, I created poetry-based greeting cards for my family and friends. I still have the poems and a few of the cards that my parents kept. Some of these were elaborate booklets with many stanzas and drawings. I was experimenting with calligraphy, too, and created some of my own alphabet designs.


As calligraphers we are concerned with words and messages. Do your paintings have a connection to the words, or do you think they can stand alone as a celebration of the calligrapher’s toolbox?

Since my paintings mostly derive from my poetry, I am still connected to words and messages. All of my work is calligraphic. I use the marks and flourishes that I learned through years of disciplined study. I use ink, paper, watercolor and gold leaf, as well as inspiration from illuminated manuscripts. I use round brushes, flat brushes and homemade tools. My paintings stand alone or with the words. I show them both ways.

What do you say to students who believe that cannot conceptualize an abstract calligraphic painting?

The way I teach, and the way I work, is that these are not conceptualized paintings. I have no idea where the work will go. It is making a mark and seeing what is called for next. It is all an adventure. I teach about the elements and principles of design, so the student has some guidelines to work with. If everything is the same size, we add marks of another size; if it is all of the same value, we see what can be done to add more interest. We talk about emphasis – where the viewer’s eye enters the page and how it moves around. We have a conversation with the page. And if a whole page doesn’t work, we crop the image. There is a certain freedom in knowing that not every mark will be used, not every drip will show.

— text by Barry Morentz, photos by Sherrie Lovler of her students and students’ work from “Big Magic” at LetterWorks, Utah 2017


Society of Scribes Annual Holiday Fair!
Sunday, November 12, 2017 from 11am to 4pm 
The Brotherhood Synagogue, 28 Gramercy Park South
(20th Street between 3rd Avenue & Irving Place)
Free Admission! Open to the public! Guests are welcome!

Paper & Ink Arts: Please pre-order by November 3rd to pickup at the Fair!

Join us for the event of the year, celebrating calligraphy and our love of hand-lettering and hand-made treasures! This year’s Fair will feature both new and traditional attractions: * Paper & Ink Arts on-site calligraphy boutique *  Scriptorium with Karen Gorst from 12 to 3 * Marbled artwork by Katherine Radcliffe * Watercolor cards by Annette Fleischman * Karolina Lach Ceramics * Carrie Lo Art & Design * Calligraphy demonstrations * Vintage 1890s Warren’s Pens * The SoS Café (featuring  complimentary premiere espresso/coffee from Cupa Cabana from 11:30 to 3) * plus lots more to see and do!

You can see pictures from Holiday Fair 2014 here.
(Photographs by Grayson Dantzic)

Many thanks to everyone who made this year’s Fair a success!
Alice, Karen Charatan, Cynthia Dantzic, Jerise Fogel, Karen Gorst, Elinor Holland, Barry Morentz, Anna Pinto, Marcy Robinson, Carol Zack, Jim Zhang.
Raffle & Silent Auction Donors: Christopher Calderhead, Cynthia Dantzic, Margaret Harber, The Ink Pad, Paper & Ink Arts, Anna Pinto, Elsa Posner, Sheila Richter, Susan Salsberry.
Volunteers: Tiffany Alexander, Maureen Chen, Elaine Chng, Anne Marie DeMasi, Lisa Entman, Jill Forger, Sored Hall, Olivia Kane, Karin Kunari, Qiana Liao, Alexis Manzano, Lisa Maripen, Laura Ng, Darlene Record, Ana Rodríguez, Terry & John Schwarz, Andrea Villanueva, Juan Villanueva.

(Holiday Fair artwork by Susan Steele)


Sunday, October 29, 2017 from 10:00 am to 4:15 pm
SVA Annex, 214 E. 21st Street, Room 701A
$80 members/$100 non-members ($5 materials fee).
More information and registration here.

Just in time for the holidays, we’ve added a new class with Kathy Milici! In this fun workshop, you will learn how to combine simple flourishing techniques with easy drawn and painted fall and holiday designs. We’ll create seasonal treasures like flourishy wreaths, gratitude banners, leaves, pumpkins and owls; and special treats like flourished trees, garlands, snowflakes, holly, ornaments, snowmen, stars and bells, with step-by-step instruction for all. Add your own hand-lettered greeting for the perfect composition, and some glittering embellishments too!

Come and create lots of small, sparkling beauties, perfect for cards, envelopes, or to frame and give as gifts for the upcoming holidays! This workshop is sure to get you into the spirit! As a bonus, Kathy will share her new peace dove design templates, perfect for any time of year.

For a peek at some of the flourishy fun: click here.

(Artwork by Kathy Milici)



Saturday, October 14, 2017 from 4:30 to 6:30 pm
SVA Annex, 214 E. 21st Street, Room 701A
$20 members/$25 non-members (includes a set of sample inks!)
Register here.

Ziller of Kansas City has been bringing to the calligraphic art world quality art supplies and self-instruction books since 1936. During late 1997 and early 1998 this family of inks was born and has grown to become 15 beautiful colors and has 24 features and benefits fit into a one ounce jar. Rich Mungall, General Partner from Ziller’s will present an overview of their creation and will share examples of many well known calligraphers who helped to test them at the time of their introduction at the 1998 national Calligraphy Conference in San Diego. Versatility is the keyword here. For fine art use Ziller Ink in pointed pens, broad pens, ruling pens, automatic pens, brush work, marbling and even water coloring art.

Don’t forget to bring some of your favorite tools to take these pH balanced, lightfast, waterproof  inks for a test drive. You’ll get your own personal sample set of Ziller Inks to play with (included in mini-workshop fee). Choose what to do with our Soot Black, North Wind White, Cardinal Red, Midnight Blue and Sunflower Yellow inks. And, if everything falls into place, there may even be a couple of more new introductions that have not been made yet. Be a part of this fun interlude of creativity.


Friday, October 20, 2017 from 6:30 to 8:00 pm
SVA Annex, 214 E. 21st Street, Room 701A
Free and open to the public, guests are welcome. Refreshments served.

Relatively speaking, our American republic is a relatively young country compared to many of the European nations. And yet, we chose not to simply adopt and preserve the English handwriting models we were born with. Our nation’s journey into developing an identifiable form of written language has been a long and exciting adventure, filled with the principles of education, business communication, social correspondence, and our human desire to share our feelings in a visible manner. Among nations, our American handwriting has been unique in many ways, and as such, it is truthfully our “American Hand.” Join us as Michael Sull shares the benchmarks of our writing styles, and the penmanship notables who have defined our 241 years of putting pen to paper.

Mike will have a limited number of his handmade penholders for sale, along with copies of his Spencerian, Practice Sets, and American Cursive books.


Italic I with Anna Pinto
5 Saturdays from Sept 30 thru Nov 4, 2017 from 9:30 to 2:00
SVA Annex, 214 E. 21st Street, Room 702A
$260 members and non-members
Register online here.

Italic is the graceful, elegant handwriting of the Italian Renaissance.  Students use traditional tools — broad-edged dip pens and ink, rather than fountain pens or markers — in this beginner class which covers minuscule (small) and majuscule (capital) letters, numerals and punctuation. Letterform consistency and spacing are emphasized to help students develop their eye as well as their hand. By developing skill with the broad-edged pen, students will be ready to continue their study of Italic or try other calligraphic styles such as Blackletter (Gothic), Uncial, Carolingian and Foundational. (Note: this is a four-hour class with a half hour lunch break, so please bring your lunch.)

(Artwork by Anna Pinto)


Copperplate I with Elinor Holland (Start Date Extended!)
4 Sundays from Oct 8 thru Oct 29, 2017, from 10:00 to 4:00
SVA Annex, 214 E. 21st Street, Room 702A
$260 members and non-members (pro-rated)
Register online here.

Start date extended: Join us this Sunday! Copperplate is an elegant hand developed during the age of the great writing masters. This script is used extensively for invitations and formal events. We will introduce the use of the flexible pointed nib and learn the basic letter forms for minuscules and majuscules with emphasis on learning to see the underlying basic forms of this hand. (Note: This class runs 5.5-hours each Sunday with a half hour for lunch. Class on Oct 22 will end at 2:00pm)

(Artwork by Elinor Holland)


The Telling Magic of Storybook Illumination with Renee Jorgensen
Saturday/Sunday, September 23 & 24, 2017
$160 members/$200 non-members

Storybook Illumination was offered in 2013 at the Colorado Springs calligraphy conference. It has taken until 2017 for SoS to have Renee Jorgensen here as her workshops are consistantly in demand. I can’t recommend this instructor highly enough to those who want to combine calligraphy with illustration/illumination and create a personal story.

Renee’s knowledge of design and color is truly amazing. The class helped me turn the corner and produce quality layouts for future work. Her techniques to get the creative juices flowing are invaluable. Renee’s suggestions and feedback on your design piece are always spot on. I can’t wait to study with her again—don’t miss this one.

—Susan Steele

(Artwork by Renee Jorgensen)


Shani Avni: Ismar David and the First Hebrew Typeface Family
Wednesday, August 9, 2017 from 6:30 to 8:30 pm
Type Directors Club, 347 W. 36th Street #603
TDC members $5, non-members $22.09, students $16.82
Register online here.

Members may be interested in this lecture, sponsored by our friends at the Type Directors Club…

Ismar David was a prolific calligrapher, type designer, illustrator, architect and educator. From the 1930s until the 1990s, he lived and worked in Berlin, Jerusalem and New York and created a manifold of exquisite designs. His most important work is considered to be the David Hebrew Typeface family. It was the first of its kind when it was issued in 1954, and up until today it is the pinnacle of Hebrew type design. What are the challenges entailed in designing a Hebrew typeface family? How did David tackle these obstacles? Why is this work paramount and what has become of it over the years? This talk is based on Shani Avni’s research for her MA thesis at the University of Reading. In it she will shed some light on David’s fascinating design process and ground-breaking results.

Shani Avni is an independent designer and researcher. Fascinated with letters and the stories they tell, she collaborates with designers and educators in order to expose more practitioners to this subject through workshops and lectures. For her Typeface Design MA thesis from the University of Reading, UK, she researched Ismar David​’s type design​ and continues to do so. Shani has been chosen for the 2017 Cary Collection Summer Research Fellowship at the Rochester Institute of Technology, US, where the work of David is archived. She continues in an effort to make additional historical information available as both an academic and a practical source of reference.

(Artwork by Ismar David)


Introducing our Fall 2017 Classes/Workshops. **
Registration will open on August 4th: current members will get an email with pre-registration links at 7am; links will be published online for everybody on August 5th.

2 Sundays, Sept 17 & 24 – Copperplate Intensive with Marcy Robinson
5 Saturdays, starting Sept 30 – Italic with Anna Pinto
5 Sundays, starting Oct 1 – Copperplate with Elinor Holland
Saturday/ Sunday, Oct 28 & 29 – Intro to Copperplate with Kathy Milici
Saturday/Sunday, Nov 18 & 19 – Intro to Copperplate with Laura Di Piazza

Saturday, Sept 16 – Brush Lettering with Debra Dick
Sunday, Sept 17 – Uncials with Debra Dick
Saturday/Sunday, Sept 23 & 24 – Storybook Illustration with Renee Jorgensen
Saturday/Sunday, Sept 30 & Oct 1 – Flourishing Design with Lynne Yun
Saturday/Sunday, Oct 14 & 15 – Cadels with Vivian Mungall *
Saturday/Sunday, Oct 21 & 22 – Spencerian with Michael Sull *
Saturday/Sunday, Nov 4 & 5 – Big Magic with Sherrie Lovler
Sunday, Nov 12 – Annual Holiday Fair!
Sunday, Nov 19 – Fancy & Fearless Caps with Kathy Milici
Saturday/Sunday, Dec 2 & 3 – Drawn Letters with Anthony Bloch

** More classes/workshops may be added later.

* Students who were originally enrolled in Vivian’s March class will be given priority registration; students on Michael’s wait list from May will be given priority registration.

Jorgensen_Gold Fish 'F'

(Top: Calligraphic painting by Sherrie Lovler. Bottom: Illuminated letter by Renee Jorgensen.)


Boudens Times Six: A Slide Lecture by Liesbet Boudens
Sunday, July 16, 2017 from 4:30 to 5:30 pm
SVA Annex, 214 E. 21st Street, Room 703A
Free and open to the public. Guests are welcome. Refreshments served.

The Society is thrilled to welcome noted Belgian calligrapher Leisbet Boudens to New York City to lead a workshop, Designing Extraordinary Letters, on July 15 & 16. (There’s one spot left if you’d like to take it!) We hope you will join us on Sunday, July 16 at 4:30 pm for a fascinating talk and presentation of Leisbet’s work and that of her illustrious family. In recent years the magical city of Bruges has become something of an international mecca for both traditional calligraphy and pioneering and audacious lettering. Leisbet comes from a family that has been involved in lettering, illustration, book design and stone carving for three generations. The work of each member is widely celebrated and is in the collections of museums, universities, and many patrons around the world. Leisbet’s letter designs are unique and provocative and challenge the viewer (and scribe) to approach letters from a fresh and dynamic perspective. Don’t miss this presentation and be sure to bring your camera and notebook! Even if you are not in the workshop you are bound to come away dazzled and inspired.

Liesbet has been featured in Letter Arts Review; you can download a part of one of her articles here.

(Artwork by Joke Boudens)



Sell, Swap, Share, Show!
Sunday, July 30, 2017 from 12 to 4pm
SVA Annex, 214 E. 21st Street, Room 702A
Free and open to the public. Guests are welcome!

Be sure to join us on Sunday, July 30, at our usual camping grounds: SVA Annex, 214 E. 21st Street, 7th Floor, for Summer Sweep! All members are invited to take a table and to sell any materials from your studio that you no longer want, but that others will find useful and desirable. Pens, markers, inks, paints, papers, books–anything. The condition and/or amount of use these items have had does not matter. At bargain basement prices no one can complain. And you will be creating valuable space in your studio to make room for all the new materials you will undoubtedly buy in the coming months.

See photos from past Sweeps here and here and here!

There is no charge to take a table! But you must register here… so we can be prepared. Download a flyer here and tell all your friends!

Plus, Huy Hoang Dao is visiting NYC from Vietnam, and he’ll bring some of his pens for sale! You can see his work — and pens! — on Instagram here.


(Artwork and text by Barry Morentz; photo above from Summer Sweep 2015.)


The Calligraphy Revival 1906–2016 at the Grolier Club:
An exhibition of the art of beautiful writing

The word calligraphy comes from the Greek for “beautiful” (calli) and “writing” (graphy).  It is an art with a long and noble history, going back many centuries and spanning cultures. Exhibitions and collections of Asian art, Persian art, and even Medieval Western art have always included examples of beautiful writing, yet modern Western calligraphy has not been recognized as an art form. This public exhibition, The Calligraphy Revival 1906–2016, on view at the Grolier Club from May 17 through July 29, 2017, aims to correct that oversight. Curator Jerry Kelly, an award-winning book designer, type designer, typographer, and calligrapher, is presenting major examples of calligraphic art by more than 80 Western artists spanning the years 1906 to 2016, demonstrating how alive – even thriving – the art has remained in the West, even in the computer age.

“Surely the alphabet is one of the major accomplishments of mankind,” notes Mr. Kelly.  “The expression of this utilitarian creation can rise to the level of fine art, just as architecture, photography, and other ‘useful’ expressions of the human mind are appreciated as art. It is an unfortunate distinction of beautiful writing that, while these other arts have been exhibited at major museums throughout the world, calligraphy remains under-appreciated. We hope this selection will help to expose more people to the beauty and expression of the handwritten letter arts.”

The art of calligraphy has enjoyed a remarkable revival over the past century or more, spurred on in large part by the teaching of the British scribe Edward Johnston (1872–1944). Johnston’s students, such as Graily Hewitt and Irene Wellington, spread his principles through succeeding generations of calligraphers. His manual, Writing & Illuminating, & Lettering, originally published in 1906, has been the calligrapher’s bible ever since.

Another important influence from around the same time is Rudolf Koch of Germany, who also trained a remarkable group of students, as well as publishing several instruction books. The same year that Johnston’s manual was published, 1906, a piece of Koch’s calligraphy was first reproduced in Vienna, in Künstlerischer Schrift. That year is seen as the starting point of the modern revival of calligraphy.

Most of the artists in this exhibition can trace their roots back to these two seminal calligraphers. For example, Alfred Fairbank was a student of  Graily Hewitt. Karlgeorg Hoefer studied at the Technische Lehranstalt in Offenbach, Germany, where Koch had established a calligraphy program; and Hermann Zapf was self-taught from the manuals of both Johnston and Koch. All are represented by work in the show.

The show is representative of the variety of calligraphic work done over the past 110 years, a most fruitful period in the history of the art. In addition to the best-known artists of this period, some not-so-well-known scribes have also been included in the mix. Only one work per calligrapher is presented, no matter how important or prolific the artist may be.

The selections were made in consultation with several calligraphers: Christopher Calderhead (editor, Letter Arts Review, Charlottesville, NC), Anna Pinto (board member, The Society of Scribes, New York, NY), Rob Saunders (founder and curator, Letterform Archive, San Francisco, CA), and Julian Waters (award-winning lettering artist, Washington, DC). In some instances, the scribes themselves were asked to select a piece for inclusion.

Examples of the letter arts focus primarily on works in the Latin alphabet, with two exceptions: a few lines in Hebrew culminating in the word “Shalom,” in Ismar David’s silkscreen print (the rest of the lettering in that broadside is in the Latin alphabet), and some Arabic, Japanese, and Tibetan scripts are incorporated into the artwork by Brody Neuenschwander of Belgium. In addition to original, one-of-a-kind works, there are a few limited-edition prints by silkscreen, letterpress from hand-cut blocks, and even high-quality offset on special papers, as well as three- dimensional objects: letters hand-cut on slate, hand-glazed on ceramics, hand-cut on wood, and etched on glass.

Lenders to the exhibition include the Harrison Collection at the San Francisco Public Library, one of the finest repositories of modern calligraphy; Letterform Archive; and various artists from around the world.

Jerry Kelly’s book design work has been selected more than 30 times for inclusion in the AIGA “Fifty Best Designed Books of the Year” show, and in 2015 he was presented with the Goudy Prize from the Rochester Institute of Technology. He has written several books and numerous articles on the subjects of calligraphy, book design, and typography.

Accompanying the exhibition is a hardcover catalogue fully illustrated in color. It is available for purchase at the Grolier Club and from Oak Knoll Books. You can see a video the catalogue here. (All current SoS members will receive a book in the mail sometime in August!)

47 E. 60th Street, New York, NY  10022
Hours: Monday-Saturday, 10 AM to 5 PM
Admission: Open to the public free of charge


The Art of the Flourish: A Slide Lecture by Heather Held
Sunday, April 30, 2017 from 4:45 to 6:00 pm
SVA Annex, 214 E. 21st Street, Room 703A
Free and open to the public. Guests are welcome. Refreshments served.

Heather Held will talk about her journey from florist to calligrapher and her discoveries of the pointed pen world along the way.


Stroke Sequence: My Ramblings through the Alphabet
A Slide Lecture by Amity Parks
Friday, May 19, 2017 from 6:30 to 8:00 pm
SVA Annex, 214 E. 21st Street, Room 703A
Free and open to the public. Guests are welcome. Refreshments served.

A slide-show presentation by Amity Parks of her calligraphic journey, showing why and how calligraphy has inspired and played a part in her life.


Allentown Rubber Stamp & Paper Arts Festival
Saturday, April 1, 2017 from 10 to 5
Sunday, April 2, 2017 from 11 to 4
Allentown Fairgrounds, Bill Harris Agricultural Hall
302 North 17th Street, Allentown, PA 18104

Featuring: Art Rubber Stamping, Scrap/Memory Books, Card-Making, Paper Crafting, Book Arts & Calligraphy Arts!

Our friends at The Ink Pad have organized a bus trip to the festival from Manhattan on Saturday, April 1st. Seats are still available: Please call 212.463.9876 to reserve a spot!

Long Island Pen Show
Saturday/Sunday, April 1 & 2, 2017
Hofstra University, Student Center Multi-Purpose Room 101
Co-sponsored by our friends at Exaclair

Copperplate Workshop with Nikola Pang
Sunday, April 2 from 10 to 2 at the Pen Show
Come learn the beautiful calligraphic style of copperplate script! Copperplate calligraphy, also known as roundhand, engrosser’s, and engraver’s script is considered by most to be the mother of all pointed pen hands. It still stands as one of the most recognizable and high demand design elements in pointed pen calligraphic works. In this course we will go over a concise version of its history and learn to use dip pens in order to form the basic strokes of its construction. This course is geared towards beginners but those with more experience may attend it as a refresher course (plus it’s always nice to have experienced attendees help beginners). There is a small materials fee of $25 for holders, nibs, handouts, and papers; workshop is free for attendees who bring their own supplies. Attendees are encouraged to bring a pen or pencil with them.

Nikola will give away packets of vintage nibs to attendees who mention that they are members of the Society of Scribes!


Saturday, April 8, 2017 from 11:00 am to 4:30 pm
SVA Annex, 214 E. 21st Street, Rooms 701A/702A
$40 members/$50 non-members (includes materials & lunch)
Details here. Registration here.

Join us for the maiden voyage of what we hope will be an annual event – the Society’s SPRING FLING, a full day of mini-workshops and shopping at John Neal Books. Similar to San Francisco’s “Trivial Pursuits” program, the SoS is inaugurating our own version of this fun-filled day of learning from leading members of our organization.

On Saturday, April 8, 2017: four mini-workshops (about an hour long) will be offered and participants will attend each one: two in the morning, two in the afternoon. Before, after and in-between, there will be shopping at John Neal’s Pop-Up Shop in an adjacent room. Lunch will be an SoS-sponsored Pizza Party!

The mini-workshops will be led by:
Eleanor Winters, teaching pop-up greeting cards with calligraphy.
Marcy Robinson, teaching simple paper-marbling techniques using shaving cream! These papers make fabulous greeting cards, end-papers for books, or backgrounds for lettering.
Chavelli Tsui, teaching how to make an ingenious portable, attractive, handy pen nib holder. Once you make one, you will want to make many, many more!
Lynne Yun, teaching how to write in gradients and rainbow colors using balsa wood/foam brushes.
More about each mini-workshop and the day in general here.

This terrific day is bound to be one of the great bargains of Western Civilization, as the cost for all four sessions and lunch is only $40 members/$50 non-members! Be sure to join us so you can one day say “I was there when the Society of Scribes launched this fantastic event!” There is something in this for everyone, regardless of your level of expertise, so be sure to register quickly, as interest has been mounting and we expect it to sell out fast! Register here.

Volunteers & helpers needed! Please email us:

(Pictured above, clockwise from upper left: (1) Eleanor Winters’ pop-up cards, (2) Marcy Robinson’s marbled papers, (3) Chavelli Tsui’s cardboard nib-holder, (4) Lynne Yun’s writing with gradients)


John Neal Books Pop-Up Shop!
Saturday, April 8, 2017 from 10am to 6pm (with Spring Fling Mini-Workshops!)
Sunday, April 9, 2017 from 12pm to 5pm (with Scriptorium/Play Day!)
SVA Annex, 214 E. 21st Street, Room 703A

$25 Gift Certificates given away every half hour!

We’re so excited to welcome John Neal Books to New York City for a weekend Pop-Up Shop! What a luxury to be able to see and touch and purchase-in-person these wonderful hard-to-find calligraphy supplies and specialty items! There will be refreshments, raffles, door prizes, demos galore and other fun surprises throughout the day!

Volunteers & helpers needed! Please email us:

Pre-Order Deadline: Monday, April 3
They are taking pre-orders! Anything from the JNB catalog/website can be pre-ordered for pick-up at SVA: with no shipping charges for anything, including large sheets of paper! All pre-orders must be placed by Monday, April 3. Please add item 17NYC to your pre-order; you can start your pre-order here.