Classes & Workshops

** Our classes are necessarily small and often sell out quickly. If a class is filled to capacity, please sign our Waiting List: we will try to accommodate everyone — and if possible, we may add another session. To receive an email when new seasons are posted, sign up for our Newsletter. Please read our Registration Policy at the bottom of this page. **

Classes

Copperplate I — (Elinor Holland) 4 Sundays: March 24, 31; April 7 & 14, 2019
Foundational — (Eleanor Winters) 2 Saturdays: April 6 & 13, 2019
Introduction to Copperplate — (Laura Di Piazza) Saturday/Sunday: April 6 & 7, 2019

Workshops

Design Embellishments — (Marcy Robinson) Sunday, April 28, 2019
Gothicized Italic — (Barry Morentz) 2 Saturdays, May 11 & 18, 2019
Working with Color — (Cynthia Dantzic) 2 Sundays, June 2 & 9, 2019
Modern Script Variations — (Suzanne Cunningham) Saturday, June 22, 2019
The Art of Chalkboard Lettering — (Cora Pearl) Saturday/Sunday, March 21 & 22, 2020

Copperplate I

Elinor Holland

4 Sundays: March 24, 31; April 7 & 14, 2019
10:00 am - 4:00 pm
$290 members and non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 702A
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.
Materials List
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Calligraphy supplies can be difficult to find...
John Neal has created an "Elinor Holland" package with all supplies on one page, here:
http://www.johnnealbooks.com/prod_detail_list/880

Higgins Eternal Ink,
Pad of Canson Marker Layout paper (size 9x12),
Dinky Dip,
Oblique (elbow) Penholder for right-handed students,
Straight Penholder for left-handed students,
Nibs: Nikko G, Gillot 303, 404, or Hunt 22
Pencil,
Drafting tape.

Materials fee: $1 to $10 (payable to instructor) for purchase of additional nibs

Instructor

Elinor Holland works in both Latin and Arabic scripts. She teaches hands-on workshops in both types of script as well as lectures on Islamic Calligraphy. Her calligraphic work scans the range from invitation design to fine art commissions. She continually works toward refinement in her work through study and practice. Clients include Smithsonian Institute, Metropolitan Museum of Art, New York Public Library and the Linearis Institute.

Foundational

Eleanor Winters

2 Saturdays: April 6 & 13, 2019
9:30 am - 3:30 pm
$140 members and non-members
Level of difficulty: Advanced Beginner
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 702A
The Foundational hand was developed by Edward Johnston in the early twentieth century as a beginner’s alphabet, the foundation (basis) of a calligraphic education. Based on tenth century English Carolingian, Foundational has evolved in usage from a student script to an elegant, legible hand, suitable for both small manuscript calligraphy and large, bold writing for signs and posters. This workshop will present the anatomical structure of the Foundational hand in a step-by-step method. Recommended for students with some familiarity with the broad-edged pen, as well as more experienced calligraphers.

Taking Italic I and Foundational with Eleanor will give you a very good foundation for all broad-pen hands; if you enroll in both classes this spring, we will refund $40 of your Foundational fee.
Materials List
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• Higgins Eternal or other non-waterproof ink
• Brause 2mm, 3mm and 4mm nibs (if you are left-handed, please bring left-handed nibs, either Brause 2,3, and 4mm or Speedball C-0, C-1, C-2)
• Penholder
• 11" x 14" layout pad -- either Canson Pro-Marker or Borden and Riley Cotton Comp
• Water container and cloth or paper towels
• Ruler, Pencil (hard, such as H or 2H), Eraser
• Fine-point black marker
• Masking tape

Instructor

Eleanor Winters Author of Italic and Copperplate Calligraphy: the Basics and Beyond (Dover Publishing, 2011),1-2-3 Calligraphy! (Sterling Publishing, 2006), Calligraphy for Kids (Sterling, 2004), Mastering Copperplate Calligraphy (Dover, 3rd Edition, 2000), Calligraphy in 10 Easy Lessons (Dover, 2nd Edition, 2002), Professor of Art, Long Island University (1992-2010), Director of the Calligraphy Workshop, New School University (1985-1998), Workshops & Lectures in US, Europe, Asia, Exhibitions in Museums and Galleries, US and Europe, Master of Arts, New York University.

Introduction to Copperplate

Laura Di Piazza

Saturday/Sunday: April 6 & 7, 2019
10:00 am - 4:00 pm
$160 members and non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Steet (between 2nd/3rd Avenues) Room 703A
In this intensive weekend calligraphy workshop we will examine and practice letterforms in the Copperplate hand, a pointed-pen script that was developed in 16th century England. We will work with an oblique pen holder, pointed pen nib, ink, and guidelines. Our main focus will be on practicing varying amounts of pressure to apply to our pens to produce thick (shaded) and thin (hairline) strokes, letter slant and letter form. We will begin our practice with minuscule and later majuscule letters, which will be grouped according to similar letterforms. Feel free to bring in your favorite quote and/or project ideas for practice and discussion.

See a video of Laura's Copperplate lettering here.
Materials List
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• Oblique pen holder (suggested: Speedball or better)
• Nikko G nib or Zebra G nib
• Black ink (suggested: small 2 oz. bottle of sumi ink)
• Dinky dip and pipette or 1/2 oz. or 1 oz. ink jar (glass or plastic)
• Small 4-6 oz. plastic or glass water container to clean your pen nibs (yogurt cups work)
• 4 sheets of paper towels or rag to clean your pen nibs
• T-square, 12" (John Neal sells a c-thru one for $2.50)
• Marker Layout Paper (semi-transparent) 9" x 12"
• Pencil
• Black ballpoint or rollerball pen

Instructor

Laura Di Piazza (b. 1972, Brooklyn, New York) holds a MFA degree in Interdisciplinary Arts from Goddard College in Plainfield, Vermont. Laura teaches calligraphy workshops at Dartmouth College, AVA Gallery and Art center and MAKE! Skilled Hands. She has exhibited artwork in Austria, Canada, Germany and the USA. www.lauradipiazza.com

Design Embellishments

Marcy Robinson

Sunday, April 28, 2019
10:00 am to 4:00 pm
$80 members & non-members ($5 materials fee)
Level of difficulty: Beginner & all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues), Room 703A
A no-stress fun workshop! We start by making a simple accordion book — each page may then become a sampler for the different techniques that will be demonstrated, including, but not exclusive to: embossing/debossing, pastel dust/duo glue, leaf printing, stamps/stamp pads, easy gilding, Derwent intense colored pencils, marbling (2 techniques) and gel printing. Other techniques will be discussed as time permits - saran wrap, salt, alcohol, etc. (Collage image has samples of leaf printing, gel printing, marbling on cloth/paper, pastels and duo glue with pastels.)

No experience is required, just a sense of playfulness. This workshop is open to all who want to have fun and enhance their design abilities. If you are having difficulties writing on a particular paper surface, please contact me and I will try to have an answer for you.
Materials List
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1. Your favorite writing tools, non water proof black ink.
2. 12 inch ruler, triangle, scissor.
3. Xacto knife, #11/#16 blades
4. Your colors of gouache, mixing brush, palette, water dish.
5. Cutting board or back of paper pad.
6. Bone folder, glue stick, sand block.
7. Soft cotton cloth, paper towels.
8. Beads/decorative threads, sewing needle.
9. Your favorite watercolor papers cut to 8x10.
10. Dust mask, if you are sensitive to pastoral dust.

Instructor

Marcy Robinson is an award-winning lettering artist residing in New Jersey. She has studied with Julian and Sheila Waters and has taken workshops with many other calligraphic artists. Her work may be seen in Brides Magazine, the Calligraphy Engagement Calendars, Letter Arts Review, Calligraphies in Conversation and other calligraphic publications. Marcy was on the faculty of several calligraphy conferences. In addition, two pieces of her work were purchased by the Richard Harrison Collection of the San Francisco Library. She was one of 12 lettering artists featured in the "Alphabet" - the Journal of the Friends of Calligraphy, Spring 2011 issue. She also did the logo for "Alphabet."

Gothicized Italic

Barry Morentz

2 Saturdays, May 11 & 18, 2019
10:00 am to 4:00 pm
$160 members/$200 non-members
Level of difficulty: Intermediate & Advanced
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 703A
Edward Johnston’s last major manuscript hand, developed in 1924, was a compressed Foundational characterized by a rich, dense texture quite similar to a Gothic Textura. The name Gothicized Italic is, however, somewhat misleading, because the forms themselves bear little, if any, affinity to Italian Renaissance styles. Yet because of its compressed, pointed character, and when written on a slight slope, it does take on something of the lively rhythm of Italic, culminating in an evocative, often sumptuous style of writing. It is most effective for wedding invitations, formal documents, and some poetry.

In this workshop we begin by looking at Johnston’s forms and their historical antecedents. Then we zoom into the 21st century and consider the forms stripped of anachronisms, and apply modern techniques to make them more viable. Day 1 deals with the minuscules and the rhythm of writing and spacing. On Day 2 we will work with the variables that create an entirely different feel, as well as with the bounty of styles that permit us to create an endless repertory of Capitals.

This class is not for the newcomer to Calligraphy or for the faint-hearted. Prior experience, and some fluidity in Foundational and Italic is essential.
Materials List
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• usual calligraphalia
• Speedball C1 or C2, or Mitchell 0 or 1 for practice; some smaller sizes for actual writing. NO FOUNTAIN PENS -- you cannot understand or perform the subtleties inherent to this style with these instruments; save them for your next flight.
• Favorite inks; stick ink preferable; some colors if desired

Instructor

Barry Morentz owns and operates his Manhattan studio where he creates calligraphic works and hand-made books, boxes, and portfolios. He holds an MA in Medieval History, but abandoned pursuit of a doctorate in favor of an even less likely career in calligraphy. Initially self-taught, he began his formal calligraphic studies, primarily with Sheila Waters, in 1977, and eventually with almost every internationally recognized master. A seminal experience was participation in the Hermann Zapf Master Class at Rochester Institute of Technology in 1985, and subsequent paleographic studies in Rome and the Vatican Library. He has taught numerous workshops throughout the US, Canada, Japan, Hong Kong, and Singapore, and at five international Calligraphy Conferences.

In his midtown studio he ministers to the needs of The New York Public Library, Estee Lauder Companies, Cartier, Columbia University, and The Museum of Modern Art, where he has been The Living Anachronism since 1986. His day-to-day work includes Illuminated Resolutions and Awards Design, Publications Headings, Book and Portfolio Design, and the application of fine lettering in a range of areas. A life-long love for Shakespeare informs and inspires his personal work, which can be seen in numerous publications. In 2002 he realized a long-time goal of studying classical mosaics in Ravenna, Italy, where he learned to execute letters in an ancient format.

After more than 34 years, he remains inspired by the visual and emotional power of letterforms to communicate on a deeply-felt level and to challenge the viewer to discover and interpret the layers of meaning within a text.

Working with Color

Cynthia Dantzic

2 Sundays, June 2 & 9, 2019
10:00 am to 4:00 pm
$160 members/$200 non-members ($25 materials fee)
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 703A
Invaluable for those using color to enhance calligraphic work, this hands-on workshop, taught by a student of Josef Albers at Yale, will include a concise overview of his classic Color Interaction course. You will discover and apply such effects as making one color appear as two completely different colors, creating the illusion of transparency with opaque colors, and making a color glow with electric vibration in one environment, yet melt away edgelessly in another.

Those who took this workshop last year are invited to take it again and go even deeper into color! More photos from Cynthia's last workshop here.

 
Materials List
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• X-acto pencil knife with #11 pointed blade
• 6" or 12" Metal straight-edge ruler
• Rubber cement
• $25 Materials Fee (payable at registration) for Color Aid paper

Instructor

Cynthia Dantzic studied calligraphy at Yale and has been teaching at Long Island University since 1964, where she was promoted to Senior Professor. Her courses include drawing, color, painting, 2D design and calligraphy (Western and Non-Western). A longtime Board member, she served as programs coordinator for many years. Her ninth art-related book, 100 New York Calligraphers, which includes the work of a number of SoS members, was featured in Schiffer’s Spring 2015 catalog.

Modern Script Variations

Suzanne Cunningham

Saturday, June 22, 2019
10:00 am to 4:00 pm
$80 members/$100 non-members
Level of difficulty: Intermediate
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues), Room 701A
Many people think modern calligraphy is a “no rules, free-for-all” style of calligraphy. That is not the case! There are several rules that need to be followed to make modern script as beautiful as it can be. In this class, you will learn how to write in a contemporary script, breaking down each letter to learn the proper form. You will also learn the different nuances that make a contemporary style and an organic style different from each other. You will then learn two modern variations called Opus Vertical and Florence Script. These styles are not as formal as Copperplate, but more structured than modern script. It’s a perfect combination of both! We will go over both minuscules and majuscules to learn this unique style of calligraphy.
Materials List
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• Sumi or walnut ink
• Favorite pointed nib (I prefer hunt 101)
• Favorite holder
• Borden & Riley Cotton Comp paper
• Water cup
• Paper towels
• Pencil
• Red pen or pencil for critiquing

Instructor

Suzanne Cunningham is a professional calligrapher with 26 years of experience. She has taught many workshops and private lessons, including Letterworks 2017, IAMPETH 2018, and numerous guilds throughout the country. She is also scheduled to teach at IAMPETH 2019 and 2020. She has participated in workshops taught by Master Penmen Michael Sull, Barbara Calzolari, Bill Kemp, Harvest Crittenden, Mike Kesceg, and Crown Office Scribe Paul Antonio, as well as Heather Held, Barbara Close, Angela Welch, Anne Elser, Maria Helena Hotsch, and Karen Brooks. She specializes in Copperplate Script and enjoys adding flourishes to her calligraphy. Suzanne lives in Florence, Alabama with her husband, two daughters, and Golden Retrievers, Mabel and Dixie. You can find her on Instagram @suzcunningham.

Flourishing: The Art of the Oval

Suzanne Cunningham

Sunday, June 23, 2019
10:00 am to 4:00 pm
$80 members/$100 non-members
Level of difficulty: Intermediate
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues), Room 701A
You’ve learned the basics and know your letterforms. Now learn how to make them even more beautiful with flourishes! But here comes the kicker: How do I do that? Do I flourish every letter? Do I make small, tight flourishes or big, loose ones? When do I stop? Help! No worries, we will cover all of that! In this class, you will learn how to flourish off of the individual letter by extending ascenders and descenders, entrance and exit strokes, and how to balance all of that on envelopes and larger pieces. You will learn the steps to make a graceful oval, how to critique your work, and exactly what to look for when you break it down. This class will help you take your envelopes and larger pieces to the next level!

Update: a second session on Friday, June 21 is also filled to capacity. Please sign our wait list to be notified when a spot opens up.
Materials List
(more...)

• Sumi or walnut ink
• Favorite pointed nib (I prefer hunt 101)
• Favorite holder
• Borden & Riley Cotton Comp paper
• Water cup
• Paper towels
• Pencil
• Red pen or pencil for critiquing

Instructor

Suzanne Cunningham is a professional calligrapher with 26 years of experience. She has taught many workshops and private lessons, including Letterworks 2017, IAMPETH 2018, and numerous guilds throughout the country. She is also scheduled to teach at IAMPETH 2019 and 2020. She has participated in workshops taught by Master Penmen Michael Sull, Barbara Calzolari, Bill Kemp, Harvest Crittenden, Mike Kesceg, and Crown Office Scribe Paul Antonio, as well as Heather Held, Barbara Close, Angela Welch, Anne Elser, Maria Helena Hotsch, and Karen Brooks. She specializes in Copperplate Script and enjoys adding flourishes to her calligraphy. Suzanne lives in Florence, Alabama with her husband, two daughters, and Golden Retrievers, Mabel and Dixie. You can find her on Instagram @suzcunningham.

The Art of Chalkboard Lettering

Cora Pearl

Saturday/Sunday, March 21 & 22, 2020
10:00 am to 4:30 pm
$160 members/$200 non-members
Level of difficulty: Advanced beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues), Room 703A
Chalkboard lettering has become very popular in recent years. In this workshop, students will learn several different styles of hand drawn lettering as well as other design elements (such as flourishes, borders, and ribbons) and we will combine these components to create chalkboard style pieces of artwork. We will explore the essential elements of chalkboard design and layout and will work in both black on white and white on black. Students will create a sketch for one complex chalkboard layout and we will do several smaller designs, all working on paper. We will also touch on working large scale on chalkboard surfaces. This class is ideal for students who want to better understand this style of lettering, for students wanting to learn more about layout and design in lettering art, for students who want to explore the art of hand drawn lettering, and for students who want a new area of lettering to explore.
Materials List
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• 1 General’s White Charcoal Pencil
• 1 General’s Black Charcoal Pencil
• Canson Pro Layout Marker Paper 9” x 12”
• Micron Pen in size .05 (and any other sizes you may already have)
• Faber Castell Dust Free Eraser or any similar dustless eraser you may already have
• Factis Black Eraser
• 12” or 18” T-square Ruler
• A few sheets of Graph Paper
• 12” Ruler
• Pentel Graphgear 500 size .05 Mechanical Pencil or any mechanical pencil in .05 that you have
• Scissors
• Pencil Sharpener (any kind)
• 2 Sheets of Canson Mi-Teintes Paper in black (19” x 22”)
• $12 Materials Fee (payable to instructor)

Optional (but helpful):
• Fons & Porter Fabric Pencil - It is a little pricey at $14 so if you don’t feel like spending that much on one tool, you will be fine without it (Can be found at JoAnn’s Fabrics)
• Dividers (Blick sells Alvin dividers for about $10)

Instructor

Cora Pearl started studying calligraphy at age 11 and has been doing calligraphy and hand lettering ever since. She has a BA in Art and Art History from Oberlin College. Cora works as a full-time calligrapher and teacher of lettering arts. She teaches full credit calligraphy and hand lettering courses at Portland Community College and teaches independent workshops, classes and private sessions, including year-long courses in Design for Lettering Art. She has taught at several calligraphy conferences including Letters of Joy, IAMPETH, Letterfest, Typecon, the International Calligraphy Conference, and Letters California Style. Cora also does calligraphy commissions in addition to her teaching. Cora is passionate about teaching and values a holistic approach to learning based on building trust and safety in the classroom environment.