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. **


Italic I — (Anna Pinto) 5 Saturdays: September 22, 29; October 13, 20 & 27, 2018
Copperplate I — (Elinor Holland) 4 Sundays: September 23, 30; October 7 & 14, 2018


NEW! Italian Roundhand — (Huy Hoang Dao) Saturday/Sunday, August 11 & 12, 2018
NEW! Modern Storybook Script — (Kathy Milici) Sunday, September 23, 2018

Italic I

Anna Pinto

5 Saturdays: September 22, 29; October 13, 20 & 27, 2018
9:30 am to 2:00 pm
$260 members and non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 702A
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 (9:30-2:00), so please bring your lunch.
Materials List

Higgins Eternal Ink OR small bottle of Walnut Drawing Ink
Two pen nibs:
one Speedball C-2 and one of the following: Mitchell 2½ and a reservoir, Brause 1½, or, as a last resort, Speedball C-4. If you are left-handed, get left-handed nibs.
9” x 12” or 11"x 14" Borden & Riley #37 Boris Marker Layout pad,
or Boris Cotton Comp pad
Masking tape, paper towel or rag

Calligraphy mail order suppliers have everything and are reliable and fast:
Paper & Ink Arts (800) 736.7772
or John Neal Books (800) 369.9598

Basic supplies can be found locally at Dick Blick & Da Vinci.


Anna Pinto divides her time between all sorts of freelance work — from envelopes to awards to props for the film industry — and teaching. Her work is included in The World Encyclopedia of Calligraphy by Christopher Calderhead and Holly Cohen, and Italic and Copperplate Calligraphy: the Basics and Beyond, by Eleanor Winters, and is in the collections of the San Francisco Public Library, and libraries at Rutgers and Yale.

Copperplate I

Elinor Holland

4 Sundays: September 23, 30; October 7 & 14, 2018
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

Calligraphy supplies can be difficult to find...
John Neal has created an "Elinor Holland" package with all supplies on one page, here:

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
Drafting tape.

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


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.

NEW! Introduction to Arabic Script: Thuluth, Letter by Letter

Elinor Holland

Saturday/Sunday, August 4 & 5, 2018
10:00 am - 4:00 pm
$160 members/$200 non-members ($20 materials fee)
Level of difficulty: Beginner and all levels.
Location: SVA Annex, 214 E. 21st Steet (between 2nd/3rd Avenues), Room 702A
We are all beginners. 

Thuluth script for the Arabic alphabet developed in Baghdad during the great cultural and intellectual golden age a thousand years ago. In 2018 we have the great fortune to enjoy the fruits of the labors of our calligraphic ancestors. Thuluth is a wide-spread, multi-use hand, elegant and flexible, and being taught by the current masters in Turkey. Even if you don’t read the languages written in this script, its beauty shines through.

We will introduce the alphabet and its historical use in calligraphy before moving onto trying reed or bamboo pens and ink to get a taste of the experience of writing. We will not expect to master this script, but rather expand our horizons technically, visually and culturally. Everyone is welcome!
Materials List

• Please bring Higgins Eternal ink (half a bottle is sufficient).
• Pens and paper will be provided by the instructor for $20 Materials Fee, payable at registration.


Elinor Holland has studied classical Khatt or calligraphy, with master Mohamed Zakariya for over 20 years and received her “ijaza”or certification in 2013. She is also a calligrapher of Latin script and teaches many classes for the NY Society of Scribes. She has exhibited in New York as well as Kuwait, Algeria, Saudi Arabia and Sharja.

NEW! Italian Roundhand

Huy Hoang Dao

Saturday/Sunday, August 11 & 12, 2018
10:00 am to 4:00 pm
$160 members/$200 non-members
Level of difficulty: Intermediate (some experience with pointed pen)
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues)
Roundhand (also Round Hand) is a style of handwriting and calligraphy originated in England in the 1660s, as the result of a gradual process of adoption with Italian Chancery. Characterized by an open flowing hand and subtle contrast of thick and thin strokes deriving from pointed-cut quill and metal pointed nibs, its popularity rapidly grew, becoming codified as a standard through the publication of printed writing manuals. Later in the 17th and 18th centuries, English writing masters including George Bickham, George Shelley and Charles Snell helped to propagate Roundhand's popularity, so that by the mid-18th century the Roundhand style had spread across Europe and crossed the Atlantic to North America where its cursivity was accentuated under the influence of American writing masters such as Joseph Carstairs and Benjamin Foster.

The Industrial Revolution first made its mark in Great Britain, the epicenter of profound technical transformation which was to affect Europe for centuries. The expanding industry and merchant navy of Britain were at the height of their powers during this period, which brings along the popularity of writing education system around the continent. At the same time, English writing masters adopted exotic calligraphic styles, specially from the Italian and French, and used them to refine variations of English Roundhand. Unlike original Italian Chancery, whose writing method is still in affection of Cancellaresca’s elaborate strokes and flourishes, Italian Roundhand has been changed using such light, graceful and elegant control of pointed writing tools. The Italian cursivity and composition now merged with English Roundhand to become a handsome style, which is promoted by the finest masters such as Willington Clark, Ema Austin, and Joseph Champion in the 18th century.

Technically, Italian Roundhand is more drawing than writing, though it shares similar contour to English Roundhand. The distribution of thick and thin strokes was modified, which resembles the natural ink flow and utilitize recognizable loop turn from down stroke to up stroke. Visually it seems to have no pen lift while writing, but in fact requires thoughtful retouch on monoline letterforms. Italian Roundhand also shows the creativity of using pen manipulation, such as reversed pen position, uncommon slope angle and variations of form. Care should be taken not to fall into the trap of drawing spurious or artificial curves which are alien to the spirit of the letter. Whether drawn or written this style remains quite remarkable when appropriately used.

In this workshop we will learn how to write Italian Roundhand with pointed nib, either straight or oblique holders, then explore the dedicated flourished styles that possibly come out from simple letters.
Materials List

• Straight/Oblique Pen Holder
• Fine pointed nibs, various flexibility (Gillott 303, Leonardt Principle, Hunt 101, etc)
• Dark color ink, white & vermillion gouache
• White & black paper (preferred blank paper)
• Couple sheets of texture or handmade paper
• Pencil, ruler, eraser
• Watercolors (optional)


Huy Hoang Dao is a full-time calligrapher based in Hanoi, Vietnam. Deeply inspired by his late grandfather, he learned from calligrapher Margaret Shepherd and spends time studying lettering and history. He is a recognized international calligraphy artist despite his young age. He was awarded the 2016 IAMPETH scholarship, 2017 Dancing Letters Scholarship and Seattletters Scholarship 2018. Hoang teaches both the broad nib and the pointed pen, specialized in Roman, Italic, Roundhand, Spencerian and Flourishing classes. His international teaching tour started in Singapore and Jakarta in 2015, and he has since been invited to teach in various cities in the US, Australia, Brunei, Malaysia, Indonesia, Thailand and Japan. Hoang is also a pen maker; he makes pen holders by hand and is constantly driven to improve his craftsmanship to place beautiful pens in the hands of new owners. He is also learning Japanese Urushi (lacquer painting) and bringing his pens to a new level of art.

NEW! Modern Storybook Script

Kathy Milici

Sunday, September 23, 2018
10:00 am - 4:00 pm
$80 members/$100 non-members
Level of difficulty: Beginner and all levels
Location: SVA Annex, 214 E. 21st Street (between 2nd/3rd Avenues) Room 702A
This playful alphabet has fun written all over it! This charming, casual script gives a fresh, modern twist to the traditional alphabet. In this one-day workshop, you'll first learn some of the tools of calligraphy and how to use them. Then you'll learn a series of simple strokes that form this whimsical yet elegant alphabet; first lower case letters, then upper case capitals. We'll also examine letter endings, connectors, numbers and punctuation. Strokes into letters, letters into words, words to sentences… and voila! You have a brand new, useful and versatile alphabet style that is so easy to make uniquely your own.
Materials List

(Some supplies may not be available in local stores. Please allow enough time to order. Info below)

Straight Pen Holder, Speedball, black plastic, or your favorite holder
3 Nikko G nibs
Sumi Moon Palace Black Ink
Dinky Dip, screw top
12” clear plastic ruler
Kneaded eraser
Dropper Bottle (OR pipette)
Canson Marker Layout pad, 9 X 12, 50 sheets

Scotch Removable Tape (blue label)
Rhodia grid pad, orange cover
A few Viva Paper Towels
Bottle water

Supplies available here:


Kathy Milici is a nationally known calligrapher, designer, instructor and mentor. She happily admits to being obsessed with letters since early childhood. Owner of Kathy Milici Creative in Newton, New Jersey, her work has been seen in national magazines and on television. A very popular instructor at the IAMPETH calligraphy conferences (her workshops sell out!), Kathy travels the country, lecturing and teaching calligraphy and the related arts. The originator of Gratitude Script, a modern typeface, she also mentors fellow artists and art students in how to create a living and maintain a viable business as a working artist. After almost 40 years as a professional calligrapher and teacher, Kathy is still enjoying her lifelong passion for “everything calligraphy.” See more at